Английская Википедия:Ach Gott, vom Himmel sieh darein, BWV 2

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Шаблон:Lang (Oh God, look down from heaven),Шаблон:Sfn Шаблон:AbbrШаблон:Nbsp2 is a chorale cantata composed by Johann Sebastian Bach for the second Sunday after Trinity in 1724. First performed on 18 June in Leipzig, it is the second cantata of his chorale cantata cycle. The church cantata is based on Martin Luther's 1524 hymn "Шаблон:Lang", a paraphrase of Psalm 12.

In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged only in the outer movements, while an unknown contemporary librettist paraphrased the inner stanzas for recitatives and arias. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, and in a four-part setting in the closing movement. The two choral movements frame alternating recitatives and arias of three vocal soloists. Bach also used a four-part choir, and a Baroque instrumental ensemble of a choir of trombones, two oboes, strings and continuo. He set the first movement in "archaic" motet style, but the arias in "modern" concertante style, only occasionally reminiscent of the chorale tune.

The cantata was first published in 1851, as No. 2 in the first volume published by the Bach Gesellschaft. Шаблон:TOC limit

History and words

Bach took office as Thomaskantor, music director in Leipzig, end of May 1723. It was part of his duties to supply music for the Sundays and feast days of the liturgical year at four churches of the town, and he decided to compose new cantatas for these occasions. He began with a cantata for the first Sunday after Trinity in 1723, performed on 30 May, and wrote a series of church cantatas until Trinity of the next year, which became known as his first cantata cycle. The following year, he composed new cantatas for the occasions of the liturgical year, each based on one Lutheran chorale, an effort which became known later as his chorale cantata cycle. He wrote Шаблон:Lang as the second cantata of this cycle, which he began a week before with Шаблон:Lang.Шаблон:Sfn

Bach wrote the cantata for the Second Sunday after Trinity. The prescribed readings for the Sunday were from the First Epistle of John, "He that loveth not his brother abideth in death" (Шаблон:Sourcetext), and from the Gospel of Luke, the parable of the great banquet (Шаблон:Sourcetext). The cantata is based on the chorale in sixth stanzas "Шаблон:Lang", a paraphrase of Psalm 12 by Martin Luther, published in 1524 in the Achtliederbuch, the first Lutheran hymnal. In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged in the outer movements, here the first and the sixth, while an unknown contemporary librettist transcribed the ideas of the inner stanzas in poetry for recitatives and arias, which matched the style of Bach's cantatas of the first cycle.Шаблон:Sfn Bach first performed the cantata on 18 June 1724.Шаблон:SfnШаблон:Sfn

Music

Structure and scoring

Bach structured the cantata in six movements. The first and last are set for choir as a chorale fantasia and a closing chorale. They frame alternating recitatives and arias with the text arranged by the librettist. Bach scored the work for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: four trombones (Tb), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc).Шаблон:Sfn The duration of the piece has been stated as 20 minutes.Шаблон:Sfn

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book by Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2).Шаблон:Sfn The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Шаблон:Classical movement rowШаблон:Classical movement rowШаблон:Classical movement rowШаблон:Classical movement rowШаблон:Classical movement rowШаблон:Classical movement row

Movements of Ach Gott, vom Himmel sieh darein

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time

Movements

Файл:Enchiridion geistlicher Gesänge 24.jpg

The hymn in the Erfurt Enchiridion of 1524

The first and last movements set Luther's original words and the original melody, both dating to 1524 and thus already 200 years old when Bach wrote his cantata. Bach used a style that has been called "archaic": the instruments include a choir of trombones doubling the voices.Шаблон:Sfn

1

In the opening chorale fantasia, "Шаблон:Lang" (Ah God, look down from heaven),Шаблон:Sfn the melody of the chorale is sung by the alto in long notes as a cantus firmus, doubled by two oboes. Dürr calls it an exemplary cantus firmus motet, with each entrance of the chorale tune prepared by fugal entrances of the other voices on the same theme.Шаблон:Sfn The instruments double the voices, with the occasional exception of the continuo.Шаблон:SfnШаблон:Sfn John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000 and recorded Шаблон:Lang at the Basilique Saint-Denis in Paris, assumes that the severe text caused Bach to return to the austere motet style which was already old-fashioned.Шаблон:Sfn

2

The second movement is a secco recitative, "Шаблон:Lang" (They teach vain, false deceit, which is opposed to God and His truth),Шаблон:Sfn which changes to arioso for two lines that resemble the words of the chorale. These lines are marked adagio, and in them the continuo plays in canon with the voice.Шаблон:Sfn

3

The alto aria, "Шаблон:Lang" (O God, remove the teachings that pervert your word!),Шаблон:Sfn is written in more modern concertante style with a solo violin as the obbligato instrument, playing lively figuration. The last line of the text remains close to the original, and again Bach quotes the chorale tune.Шаблон:Sfn

4

The bass recitative, "Шаблон:Lang" (The wretched are confused),Шаблон:Sfn is accompanied by the strings. It changes to arioso during the middle section, which lets God respond to the pleas of the sinners: "Ich muss ihr Helfer sein" (I must be their helper).Шаблон:Sfn Even in the outer sections, the string writing enforces a certain rigidity of the rhythm.Шаблон:Sfn

5

The tenor aria, "Шаблон:Lang" (Through fire, silver is purified, through the cross the Word is verified.),Шаблон:Sfn is accompanied by a concerto of the oboes and strings. The instruments are first silent in the middle section, but return for its transition to the da capo with the words "Шаблон:Lang" (be patient in cross-bearing and distress).Шаблон:Sfn Gardiner notes that the instrumental music suggests "liquid movement or the flow of molten metal", and reminds of Bach's interest in coins and precious metals, and of contemporary alchemists in Dresden trying to turn base metal to gold for August the Strong, but making porcelain instead.Шаблон:Sfn

6

The closing chorale, "Шаблон:Lang" (This, God, you would keep pure before this wicked race; ),Шаблон:Sfn is a four-part setting, with all instruments reinforcing the voices.Шаблон:Sfn

Manuscripts and publication

The autograph score is held by the Staatsbibliothek zu Berlin (Preußischer Kulturbesitz).Шаблон:Sfn

The cantata was originally published in 1851 as Шаблон:Nowrap in the first volume of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann. The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1981, edited by George S. Bozarth, with the critical commentary published in 1984.Шаблон:Sfn

Recordings

Recordings of Bach's cantatas began in the first half of the 20th century. Series of recordings, often for broadcasting, were made from 1950. Nikolaus Harnoncourt and Gustav Leonhardt were the first to begin recording the complete cantatas in a 20-year collaboration using period instruments, boys' choirs and boy soloists. Helmuth Rilling completed a recording of the sacred cantatas and oratorios on Bach's 300th birthday, 21 March 1985. Other projects to record all sacred cantatas in historically informed performance were completed by Ton Koopman, John Eliot Gardiner, Pieter Jan LeusinkШаблон:Sfn and Masaaki Suzuki.Шаблон:Sfn Sigiswald Kuijken began to record a cycle of cantatas for the Complete Liturgical Year with an OVPP choir and historic instruments, the ensemble La Petite Bande.Шаблон:SfnШаблон:Sfn

In the following table, green background indicates an ensemble playing period instruments in historically informed performance. The year is of the recording, then of a release if different.

Bibliography

General

• Шаблон:Cite web
• Шаблон:Cite web

Books

• Шаблон:Cite book

Journals

• Шаблон:Cite journal

Online sources

• Шаблон:Cite web
• Шаблон:Cite web
• Шаблон:Cite AV media notes
• Шаблон:Cite news
• Шаблон:Cite web
• Шаблон:Cite web
• Шаблон:Cite web
• Шаблон:Cite web

External links

• Шаблон:IMSLP
• Шаблон:Cite web
• BWV 2 Ach Gott, vom Himmel sieh darein: English translation, University of Vermont
• Шаблон:Cite web
• Luke Dahn: BWV 2.6 bach-chorales.com