Wer Dank opfert, der preiset mich, BWV 17

Whoso offereth praise glorifies me ( BWV 17) is a church cantata by Johann Sebastian Bach. He wrote in 1726 for the 14th Sunday after Trinity and first performed it on for the first time on September 22, 1726.

History and words

Bach composed the cantata in his fourth year in Leipzig for the 14th Sunday after Trinity. It is attributed to his third cantata cycle. The prescribed readings for the Sunday were from 5.16 to 24 Gal LUT Paul about the " works of the flesh and the fruit of the Spirit", and Luke 17:11-19 LUT, the healing of the ten lepers.

This year, Bach led to 18 cantatas of his relative Johann Ludwig Bach, who was court conductor in Meiningen. Bach seems to have been impressed by the texts set to music and some lyrics similar structure: Seven sets in two parts, which will play music before and after the sermon, the first part begins with a quotation from the Old Testament, the second with one out the New Testament.

Bach composed some lyrics that had also used his relative, including this cantata. It was written by Ernst Ludwig I of Saxe- Meiningen, according to Christoph Wolff.

The poet takes the gospel to the idea that man is obliged God to you. As a Bible expert, he begins with Ps 50.23 LUT and submit to the recitative that begins Part II, verses 15 and 16 of the Gospel is based. He plays more Bible passages to in sentence 2 to Ps 19.5 LUT, in sentence 3 to Ps 36.6 LUT, at the price of God's creation. In Theorem 6 the phrase refers " Dear, Fried, justice and joy in your mind " in Romans 14:17 LUT. The final chorale is the third verse of " Now praise, my soul, the Lord" by Johann Graumann ( Poli Ander ), published in 1530.

Bach led the cantata for the first time on September 22 in 1726. He later used the first set as a template for the degree " Cum sancto Spritu " in the Gloria of his Missa in G major, BWV 236

Scoring and structure

The cantata is staffed with four soloists, soprano, alto, tenor and bass, four-part choir, two oboes, two violins, viola and basso continuo. Your seven sets are divided into two parts that were making music before and after the sermon. Both parts start with a quotation from the Bible.

Music

The opening chorus, the Psalm verses in two fugal sections that are preceded by an instrumental sinfonia. All recitatives are secco. In the first aria soprano and two obbligato violins illustrate in ascending lines the text "as far to the clouds ," and the words " praise " and are highlighted by extensive coloratura "wise ".

The Bible quote in the recitative at the beginning of Part II has a narrative character and is therefore the tenor confided, similar to the Evangelist in Bach's oratorios and passions. The second aria is accompanied by all the strings. Both arias have the same unusual structure. They are in three parts, the third part is vocally no da capo, but at the same time with him the introductory ritornello is repeated, giving the sentence coherence. John Eliot Gardiner particularly admired the four -part setting of the zwölfzeiligen closing chorale for its tone painting to the autumnal words "Just as the grass from the rake, a Blum and falling leaves, the wind just over it blows ," and compares it to the central rate of the Motet Sing to the Lord a new song, BWV 225

Recordings

  • J. S. Bach: Cantatas BWV 110, BWV 17 Hans Thamm, Windsbacher boys' choir, Southwest German Chamber Orchestra Pforzheim, Herrad Wehrung, Emmy Lisken, Georg Jelden, Jakob Stämpfli. Cantate, 1961.
  • Bach: Sacred Cantatas, Vol 1, BWV 1-14, 16-19. Nikolaus Harnoncourt, Vienna Boys Choir, Chorus Viennensis, soloist of the Vienna Boys' Choir, Paul Esswood, Kurt Equiluz, Max van Egmond. Teldec, 1972.
  • Bach Cantatas Vol 4 - Sundays after Trinity I. Karl Richter, Munich Bach Choir, Munich Bach Orchestra, Edith Mathis, Julia Hamari, Peter Schreier, Dietrich Fischer-Dieskau. Archiv Produktion, 1977
  • The Bach Cantata Vol 17, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Gabriele terror Bach, Adalbert Kraus, Walter Held wine. Hänssler, 1982.
  • Bach Edition Vol 8 - Cantatas Vol 3 Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar. Brilliant Classics, 1999.
  • Bach Cantatas Vol 7: Ambronay / Bremen. John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Malin Hartelius, Robin Tyson, James Gilchrist, Peter Harvey. Soli Deo Gloria, 2000.
  • J. S. Bach: Complete Cantatas Vol 17 Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sandrine Piau, Bogna Bartosz, Christoph Prégardien, Klaus Mertens. Antoine Marchand, 2002.
  • J. S. Bach: Cantatas for the Complete Liturgical Year Vol 5 Sigiswald Kuijken, La Petite Bande, Gerlinde sower, Petra Noskaiová Jan Kobow, Dominik Wörner. Accent, 2006.
  • J. S. Bach: Cantatas Vol 46 - Cantatas from Leipzig 1723 / IV - BWV 46, 95, 136, 138 Masaaki Suzuki, Bach Collegium Japan, Hana Blažíková, Robin Blaze, Gerd Türk, Peter Kooij. BIS, 2009.
Ernst Ludwig I, Duke of Saxe-Meiningen Bach-Werke-Verzeichnis Epistle to the Galatians Psalms Bass (voice type) Evangelist (Bach) Windsbacher Knabenchor Karl Richter (conductor) Peter Harvey (baritone) Peter Kooy Werner Neumann Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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