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Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47

January 01, 1970

Johann Sebastian Bach composed the church cantata Wer sich selbst erhöhet, der soll erniedriget werden (Whoever exalts himself, will be abased[1] / KJV: For whosoever exalteth himself shall be abased), BWV 47, in Leipzig for the 17th Sunday after Trinity and first performed it on 13 October 1726.

Wer sich selbst erhöhet, der soll erniedriget werden
BWV 47
Church cantata by J. S. Bach
Thomaskirche, Leipzig
Occasion17th Sunday after Trinity
Cantata textJohann Friedrich Helbig
Bible textEphesians 4
ChoraleWarum betrübst du dich, mein Herz
Performed13 October 1726 (1726-10-13): Leipzig
Movementsfive
Vocal
Instrumental
  • 2 oboes
  • 2 violins
  • viola
  • organ
  • continuo

History and words edit

Bach wrote the cantata in his fourth year in Leipzig for the 17th Sunday after Trinity.[2] It is regarded as part of his third annual cycle of cantatas. The prescribed readings for the Sunday were from the Epistle to the Ephesians, the admonition to keep the unity of the Spirit (Ephesians 4:1–6), and from the Gospel of Luke, healing a man with dropsy on the Sabbath (Luke 14:1–11). The poet Johann Friedrich Helbig (1680–1722) was a court poet at the ducal court of Saxe-Eisenach from 1718. He published an annual cycle of cantatas in 1720, Aufmunterung der Andacht (Encouragement of Devotion), which included this cantata.[3] It is the only cantata text of Helbig which Bach composed.[4] It is not known whether he knew the publishing or rather a composition of Georg Philipp Telemann, who composed several of Helbig's texts in Eisenach. The poet takes the final line from the Gospel as a starting point in the first movement and then concentrates on the warning of pride, leading to a prayer for humility.[2] The closing chorale is the eleventh and final stanza of the hymn "Warum betrübst du dich, mein Herz",[5] which Bach had used in 1723 in his cantata Warum betrübst du dich, mein Herz, BWV 138.

Bach first performed the cantata on 13 October 1726.[2]

Scoring and structure edit

The cantata in five movements is scored for two vocal soloists (soprano and bass), a four-part choir, and a Baroque instrumental ensemble of two oboes, two violins, viola, organ obbligato and basso continuo.[2]

Movements of Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47
No. Title Type Vocal Winds Strings Organ Key Time
1 Wer sich selbst erhöhet, der soll erniedriget werden Chorus SATB 2Ob 2Vl, Va, Bc G minor  
2 Wer ein wahrer Christ will heißen Aria Soprano Bc Org (obbligato) D minor 6/8
3 Der Mensch ist Kot, Stank, Asch und Erde Recitative Bass 2Vl, Va, Bc  
4 Jesu, beuge doch mein Herze Aria Bass 1Ob 1Vl, Bc Eb major  
5 Der zeitlichen Ehrn will ich gern entbehrn Chorale SATB 2Ob (col Soprano) 1Vl (col Soprano),
1Vl (coll'Alto),
Va (col Tenore),
Bc 		C minor  

Music edit

The opening chorus is the most elaborate of the five movements. Bach used for the long ritornello music from his organ prelude in C minor, BWV 546, transposed to G minor.[4] The oboes play a motif, rising in sequences, which becomes a vocal theme of a fugue, illustrating the haughty self-exaltation in the first half of the Gospel text. A countersubject moves in the opposite direction to illustrate the self-humiliation. The fugue is concluded by a homophonic "summary". The sequence of fugue and summary is repeated.[2] Finally, the complete ritornello is repeated like a da capo, but with the voices additionally embedded, stating the complete text once more in homophony.[4][6]

The soprano aria was originally accompanied by an obbligato organ, as was, three weeks later, the aria Ich geh und suche mit Verlangen, BWV 49. In a later performance of the cantata, Bach assigned the obbligato part to a violin. The da capo aria depicts humility in the first section, pride in the middle section, in rough rhythm both in the voice as in the obbligato, whereas the continuo plays the theme from the first section to unify the movement.[2] John Eliot Gardiner describes the "harsh, stubborn broken chords" as illustrating arrogance.[4] The only recitative, accompanied by the strings, is the central movement.[6] Gardiner observes that Bach's "autograph score shows, for example, how he sharpened the rhythm of the word "Teufelsbrut" (devil's brood) to make its impact more abrupt and brutal."[4] The second aria is in three parts, but without a vocal da capo. Oboe and violin are equal partners to the bass voice in a prayer for humility.[2] The closing chorale[7] is set for four parts in utmost humility.[2]

Recordings edit

References edit

  1. ^ Dellal, Pamela. "BWV 47 – Wer sich selbst erhöhet, der soll erniedriget werden". Emmanuel Music. Retrieved 20 August 2022.
  2. ^ a b c d e f g h 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. 564–568. ISBN 9780198167075.
  3. ^ "Johann Friedrich Helbig (Librettist)". Bach Cantatas Website. 2003. Retrieved 10 October 2011.
  4. ^ a b c d e Gardiner, John Eliot (2009). Johann Sebastian Bach (1685-1750) / Cantatas Nos 47, 96, 114, 116, 148 & 169 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 11 November 2018.
  5. ^ "Warum betrübst du dich, mein Herz / Text and Translation of Chorale". Bach Cantatas Website. 2006. Retrieved 10 October 2011.
  6. ^ a b Mincham, Julian (2010). "Chapter 27 Bwv 47 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 20 August 2022.
  7. ^ "Chorale Melodies used in Bach's Vocal Works / Warum betrübst du dich, mein Herz". Bach Cantatas Website. 2005. Retrieved 11 October 2011.

Sources edit

January 01, 1970
sich, selbst, erhöhet, soll, erniedriget, werden, johann, sebastian, bach, composed, church, cantata, sich, selbst, erhöhet, soll, erniedriget, werden, whoever, exalts, himself, will, abased, whosoever, exalteth, himself, shall, abased, leipzig, 17th, sunday, . Johann Sebastian Bach composed the church cantata Wer sich selbst erhohet der soll erniedriget werden Whoever exalts himself will be abased 1 KJV For whosoever exalteth himself shall be abased BWV 47 in Leipzig for the 17th Sunday after Trinity and first performed it on 13 October 1726 Wer sich selbst erhohet der soll erniedriget werdenBWV 47Church cantata by J S BachThomaskirche LeipzigOccasion17th Sunday after TrinityCantata textJohann Friedrich HelbigBible textEphesians 4ChoraleWarum betrubst du dich mein HerzPerformed13 October 1726 1726 10 13 LeipzigMovementsfiveVocalSATB choir soprano and bass soloistsInstrumental2 oboes2 violinsviolaorgancontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 SourcesHistory and words editBach wrote the cantata in his fourth year in Leipzig for the 17th Sunday after Trinity 2 It is regarded as part of his third annual cycle of cantatas The prescribed readings for the Sunday were from the Epistle to the Ephesians the admonition to keep the unity of the Spirit Ephesians 4 1 6 and from the Gospel of Luke healing a man with dropsy on the Sabbath Luke 14 1 11 The poet Johann Friedrich Helbig 1680 1722 was a court poet at the ducal court of Saxe Eisenach from 1718 He published an annual cycle of cantatas in 1720 Aufmunterung der Andacht Encouragement of Devotion which included this cantata 3 It is the only cantata text of Helbig which Bach composed 4 It is not known whether he knew the publishing or rather a composition of Georg Philipp Telemann who composed several of Helbig s texts in Eisenach The poet takes the final line from the Gospel as a starting point in the first movement and then concentrates on the warning of pride leading to a prayer for humility 2 The closing chorale is the eleventh and final stanza of the hymn Warum betrubst du dich mein Herz 5 which Bach had used in 1723 in his cantata Warum betrubst du dich mein Herz BWV 138 Bach first performed the cantata on 13 October 1726 2 Scoring and structure editThe cantata in five movements is scored for two vocal soloists soprano and bass a four part choir and a Baroque instrumental ensemble of two oboes two violins viola organ obbligato and basso continuo 2 Movements of Wer sich selbst erhohet der soll erniedriget werden BWV 47 No Title Type Vocal Winds Strings Organ Key Time 1 Wer sich selbst erhohet der soll erniedriget werden Chorus SATB 2Ob 2Vl Va Bc G minor nbsp 2 Wer ein wahrer Christ will heissen Aria Soprano Bc Org obbligato D minor 6 8 3 Der Mensch ist Kot Stank Asch und Erde Recitative Bass 2Vl Va Bc nbsp 4 Jesu beuge doch mein Herze Aria Bass 1Ob 1Vl Bc Eb major nbsp 5 Der zeitlichen Ehrn will ich gern entbehrn Chorale SATB 2Ob col Soprano 1Vl col Soprano 1Vl coll Alto Va col Tenore Bc C minor nbsp Music editThe opening chorus is the most elaborate of the five movements Bach used for the long ritornello music from his organ prelude in C minor BWV 546 transposed to G minor 4 The oboes play a motif rising in sequences which becomes a vocal theme of a fugue illustrating the haughty self exaltation in the first half of the Gospel text A countersubject moves in the opposite direction to illustrate the self humiliation The fugue is concluded by a homophonic summary The sequence of fugue and summary is repeated 2 Finally the complete ritornello is repeated like a da capo but with the voices additionally embedded stating the complete text once more in homophony 4 6 The soprano aria was originally accompanied by an obbligato organ as was three weeks later the aria Ich geh und suche mit Verlangen BWV 49 In a later performance of the cantata Bach assigned the obbligato part to a violin The da capo aria depicts humility in the first section pride in the middle section in rough rhythm both in the voice as in the obbligato whereas the continuo plays the theme from the first section to unify the movement 2 John Eliot Gardiner describes the harsh stubborn broken chords as illustrating arrogance 4 The only recitative accompanied by the strings is the central movement 6 Gardiner observes that Bach s autograph score shows for example how he sharpened the rhythm of the word Teufelsbrut devil s brood to make its impact more abrupt and brutal 4 The second aria is in three parts but without a vocal da capo Oboe and violin are equal partners to the bass voice in a prayer for humility 2 The closing chorale 7 is set for four parts in utmost humility 2 Recordings editJ S Bach Cantata BWV 10 BWV 47 Sanctus BWV 241 Paul Steinitz London Bach Society English Chamber Orchestra Sally Le Sage Neil Howlett Oryx 1965 J S Bach Cantata No 47 W A Mozart Missa Brevis Rudolf Barshai Yurlov Choir Moscow Chamber Orchestra Galina Pisarenko Bass Alexander Vedernikov Melodiya 1966 J S Bach Das Kantatenwerk Sacred Cantatas Vol 3 Nikolaus Harnoncourt Wiener Sangerknaben Concentus Musicus Wien soloist of the Wiener Sangerknaben Ruud van der Meer Teldec 1974 Die Bach Kantate Vol 53 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Arleen Auger Philippe Huttenlocher Hanssler 1982 Bach Edition Vol 14 Cantatas Vol 7 Pieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium Ruth Holton Bas Ramselaar Brilliant Classics 2000 Bach Cantatas Vol 9 Lund Leipzig For the 17th Sunday after Trinity For the 18th Sunday after Trinity John Eliot Gardiner Monteverdi Choir English Baroque Soloists Katharine Fuge Stephan Loges Soli Deo Gloria 2000 J S Bach Complete Cantatas Vol 18 Ton Koopman Amsterdam Baroque Orchestra amp Choir Sandrine Piau Klaus Mertens Antoine Marchand 2003 J S Bach Cantatas for the Complete Liturgical Year Vol 12 Warum betrubst du dich mein Herz Cantatas BWV 138 27 47 96 Sigiswald Kuijken La Petite Bande Gerlinde Samann Petra Noskaiova Christoph Genz Jan van der Crabben Accent 2009 J S Bach Cantatas Vol 47 Cantatas from Leipzig 1723 Masaaki Suzuki Bach Collegium Japan Hana Blazikova Peter Kooy BIS 2010References edit Dellal Pamela BWV 47 Wer sich selbst erhohet der soll erniedriget werden Emmanuel Music Retrieved 20 August 2022 a b c d e f g h Durr Alfred Jones Richard D P 2006 The Cantatas of J S Bach With Their Librettos in German English Parallel Text Oxford University Press pp 564 568 ISBN 9780198167075 Johann Friedrich Helbig Librettist Bach Cantatas Website 2003 Retrieved 10 October 2011 a b c d e Gardiner John Eliot 2009 Johann Sebastian Bach 1685 1750 Cantatas Nos 47 96 114 116 148 amp 169 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 11 November 2018 Warum betrubst du dich mein Herz Text and Translation of Chorale Bach Cantatas Website 2006 Retrieved 10 October 2011 a b Mincham Julian 2010 Chapter 27 Bwv 47 The Cantatas of Johann Sebastian Bach jsbachcantatas com Retrieved 20 August 2022 Chorale Melodies used in Bach s Vocal Works Warum betrubst du dich mein Herz Bach Cantatas Website 2005 Retrieved 11 October 2011 Sources editWer sich selbst erhohet der soll erniedriget werden BWV 47 Scores at the International Music Score Library Project Wer sich selbst erhohet der soll erniedriget werden BWV 47 BC A 141 Sacred cantata 17th Sunday after Trinity Bach Digital Cantata BWV 47 Wer sich selbst erhohet der soll erniedriget werden history scoring sources for text and music translations to various languages discography discussion Bach Cantatas Website BWV 47 Wer sich selbst erhohet der soll erniedriget werden English translation University of Vermont BWV 47 Wer sich selbst erhohet der soll erniedriget werden text scoring University of Alberta Luke Dahn BWV 47 5 bach chorales com Retrieved from https en wikipedia org w index php title Wer sich selbst erhohet der soll erniedriget werden BWV 47 amp oldid 1105478761, wikipedia, wiki, book, books, library,

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