Herr, wenn die stolzen Feinde schnauben, BWV 248 VI
Herr, wenn die stolzen Feinde schnauben (Lord, when our insolent enemies snort),[1] BWV 248VI (also written as BWV 248 VI), is a church cantata for Epiphany, which Johann Sebastian Bach composed as the sixth part of his Christmas Oratorio, written for the Christmas season of 1734–35 in Leipzig.[2] The cantata was first performed on 6 January 1735.[2]
History
[edit]![[icon]](http://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/40px-Wiki_letter_w_cropped.svg.png){kind=small} | This section needs expansion. You can help by adding to it. (December 2019) |
Bach had been presenting church cantatas for the Christmas season in the Thomaskirche (St. Thomas) and Nikolaikirche (St. Nicholas) since his appointment as director musices in Leipzig in 1723, including these cantatas for Epiphany:[3][4][5]
- As part of his first cantata cycle: Sie werden aus Saba alle kommen, BWV 65, first performed in 1724.[6]
- As part of his second cantata cycle: Liebster Immanuel, Herzog der Frommen, BWV 123, first performed in 1725.[7]
Cantata fragment BWV 248 VI a
[edit]BWV 248 VI a, also indicated as BWV 248a, is a fragment of a cantata, transmitted without text, the opening chorus of which Bach likely borrowed from So kämpfet nur, ihr muntern Töne, BWV 1160, one of his secular cantatas. Picander wrote the libretto of the BWV 1160 cantata (also known as BWV Anh. 10), which otherwise, that is, apart from the likely borrowed opening chorus, survived without music. It was first performed on 25 August 1731, for the birthday of Joachim Friedrich von Flemming.[8][9][10]
The cantata transmitted in the BWV 248a fragment, consisting of four revised performance parts in the bundle of contemporary performance material for BWV 248 VI, is a sacred cantata for Michaelmas (29 September), likely first performed in 1734. While nothing more survives of the Michaelmas cantata as such, the four revised performance parts show that most of its music, including the music of its opening chorus and recitatives, was parodied in Part VI of the Christmas Oratorio.[8][9][10]
Music and content
[edit] | This section needs expansion. You can help by adding to it. (December 2019) |
BWV 248 VI is scored for 3 trumpets, timpani, 2 oboes, 2 oboes d'amore, 2 violin parts, 1 viola part and continuo.[2]
| No. | Key | Time | First line | Scoring | Source | |
|---|---|---|---|---|---|---|
| 54 | Chorus | D major | 3/8 | Herr, wenn die stolzen Feinde schnauben | Trumpet I, II, III, timpani, oboe I, II, strings, continuo | opening chorus of BWV 248a[11] (1734?), which was likely based on the opening chorus of BWV 1160 (1731)[10] |
| 55 | Recitative (Evangelist, tenor; Herod, bass) | Da berief Herodes die Weisen heimlich Ziehet hin und forschet fleißig |
Continuo | Matthew 2:7-8 | ||
| 56 | Recitative (soprano) | Du Falscher, suche nur den Herrn zu fällen | Strings, continuo | BWV 248a[11] (1734?)[10] | ||
| 57 | Aria (soprano) | A maj/F♯ min/A maj | 3/4 | Nur ein Wink von seinen Händen | Oboe d'amore I, strings, continuo | BWV 248a[11] (1734?)[10] |
| 58 | Recitative (Evangelist, tenor) | Als sie nun den König gehöret hatten | Continuo | Matthew 2:9-11 | ||
| 59 | Chorale | G major | Common | Ich steh an deiner Krippen hier | Oboe I, II, strings, continuo | Words: Paul Gerhardt, 1656 |
| 60 | Recitative (Evangelist, tenor) | Und Gott befahl ihnen im Traum' | Continuo | Matthew 2:12 | ||
| 61 | Recitative (tenor) | So geht! Genug, mein Schatz geht nicht von hier | Oboe d'amore I, II, continuo | BWV 248a[11] (1734?)[10] | ||
| 62 | Aria (tenor) | B minor | 2/4 | Nun mögt ihr stolzen Feinde schrecken | Oboe d'amore I, II, continuo | BWV 248a[11] (1734?)[10] |
| 63 | Recitative (soprano, alto, tenor, bass) | Was will der Höllen Schrecken nun | Continuo | BWV 248a[11] (1734?)[10] | ||
| 64 | Chorale | D major | Common | Nun seid ihr wohl gerochen | Trumpet I, II, III, timpani, oboe I, II, strings, continuo | BWV 248a[11] (1734?);[10] Words: Georg Werner, 1648 |
References
[edit]- ^ Dürr & Jones 2006, p. 179.
- ^ a b c Bach Digital Work 11390
- ^ Wolff 2002, pp. 237–257.
- ^ Dürr & Jones 2006, pp. 22–35.
- ^ Buelow 2016, p. 272.
- ^ Bach Digital Work 00081
- ^ Bach Digital Work 00150
- ^ a b Glöckner 2000.
- ^ a b Bossuyt 2004, p. 35.
- ^ a b c d e f g h i Bach Digital Works 00315 and 01318
- ^ a b c d e f g Hofmann 2005.
Sources
[edit]- Bossuyt, Ignace [in French] (2004). Johann Sebastian Bach, Christmas Oratorio (BWV 248). Translated by Bull, Stratton. Philippe Herreweghe (contributor). Leuven: Leuven University Press. ISBN 9789058674210.
- Buelow, George J. (2016). "The Late Baroque Era". The Late Baroque Era: Vol 4. From The 1680s To 1740. Springer. ISBN 978-1-34-911303-3.
- Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. pp. 102–105, 820. ISBN 978-0-19-929776-4.
- Glöckner, Andreas (2000). "Eine Michaeliskantate als Parodievorlage für den sechsten Teil des Bachschen Weihnachts-Oratoriums?" [A Michaelmas cantata as model for Part VI of Bach's Christmas Oratorio?]. In Schulze, Hans-Joachim; Wolff, Christoph (eds.). Bach-Jahrbuch 2000 [Bach Yearbook 2000]. Bach-Jahrbuch (in German). Vol. 86. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 317–326. doi:10.13141/bjb.v2000. ISBN 3-374-01828-9. ISSN 0084-7682.
- Hofmann, Klaus (2005). "Foreword". Johann Sebastian BACH: Weihnachtsoratorium – Christmas Oratorio – Oratorium Tempore Nativitatis Christi – BWV 248 (PDF) (Urtext edition: vocal score). Henry S. Drinker (English lyrics), Paul Horn (piano reduction), John Coombs (Foreword translator). Carus-Verlag. p. V. 31.248/53. Retrieved 23 December 2019.
- Wolff, Christoph (2002). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. ISBN 978-0-393-32256-9.