fbpx
Wikipedia

Herr Jesu Christ, wahr' Mensch und Gott, BWV 127

October 21, 2023

Herr Jesu Christ, wahr' Mensch und Gott (Lord Jesus Christ, true Man and God),[1] BWV 127, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Estomihi, the Sunday before Lent. It is based on Paul Eber's 1582 hymn in eight stanzas "Herr Jesu Christ, wahr Mensch und Gott". Bach first performed it on 11 February 1725.

Herr Jesu Christ, wahr' Mensch und Gott
BWV 127
Chorale cantata by J. S. Bach
S. Gerome and the trumpet of the last Judgement, oil painting by Pasquale Catti
OccasionEstomihi
Chorale"Herr Jesu Christ, wahr Mensch und Gott"
Performed11 February 1725 (1725-02-11): Leipzig
Movements5
Vocal
Instrumental
  • trumpet
  • 2 recorders
  • 2 oboes
  • 2 violins
  • viola
  • continuo

History and words Edit

Bach held the position of Thomaskantor (director of church music) in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he wrote a cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran hymn.[2]

Bach composed the chorale cantata Herr Jesu Christ, wahr' Mensch und Gott for Estomihi (Quinquagesima), the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed.[2][3] In 1723, Bach had probably performed two cantatas in Leipzig on that Sunday, Du wahrer Gott und Davids Sohn, BWV 23, composed earlier in Köthen, and Jesus nahm zu sich die Zwölfe, BWV 22, both audition pieces to apply for the post of Thomaskantor in Leipzig.[4]

The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love" (1 Corinthians 13:1–13), and from the Gospel of Luke, healing the blind near Jericho (Luke 18:31–43). The Gospel also announces the Passion.[2] The text is based on the funeral song "Herr Jesu Christ, wahr Mensch und Gott" in eight stanzas by Paul Eber (1562).[5] The hymn suites the Gospel, stressing the Passion as well as the request of the blind man in the final line of the first stanza: "Du wollst mir Sünder gnädig sein" (Be merciful to me, a sinner).[1] The song further sees Jesus' path to Jerusalem as a model for the believer's path to his end in salvation. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias. Stanzas 2 and 3 were transformed to a recitative, stanza 4 to an aria, stanza 5 to a recitative, stanzas 6 and 7 to another aria.

Bach first performed the cantata on 11 February 1725.[2] It is the second to last chorale cantata of his second annual cycle, the only later one being Wie schön leuchtet der Morgenstern, BWV 1, for the feast of Annunciation which was celebrated even if it fell in the time of Lent.[6]

Scoring and structure Edit

The cantata in five movements is richly scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo.[2][3][7]

  1. Chorale: Herr Jesu Christ, wahr’ Mensch und Gott
  2. Recitative (tenor): Wenn alles sich zur letzten Zeit entsetzet
  3. Aria (soprano): Die Seele ruht in Jesu Händen
  4. Recitative and aria (bass): Wenn einstens die Posaunen schallen – Fürwahr, fürwahr, euch sage ich
  5. Chorale: Ach, Herr, vergib all unsre Schuld

Music Edit

The opening chorale is structured by an extended introduction and interludes. These parts play on a concertante a motif derived from the first line of the chorale,[6][8] but also have a cantus firmus of the chorale "Christe, du Lamm Gottes", the Lutheran Agnus Dei,[9] first played by the strings, later also by the oboes and recorders. It appears in a similar way to the chorale as the cantus firmus in the opening chorus of his later St Matthew Passion, "O Lamm Gottes, unschuldig". Its request "erbarm dich unser" (have mercy upon us)[1] corresponds to the request of the blind man.[2] A third chorale is quoted repeatedly in the continuo, "O Haupt voll Blut und Wunden".[3] Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion, replacing the opening and the closing movement of the first version by music based on chorales, "O Mensch, bewein dein Sünde groß" which would become the final movement of the first part of the St Matthew Passion, and again "Christe, du Lamm Gottes".[3]

Bach chose a rare instrumentation for the first aria, the oboe plays a melody, supported by short chords in the recorders, in the middle section Sterbeglocken (funeral bells) are depicted by pizzicato string sounds. Movement 4 illustrates the Day of Judgement. On the text "Wenn einstens die Posaunen schallen" (When one day the trumpets ring out),[1] the trumpet enters. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale. John Eliot Gardiner describes it as a "grand, tableau-like evocation of the Last Judgement, replete with triple occurrences of a wild 6/8 section when all hell is let loose in true Monteverdian concitato ("excited") manner".[9] He compares it to the "spectacular double chorus" from the St Matthew Passion, Sind Blitze, sind Donner in Wolken verschwunden.[9]

The closing chorale is a four-part setting with attention to details of the text, such as movement in the lower voices on "auch unser Glaub stets wacker sei" (also may our faith be always brave)[1] and colourful harmonies on the final line "bis wir einschlafen seliglich" (until we fall asleep contentedly).[1][2]

BWV 127/1 (variant) Edit

Further information: Wer ist der, so von Edom kömmt § "Herr Jesu Christ, wahr' Mensch und Gott", BWV 127/1 (variant)

A reworked and transposed version of the cantata's opening movement opens the second part of the Passion pasticcio Wer ist der, so von Edom kömmt. This version of the cantata's opening movement is known as BWV 127/1 (variant), or BC D 10/1.[10]

Recordings Edit

The selection is taken from the listing on the Bach-Cantatas website.[11]

Notes Edit

References Edit

  1. ^ a b c d e f Dellal, Pamela. "BWV 127 – Herr Jesu Christ, wahr' Mensch und Gott". Emmanuel Music. Retrieved 31 August 2022.
  2. ^ a b c d e f g Dürr, Alfred (2006). Erhalt uns, Herr, bei deinem Wort, BWV 126. pp. 32, 247–250. ISBN 978-0-19-929776-4. {{cite book}}: |work= ignored (help)
  3. ^ a b c d Wolff, Christoph (1999). The Leipzig church cantatas: the chorale cantata cycle (II: 1724–1725) (PDF). Bach Cantatas Website. p. 4. Retrieved 14 February 2012.
  4. ^ Vernier, David. "Jesu, Deine Passion – Bach: Cantatas Bwv 22, 23, 127 & 159 / Herreweghe, Mields, White, Et Al". arkivmusic.com. Retrieved 1 March 2011.
  5. ^ "Christ, wahr Mensch und Gott / Text and Translation of Chorale". Bach Cantatas Website. 2007. Retrieved 17 February 2012.
  6. ^ a b Mincham, Julian (2010). "Chapter 44 BWV 22 Jesu nahm zu sich die Zwölfe / Jesus took the twelve to Him". jsbachcantatas.com. Retrieved 31 August 2022.
  7. ^ Bischof, Walter F. (2010). "BWV 127 Herr Jesu Christ, wahr' Mensch und Gott". University of Alberta. Retrieved 25 February 2017.
  8. ^ "Herr Jesu Christ, wahr' Mensch und Gott / Examples from the Score / Mvt. 1 – The Chorale Melody and Text". Bach Cantatas Website. 2004. Retrieved 15 February 2012.
  9. ^ a b c Gardiner, John Eliot (2006). Johann Sebastian Bach (1685-1750) / Cantatas Nos 1, 22, 23, 54, 127, 159 & 182 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 1 March 2019.
  10. ^ Bach Digital Work 00155 at www.bachdigital.de
  11. ^ Oron, Aryeh (2016). "Cantata BWV 127 Herr Jesu Christ, wahr' Mensch und Gott". Bach Cantatas Website. Retrieved 25 February 2017.

Sources Edit

October 21, 2023
herr, jesu, christ, wahr, mensch, gott, herr, jesu, christ, wahr, mensch, gott, lord, jesus, christ, true, cantata, johann, sebastian, bach, lutheran, service, composed, chorale, cantata, 1725, leipzig, sunday, estomihi, sunday, before, lent, based, paul, eber. Herr Jesu Christ wahr Mensch und Gott Lord Jesus Christ true Man and God 1 BWV 127 is a cantata by Johann Sebastian Bach for use in a Lutheran service He composed the chorale cantata in 1725 in Leipzig for the Sunday Estomihi the Sunday before Lent It is based on Paul Eber s 1582 hymn in eight stanzas Herr Jesu Christ wahr Mensch und Gott Bach first performed it on 11 February 1725 Herr Jesu Christ wahr Mensch und GottBWV 127Chorale cantata by J S BachS Gerome and the trumpet of the last Judgement oil painting by Pasquale CattiOccasionEstomihiChorale Herr Jesu Christ wahr Mensch und Gott Performed11 February 1725 1725 02 11 LeipzigMovements5VocalSATB choir solo soprano alto and bassInstrumentaltrumpet2 recorders2 oboes2 violinsviolacontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 BWV 127 1 variant 5 Recordings 6 Notes 7 References 8 SourcesHistory and words EditBach held the position of Thomaskantor director of church music in Leipzig from 1723 During his first year beginning with the first Sunday after Trinity he wrote a cycle of cantatas for the occasions of the liturgical year In his second year he composed a second annual cycle of cantatas which was planned to consist exclusively of chorale cantatas each based on one Lutheran hymn 2 Bach composed the chorale cantata Herr Jesu Christ wahr Mensch und Gott for Estomihi Quinquagesima the last Sunday before Lent when Leipzig observed tempus clausum and no cantatas were performed 2 3 In 1723 Bach had probably performed two cantatas in Leipzig on that Sunday Du wahrer Gott und Davids Sohn BWV 23 composed earlier in Kothen and Jesus nahm zu sich die Zwolfe BWV 22 both audition pieces to apply for the post of Thomaskantor in Leipzig 4 The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians praise of love 1 Corinthians 13 1 13 and from the Gospel of Luke healing the blind near Jericho Luke 18 31 43 The Gospel also announces the Passion 2 The text is based on the funeral song Herr Jesu Christ wahr Mensch und Gott in eight stanzas by Paul Eber 1562 5 The hymn suites the Gospel stressing the Passion as well as the request of the blind man in the final line of the first stanza Du wollst mir Sunder gnadig sein Be merciful to me a sinner 1 The song further sees Jesus path to Jerusalem as a model for the believer s path to his end in salvation An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias Stanzas 2 and 3 were transformed to a recitative stanza 4 to an aria stanza 5 to a recitative stanzas 6 and 7 to another aria Bach first performed the cantata on 11 February 1725 2 It is the second to last chorale cantata of his second annual cycle the only later one being Wie schon leuchtet der Morgenstern BWV 1 for the feast of Annunciation which was celebrated even if it fell in the time of Lent 6 Scoring and structure EditThe cantata in five movements is richly scored for three vocal soloists soprano tenor and bass a four part choir trumpet two recorders two oboes two violins viola and basso continuo 2 3 7 Chorale Herr Jesu Christ wahr Mensch und Gott Recitative tenor Wenn alles sich zur letzten Zeit entsetzet Aria soprano Die Seele ruht in Jesu Handen Recitative and aria bass Wenn einstens die Posaunen schallen Furwahr furwahr euch sage ich Chorale Ach Herr vergib all unsre SchuldMusic EditThe opening chorale is structured by an extended introduction and interludes These parts play on a concertante a motif derived from the first line of the chorale 6 8 but also have a cantus firmus of the chorale Christe du Lamm Gottes the Lutheran Agnus Dei 9 first played by the strings later also by the oboes and recorders It appears in a similar way to the chorale as the cantus firmus in the opening chorus of his later St Matthew Passion O Lamm Gottes unschuldig Its request erbarm dich unser have mercy upon us 1 corresponds to the request of the blind man 2 A third chorale is quoted repeatedly in the continuo O Haupt voll Blut und Wunden 3 Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion replacing the opening and the closing movement of the first version by music based on chorales O Mensch bewein dein Sunde gross which would become the final movement of the first part of the St Matthew Passion and again Christe du Lamm Gottes 3 Bach chose a rare instrumentation for the first aria the oboe plays a melody supported by short chords in the recorders in the middle section Sterbeglocken funeral bells are depicted by pizzicato string sounds Movement 4 illustrates the Day of Judgement On the text Wenn einstens die Posaunen schallen When one day the trumpets ring out 1 the trumpet enters The unusual movement combines an accompagnato recitative with an aria contrasting the destruction of heaven and earth with the security of the believers the latter given in text and tune from the chorale John Eliot Gardiner describes it as a grand tableau like evocation of the Last Judgement replete with triple occurrences of a wild 6 8 section when all hell is let loose in true Monteverdian concitato excited manner 9 He compares it to the spectacular double chorus from the St Matthew Passion Sind Blitze sind Donner in Wolken verschwunden 9 The closing chorale is a four part setting with attention to details of the text such as movement in the lower voices on auch unser Glaub stets wacker sei also may our faith be always brave 1 and colourful harmonies on the final line bis wir einschlafen seliglich until we fall asleep contentedly 1 2 BWV 127 1 variant EditFurther information Wer ist der so von Edom kommt Herr Jesu Christ wahr Mensch und Gott BWV 127 1 variant A reworked and transposed version of the cantata s opening movement opens the second part of the Passion pasticcio Wer ist der so von Edom kommt This version of the cantata s opening movement is known as BWV 127 1 variant or BC D 10 1 10 Recordings EditThe selection is taken from the listing on the Bach Cantatas website 11 J S Bach Cantatas BWV 67 108 amp 127 Karl Richter Munchener Bach Chor Bayerisches Staatsorchester Antonia Fahberg Peter Pears Kieth Engen Teldec 1958 J S Bach Cantatas BWV 127 amp BWV 171 Wolfgang Gonnenwein Suddeutscher Madrigalchor South West German Chamber Orchestra Herrad Wehrung Georg Jelden Jakob Stampfli Cantate 1961 Die Bach Kantate Vol 40 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Arleen Auger Lutz Michael Harder Wolfgang Schone Hanssler 1980 J S Bach Das Kantatenwerk Complete Cantatas Les Cantates Folge Vol 31 Gustav Leonhardt Knabenchor Hannover Collegium Vocale Gent Leonhardt Consort soloist of the Knabenchor Hannover Kurt Equiluz Max van Egmond Teldec 1982 J S Bach Complete Cantatas Vol 11 Ton Koopman Amsterdam Baroque Orchestra amp Choir Sibylla Rubens Christoph Pregardien Klaus Mertens Antoine Marchand 1999 Bach Cantatas Vol 21 Cambridge Walpole St Peter For Quinquagesima Sunday Estomihi For Annunciation Palm Sunday Oculi John Eliot Gardiner Monteverdi Choir Choir of Clare College Cambridge amp Choir of Trinity College Cambridge English Baroque Soloists Ruth Holton James Oxley Stephan Loges Soli Deo Gloria 2000 Bach Edition Vol 20 Cantatas Vol 11 Pieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium Ruth Holton Nico van der Meel Bas Ramselaar Brilliant Classics 2000 J S Bach Cantatas Vol 34 Cantatas from Leipzig 1725 Masaaki Suzuki Bach Collegium Japan Carolyn Sampson Gerd Turk Peter Kooy BIS 2005 J S Bach Jesus deine Passion Cantates BWV 22 23 127 amp 159 Philippe Herreweghe Collegium Vocale Gent Dorothee Mields Jan Kobow Peter Kooy Harmonia Mundi France 2007Notes EditReferences Edit a b c d e f Dellal Pamela BWV 127 Herr Jesu Christ wahr Mensch und Gott Emmanuel Music Retrieved 31 August 2022 a b c d e f g Durr Alfred 2006 Erhalt uns Herr bei deinem Wort BWV 126 pp 32 247 250 ISBN 978 0 19 929776 4 a href Template Cite book html title Template Cite book cite book a work ignored help a b c d Wolff Christoph 1999 The Leipzig church cantatas the chorale cantata cycle II 1724 1725 PDF Bach Cantatas Website p 4 Retrieved 14 February 2012 Vernier David Jesu Deine Passion Bach Cantatas Bwv 22 23 127 amp 159 Herreweghe Mields White Et Al arkivmusic com Retrieved 1 March 2011 Christ wahr Mensch und Gott Text and Translation of Chorale Bach Cantatas Website 2007 Retrieved 17 February 2012 a b Mincham Julian 2010 Chapter 44 BWV 22 Jesu nahm zu sich die Zwolfe Jesus took the twelve to Him jsbachcantatas com Retrieved 31 August 2022 Bischof Walter F 2010 BWV 127 Herr Jesu Christ wahr Mensch und Gott University of Alberta Retrieved 25 February 2017 Herr Jesu Christ wahr Mensch und Gott Examples from the Score Mvt 1 The Chorale Melody and Text Bach Cantatas Website 2004 Retrieved 15 February 2012 a b c Gardiner John Eliot 2006 Johann Sebastian Bach 1685 1750 Cantatas Nos 1 22 23 54 127 159 amp 182 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 1 March 2019 Bach Digital Work 00155 at www wbr bachdigital wbr de Oron Aryeh 2016 Cantata BWV 127 Herr Jesu Christ wahr Mensch und Gott Bach Cantatas Website Retrieved 25 February 2017 Sources EditHerr Jesu Christ wahr Mensch und Gott BWV 127 Scores at the International Music Score Library Project Herr Jesu Christ wahr Mensch und Gott BWV 127 BC A 49 Chorale cantata Estomihi Bach Digital BWV 127 Herr Jesu Christ wahr Mensch und Gott English translation University of Vermont Retrieved from https en wikipedia org w index php title Herr Jesu Christ wahr 27 Mensch und Gott BWV 127 amp oldid 1107624466, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.