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Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109

January 01, 1970

Johann Sebastian Bach composed the church cantata Ich glaube, lieber Herr, hilf meinem Unglauben (I believe, dear Lord, help my unbelief),[1] BWV 109, in Leipzig for the 21st Sunday after Trinity and first performed it on 17 October 1723.

Ich glaube, lieber Herr, hilf meinem Unglauben
BWV 109
Church cantata by Johann Sebastian Bach
Occasion21st Sunday after Trinity
Bible textMark 9:24
Choraleby Lazarus Spengler
Performed17 October 1723 (1723-10-17): Leipzig
Movements6
Vocal
Instrumental
  • corno da caccia
  • 2 oboes
  • 2 violins
  • viola
  • continuo

History and words edit

Bach wrote the cantata in 1723 during his first year in Leipzig for the 21st Sunday after Trinity. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians, "take unto you the whole armour of God" (Ephesians 6:10–17), and from the Gospel of John, the healing of the nobleman's son (John 4:46–54). The unknown poet of the cantata text stressed the faith, which made the healing possible. The cantata opens with a quote from the Gospel of Mark, The possessed boy, Mark's rendition of the gospel (Mark 9:24). The following movements almost form a dialogue between fear and hope, or belief and doubt, such as Bach would compose three weeks later in O Ewigkeit, du Donnerwort, BWV 60, and again for Easter of 1724 in Erfreut euch, ihr Herzen, BWV 66. Movement 2 is a dialogue, movement 3 the expression of fear, movements 4 and 5 turn to hope. The closing chorale is verse 7 of "Durch Adams Fall ist ganz verderbt" by Lazarus Spengler (1524).[2]

Bach first performed the cantata on 17 October 1723.[2]

Scoring and structure edit

The cantata in six movements is scored for alto and tenor soloists, a four-part choir, and a Baroque instrumental ensemble of cor du chasse (corno da caccia or corno da tirarsi), two oboes, two violins, viola, and basso continuo. The cor du chasse is possibly the same instrument as the slide trumpet used a week before in the performance in Leipzig of the cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162, written in Weimar. Its added part is not in the score. In the opening chorus it plays mostly colla parte with the first violin, in movement 6 the cantus firmus with the soprano.[2]

  1. Chorus: Ich glaube, lieber Herr, hilf meinem Unglauben
  2. Recitative (tenor): Des Herren Hand ist ja noch nicht verkürzt
  3. Aria (tenor, strings): Wie zweifelhaftig ist mein Hoffen
  4. Recitative (alto): O fasse dich, du zweifelhafter Mut
  5. Aria (alto, oboes): Der Heiland kennet ja die Seinen
  6. Chorale: Wer hofft in Gott und dem vertraut

Music edit

The opening chorus shows many elements of a concerto grosso. In the instrumental ritornello, oboe 1 and violin 1 form the concertino. The vocal parts appear sometimes as a solo or duet, expressing belief in an upward theme derived from the ritornello theme, with doubt expressed in a downward line.

The inner dialogue in movement 2 is marked forte and piano, rather than giving the words to two different singers, as John Eliot Gardiner points out: "Bach reinforces the dichotomy between faith and doubt by assigning two opposing voices sung by the same singer, one marked forte, the other piano, alternating phrase by phrase and surely unique in Bach's recitatives".[3] The final question "Ach Herr, wie lange?" (Ah, Lord, how long?)[1] is intensified as an arioso, marked adagio. In the following aria fear is expressed, according to Gardiner, in "jagged melodic shapes, unstable harmonies headed towards anguished second inversion chords, and persistent dotted rhythmic figures".[3] It has been compared to the tenor aria from Bach's St John Passion, Ach, mein Sinn.[4]

The closing chorale is not a four-part setting, but a complex chorale fantasia with an independent orchestral part, in which the choral part is embedded. The lines of the chorale melody "Durch Adams Fall ist ganz verderbt", interspersed by interludes, are sung in long notes by the soprano (with the corno) on a foundation of faster movement in the lower voices.[2] This movement is the first chorale fantasia written in a Bach cantata in Leipzig, to be followed by many such movements opening chorale cantatas of the second cantata cycle.

Recordings edit

References edit

  1. ^ a b Dellal, Pamela. "BWV 109 – Ich glaube, lieber Herr, hilf meinem Unglauben". Emmanuel Music. Retrieved 25 August 2022.
  2. ^ a b c d Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 491–493. ISBN 3-423-04080-7.
  3. ^ a b c Gardiner, John Eliot (2006). Johann Sebastian Bach (1685-1750) / Cantatas Nos 38, 49, 98, 109, 162, 180 & 188 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 13 October 2018.
  4. ^ a b Quinn, John (2010). "Johann Sebastian Bach (1685–1750) The Bach Cantata Pilgrimage – Volume 11". Musicweb International. Retrieved 17 October 2010.

Sources edit

External links edit

  • Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109: performance by the Netherlands Bach Society (video and background information)

January 01, 1970
glaube, lieber, herr, hilf, meinem, unglauben, johann, sebastian, bach, composed, church, cantata, glaube, lieber, herr, hilf, meinem, unglauben, believe, dear, lord, help, unbelief, leipzig, 21st, sunday, after, trinity, first, performed, october, 1723, glaub. Johann Sebastian Bach composed the church cantata Ich glaube lieber Herr hilf meinem Unglauben I believe dear Lord help my unbelief 1 BWV 109 in Leipzig for the 21st Sunday after Trinity and first performed it on 17 October 1723 Ich glaube lieber Herr hilf meinem UnglaubenBWV 109Church cantata by Johann Sebastian BachHealing the royal official s son by Joseph Marie Vien 1752Occasion21st Sunday after TrinityBible textMark 9 24Choraleby Lazarus SpenglerPerformed17 October 1723 1723 10 17 LeipzigMovements6VocalSATB choir alto and tenor soloistsInstrumentalcorno da caccia2 oboes2 violinsviolacontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 Sources 7 External linksHistory and words editBach wrote the cantata in 1723 during his first year in Leipzig for the 21st Sunday after Trinity The prescribed readings for the Sunday were from Paul s Epistle to the Ephesians take unto you the whole armour of God Ephesians 6 10 17 and from the Gospel of John the healing of the nobleman s son John 4 46 54 The unknown poet of the cantata text stressed the faith which made the healing possible The cantata opens with a quote from the Gospel of Mark The possessed boy Mark s rendition of the gospel Mark 9 24 The following movements almost form a dialogue between fear and hope or belief and doubt such as Bach would compose three weeks later in O Ewigkeit du Donnerwort BWV 60 and again for Easter of 1724 in Erfreut euch ihr Herzen BWV 66 Movement 2 is a dialogue movement 3 the expression of fear movements 4 and 5 turn to hope The closing chorale is verse 7 of Durch Adams Fall ist ganz verderbt by Lazarus Spengler 1524 2 Bach first performed the cantata on 17 October 1723 2 Scoring and structure editThe cantata in six movements is scored for alto and tenor soloists a four part choir and a Baroque instrumental ensemble of cor du chasse corno da caccia or corno da tirarsi two oboes two violins viola and basso continuo The cor du chasse is possibly the same instrument as the slide trumpet used a week before in the performance in Leipzig of the cantata Ach ich sehe itzt da ich zur Hochzeit gehe BWV 162 written in Weimar Its added part is not in the score In the opening chorus it plays mostly colla parte with the first violin in movement 6 the cantus firmus with the soprano 2 Chorus Ich glaube lieber Herr hilf meinem Unglauben Recitative tenor Des Herren Hand ist ja noch nicht verkurzt Aria tenor strings Wie zweifelhaftig ist mein Hoffen Recitative alto O fasse dich du zweifelhafter Mut Aria alto oboes Der Heiland kennet ja die Seinen Chorale Wer hofft in Gott und dem vertrautMusic editThe opening chorus shows many elements of a concerto grosso In the instrumental ritornello oboe 1 and violin 1 form the concertino The vocal parts appear sometimes as a solo or duet expressing belief in an upward theme derived from the ritornello theme with doubt expressed in a downward line The inner dialogue in movement 2 is marked forte and piano rather than giving the words to two different singers as John Eliot Gardiner points out Bach reinforces the dichotomy between faith and doubt by assigning two opposing voices sung by the same singer one marked forte the other piano alternating phrase by phrase and surely unique in Bach s recitatives 3 The final question Ach Herr wie lange Ah Lord how long 1 is intensified as an arioso marked adagio In the following aria fear is expressed according to Gardiner in jagged melodic shapes unstable harmonies headed towards anguished second inversion chords and persistent dotted rhythmic figures 3 It has been compared to the tenor aria from Bach s St John Passion Ach mein Sinn 4 The closing chorale is not a four part setting but a complex chorale fantasia with an independent orchestral part in which the choral part is embedded The lines of the chorale melody Durch Adams Fall ist ganz verderbt interspersed by interludes are sung in long notes by the soprano with the corno on a foundation of faster movement in the lower voices 2 This movement is the first chorale fantasia written in a Bach cantata in Leipzig to be followed by many such movements opening chorale cantatas of the second cantata cycle Recordings editDie Bach Kantate Vol 56 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Gabriele Schreckenbach Kurt Equiluz Hanssler LP 1971 J S Bach Das Kantatenwerk Sacred Cantatas Vol 6 Nikolaus Harnoncourt Tolzer Knabenchor Concentus Musicus Wien Paul Esswood Kurt Equiluz Teldec 1980 Die Bach Kantate Vol 56 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Hildegard Laurich Kurt Equiluz Hanssler CD 1981 J S Bach Complete Cantatas Vol 8 Ton Koopman Amsterdam Baroque Orchestra amp Choir Bogna Bartosz Jorg Durmuller Antoine Marchand 1994 J S Bach Cantatas Vol 14 Cantatas from Leipzig 1723 Masaaki Suzuki Bach Collegium Japan Robin Blaze Gerd Turk BIS 2000 Bach Cantatas Vol 11 John Eliot Gardiner Monteverdi Choir English Baroque Soloists William Towers Paul Agnew Soli Deo Gloria 2000 3 4 References edit a b Dellal Pamela BWV 109 Ich glaube lieber Herr hilf meinem Unglauben Emmanuel Music Retrieved 25 August 2022 a b c d Durr Alfred 1981 Die Kantaten von Johann Sebastian Bach in German Vol 1 4 ed Deutscher Taschenbuchverlag pp 491 493 ISBN 3 423 04080 7 a b c Gardiner John Eliot 2006 Johann Sebastian Bach 1685 1750 Cantatas Nos 38 49 98 109 162 180 amp 188 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 13 October 2018 a b Quinn John 2010 Johann Sebastian Bach 1685 1750 The Bach Cantata Pilgrimage Volume 11 Musicweb International Retrieved 17 October 2010 Sources editIch glaube lieber Herr hilf meinem Unglauben BWV 109 Scores at the International Music Score Library Project Ich glaube lieber Herr hilf meinem Unglauben BWV 109 BC A 151 Sacred cantata 21st Sunday after Trinity Bach Digital Cantata BWV 109 Ich glaube lieber Herr hilf meinem Unglauben history scoring sources for text and music translations to various languages discography discussion Bach Cantatas Website BWV 109 Ich glaube lieber Herr hilf meinem Unglauben English translation University of Vermont BWV 109 Ich glaube lieber Herr hilf meinem Unglauben text scoring University of Alberta Chapter 23 BWV 109 Ich glaube lieber Herr hilf meinem Unglauben Julian Mincham 2010External links editIch glaube lieber Herr hilf meinem Unglauben BWV 109 performance by the Netherlands Bach Society video and background information Retrieved from https en wikipedia org w index php title Ich glaube lieber Herr hilf meinem Unglauben BWV 109 amp oldid 1106586593, wikipedia, wiki, book, books, library,

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