Английская Википедия:Bist du bei mir

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Шаблон:Short description Шаблон:Listen "Шаблон:Lang" (If you are with me, I go with joy) is an aria from Gottfried Heinrich Stölzel's opera Diomedes, which was first staged on 16 November 1718. The aria is best known as "Шаблон:Lang," BWV 508, a version for voice and continuo found as No. 25 in the 1725 Notebook for Anna Magdalena Bach.

History

Gottfried Heinrich Stölzel's opera Diomedes was staged in Bayreuth in November 1718.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn There has been some speculation how one of its arias, "Шаблон:Lang," came to be known in the Bach household in mid-1730s Leipzig, when Anna Magdalena Bach, Johann Sebastian's second wife, copied an arrangement of the aria into her second notebook.Шаблон:Sfn 21st-century scholarship has shown that from the 1720s to the mid 1730s, at least several dozen to perhaps over a hundred of Stölzel's compositions were adopted by Bach or his family members in their public and private music practices.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn Only indirect evidence suggests how such music was transferred from Stölzel to the Bachs;Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn Bach and Stölzel were in the same places at different times, and shared acquaintances, but whether they met in person can only be surmised.Шаблон:SfnШаблон:Sfn

1707–1732

Файл:Orchestral version of Stölzel's Bist du bei mir (1st system).png
First system of the orchestral version of Stölzel's "Шаблон:Lang", as copied around 1723.
Файл:Orchestral version of Stölzel's Bist du bei mir (2nd to 4th system).png
Orchestral version of Stölzel's "Шаблон:Lang" (2nd to 4th system)
Файл:Orchestral version of Stölzel's Bist du bei mir (5th and 6th system).png
Orchestral version of Stölzel's "Шаблон:Lang" (5th and 6th system)

From 1707 to 1710 Stölzel was a student at Leipzig University. At that time, Melchior Hoffmann was conductor of the Collegium Musicum founded by Telemann, which had Johann Georg Pisendel as its concert master. Hoffmann was Шаблон:Lang of the New Church (Шаблон:Lang de), and his operas were performed in the Oper am Brühl when it reopened in 1708. Stölzel, eager to cultivate his interest in music, visited such venues of Leipzig's high-quality music life. Eventually he became an assistant of Hoffmann, initially as copyist, and later, shortly before leaving Leipzig, he saw his first compositions performed under Hoffmann's direction.Шаблон:SfnШаблон:SfnШаблон:Sfn

Bach visited the court at Gotha in 1711 and 1717.Шаблон:Sfn In 1711 he had been hired as performer on the organ, and during the second of these documented visits he performed his so-called Шаблон:Lang during Holy Week.Шаблон:Sfn Stölzel moved to Bayreuth in 1717, where he was appointed to write church music for the second centenary of Reformation Day (31 October).Шаблон:SfnШаблон:Sfn For the 39th birthday of George William, Margrave of Brandenburg-Bayreuth (16 November) he composed a theatrical serenata, Der Liebe Sieges- und Friedes-Palmen.Шаблон:SfnШаблон:SfnШаблон:Sfn For the Margrave's next birthday he wrote Шаблон:Lang (Шаблон:Translation), a large-scale opera which was staged on Шаблон:Nowrap.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn Before moving to Gotha the next year, where he would remain for the rest of his life, Stölzel still composed one further birthday serenata for the Margrave in Bayreuth.Шаблон:SfnШаблон:Sfn

In 1720, three years before he became Шаблон:Lang in Leipzig, Johann Sebastian Bach started the Klavierbüchlein (keyboard-booklet) for his eldest son Wilhelm Friedemann.Шаблон:Sfn Some years later Wilhelm Friedemann copied a four-movement keyboard suite by Stölzel in this notebook, to which his father added a trio (BWV 929).Шаблон:SfnШаблон:SfnШаблон:Sfn In 1725 Johann Sebastian started the second notebook for his second wife Anna Magdalena.Шаблон:Sfn In the meantime he had assumed his position of cantor and music director in Leipzig: among many responsibilities that came with that title, he was now in charge of the music in the New Church.Шаблон:Sfn From 1729 he also became director of the Collegium Musicum founded by Telemann.Шаблон:Sfn

Meanwhile, in Gotha, Stölzel had presented his first Passion oratorio, Ein Lämmlein geht und trägt die Schuld, in Holy Week of 1720,Шаблон:Sfn and composed a new cantata cycle every few years, among which:Шаблон:Sfn

1733–1754

When Augustus the Strong died on Шаблон:Nowrap, a period of mourning was declared in his realm, which included Saxony.Шаблон:SfnШаблон:Sfn During this period, lasting from Sexagesima Sunday (15 February) to the fourth Sunday after Trinity (28 June), no concerted music was to be performed in church services.Шаблон:SfnШаблон:Sfn Johann Sebastian Bach used the period to compose his Mass for the Dresden court.Шаблон:Sfn He may have had the musicians of the Dresden court orchestra in mind when composing this extended setting: one of these musicians was its then-time concert master Pisendel, with whom Bach had been acquainted since before Stölzel had known him as concert master of Hoffmann's orchestra.Шаблон:Sfn

Early July 1733, Bach was still completing the composition, and the performance parts he intended to send to Dresden.Шаблон:Sfn Around this time, there are the earliest documented signs he used cantatas composed by Stölzel for performance in Leipzig.Шаблон:Sfn He may have performed two cantatas from Stölzel's Namebook cycle, for the fifth and sixth Sunday after Trinity, in July 1733: his copies of these cantatas date from around this time.Шаблон:Sfn He performed Stölzel's Ein Lämmlein geht und trägt die Schuld on Good Friday Шаблон:Nowrap, and likely Stölzel's entire String-Music cantata cycle from 1735 to 1736.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn Around the same time, that is, likely somewhere between 1734 and 1740, Anna Magdalena Bach entered a version for voice and continuo of "Шаблон:Lang", an aria from Stölzel's 1718 Diomedes opera, in her second notebook.Шаблон:SfnШаблон:SfnШаблон:Sfn[1]

That was not the end of Bach's dealings with Stölzel's music: in the early 1740s he reworked an aria from Stölzel's Ein Lämmlein geht und trägt die Schuld, "Dein Kreuz, o! Bräut’gam meiner Seelen" to Bekennen will ich seinen Namen, BWV 200.Шаблон:SfnШаблон:Sfn Stölzel's acquiring music composed by Bach is documented in 1747, when he bought a copy of Bach's Musical Offering for Gotha, less than a month after its publication.Шаблон:Sfn Both Stölzel and Bach joined Lorenz Christoph Mizler's exclusive Шаблон:Ill: Stölzel in 1739, and Bach in 1747.Шаблон:Sfn After they died, Stölzel in 1749 and Bach in 1750, their obituaries were published in 1754, in the same issue of the Society's organ, the Шаблон:Ill.Шаблон:Sfn

Text and music

In its 18th-century manuscripts "Шаблон:Lang" is a da capo aria for soprano in E-flat major, in Шаблон:Music time.[1][2]Шаблон:Sfn Its lyrics also survive in the printed libretto of Stölzel's Diomedes opera:Шаблон:Sfn Шаблон:Verse translation Translations of the aria's text have been published, for instance, by Novello and by Alfred Music, and at The LiederNet Archive.Шаблон:SfnШаблон:SfnШаблон:Sfn

Stölzel's Diomedes

Шаблон:See also Two sources from the first quarter of the 18th century document text and music of Stölzel's Diomedes opera:Шаблон:Sfn

The libretto specifies the performance venue as "Шаблон:Lang" (Шаблон:Translation), where only some of the more remarkable Bayreuth theatrical productions of the time were staged.Шаблон:SfnШаблон:Sfn The libretto names no composer.Шаблон:Sfn In his autobiography, Stölzel describes the opera as "Шаблон:Lang" (Шаблон:Translation).Шаблон:Sfn Also the 1720s manuscript copy of five arias mentions him as composer.Шаблон:Sfn Stölzel often wrote his own librettos.Шаблон:Sfn As far as known, the opera is his most extended composition: it contains over seventy arias, eight duets and six choruses, totalling over hundred movements.Шаблон:Sfn

The 1720s manuscript with the five arias does not name the instruments for which it is scored: these are assumed to be strings, that is violins (vl), viola (va) and basso continuo (bc). The soprano clef for the singer indicates a soprano voice for all arias. They are in different keys, and all of them are da capo arias. The fourth aria, that is "Шаблон:Lang", is in E-flat major (although notated with only two flats at the clef), and has the most extended instrumentation: first violin (vl1), second violin (vl2), viola and continuo. It is also the only aria with a dynamics indicator: Шаблон:Lang (soft throughout). Apart from the second aria, which seems to be an addition to the 7th scene of the 3rd act, all texts of the five arias score correspond with passages of the libretto of 1718, thus the lyrics of these arias can be coupled with the characters of the dramatis personae of the opera.Шаблон:Sfn[3]

Extant arias of Stölzel's DiomedesШаблон:Sfn[4]
# text incipit character scene signature instruments
Шаблон:01. Es ist die Ursach' meines Leidens Diomedes Act II, sc. 11 F major; Шаблон:Music vl va bc[5]
Шаблон:02. Geht ihr Küsse geht ihr Blicke Mosthenes Act III, sc. 7 G major; Шаблон:Music vl bc[6]
Шаблон:03. Mein Glücke steht in deinen Händen Copele Act II, sc. 6 A major; Шаблон:Music vl va bc[7]
Шаблон:04. Bist du bei mir geh ich mit Freuden Diomedes Act III, sc. 8 E♭ major; Шаблон:Music vl1 vl2 va bc[2]
Шаблон:05. Sage mir doch wertes Glücke Desania Act I, sc. 5 A minor; Шаблон:Music vl va bc[8]

Anna Magdalena Bach's Notenbüchlein

Шаблон:See also Anna Magdalena Wilcke was an accomplished vocalist when she married Johann Sebastian Bach in 1721, around which time she was hired as a singer by his employer at Köthen.Шаблон:SfnШаблон:Sfn A year later, her first notebook was started: it contains, as far as extant, only keyboard music, most of it written down by Johann Sebastian.Шаблон:SfnШаблон:Sfn The first entries in her second notebook were, like the first entries in Wilhelm Friedemann's 1720 notebook, keyboard compositions by Johann Sebastian, written down by the composer.Шаблон:SfnШаблон:Sfn In the 1725 notebook these are followed by around ten short keyboard pieces by various composers, among which Christian Petzold's Minuet in G major (BWV Anh. 114), written down by Anna Magdalena without composer indication.Шаблон:Sfn The next pieces, BWV 510–512, are the first compositions for singing that appear in Anna Magdalena's notebooks.Шаблон:Sfn[9]

The pieces in Anna Magdalena's 1725 notebook were written down by eight different scribes, that is, apart from Johann Sebastian and Anna Magdalena, Carl Philipp Emanuel (the second son from Johann Sebastian's first marriage), two sons of Johann Sebastian and Anna Magdalena (Johann Christoph Friedrich and Johann Christian), Bernhard Dietrich Ludewig (known to have worked as a copyist of some choral works for Bach), and two further writers who have not been identified.Шаблон:Sfn Pieces were entered intermittently over a long period of time (e.g., Johann Christian was born in 1735), and their sequence in the manuscript does not reflect the chronology of when they were entered.Шаблон:Citation needed The "Menuet fait par Mons. Böhm" (No. 21, entered by Johann Sebastian) is the only piece that is attributed to another composer in the manuscript.Шаблон:Citation needed

Файл:AMBII75 - bist du bei mir (p1).png
First page of "Шаблон:Lang", BWV 508, as written down by Anna Magdalena Bach.
Файл:AMBII75 - bist du bei mir (p2).png
Second page of "Шаблон:Lang", BWV 508, as written down by Anna Magdalena Bach.

Two objectives are apparent in Anna Magdalena's second notebook:Шаблон:Citation needed

No. 25, "Шаблон:Lang", BWV 508, belongs to the second category, along with another dozen pieces of vocal music in the 1725 notebook.Шаблон:Citation needed Most of these other vocal compositions (BWV 509–518, 299 and 82/2–3) can, according to the 1998 edition of the Шаблон:Lang (BWV), be attributed to Johann Sebastian.Шаблон:Sfn Doubts about this attribution have however arisen regarding following arias and sacred songs:

  • No. 12: "Gib dich zufrieden und sei stille" (BWV 510)[10]
  • No. 20: "So oft ich meine Tobackspfeife" (BWV 515) is possibly by Bach's son Gottfried Heinrich according to the 1998 edition of the BWV,Шаблон:Sfn but only attributed to the father at the Bach Digital website.[11]
  • No. 37: "Willst du dein Herz mir schenken" a.k.a. "Aria di G[i]ovannini" (BWV 518)[12]
  • No. 40: "Wie wohl ist mir, o Freund der Seelen" (BWV 517)[13]
  • No. 41: "Gedenke doch, mein Geist, zurücke" (BWV 509)[14]

For many keyboard pieces that were unattributed in Anna Magdalena's 1725 Шаблон:Lang, doubts about authorship had been around for a longer time: twenty such pieces, BWV Anh. 113–132, had been listed in the second Anhang, that is the Шаблон:Lang of doubtful compositions, since the 1950 first edition of the BWV catalogue.Шаблон:Sfn Apart from "Шаблон:Lang", all compositions from the three notebooks (Wilhelm Friedemann's Шаблон:Lang and both of Anna Magdalena's notebooks) that have been positively identified as being originally composed by another composer than Bach are keyboard pieces.Шаблон:Citation needed

In the notebook "Шаблон:Lang" is entered on two non-consecutive pages: the first half of the aria is on page 75, and the second half is on page 78: in between, No. 26 on pages 76–77, is Anna Magdalena's copy of the aria of the Goldberg Variations.[1] That copy of BWV 988/1 was written down no earlier than 1733–34, possibly even only in the 1740s.Шаблон:Sfn There are various possibilities as to how the Diomedes aria became known in the Bach household, including, according to Andreas Glöckner, from scores that once belonged to the Шаблон:Lang (which had bankrupted in 1720), or that "Шаблон:Lang" simply was a well-known ditty in Leipzig in the second quarter of the 18th century, which Anna Magdalena thought would make a welcome addition to her Шаблон:Lang collection.Шаблон:Sfn

Like in the five arias manuscript, the "Шаблон:Lang" version in Anna Magdalena's notebook is in E-flat major, and uses a soprano clef for the singing voice.[1] A difference in the notation is, however, that Anna Magdalena's manuscript uses three flats at the clef, which is the usual key signature for a composition in that key.[1] Anna Magdalena likely copied her version from a score that used two flats at the clef.[1] Apart from one measure in the second half of the composition, the melody for the singing voice is identical in both manuscripts.Шаблон:Sfn[2] The continuo part of the BWV 508 version of "Шаблон:Lang" is more lively and continuous in its voice leading than that of the extant orchestral version of the aria.Шаблон:Sfn[2] The characteristics of the BWV 508 version (and of its extant manuscript), do not prove that Anna Magdalena's husband was the arranger of that version.Шаблон:Sfn

Reception

1860s–1940s

In 1866, a year after he had published his two-volume biography of Johann Sebastian Bach, Carl Hermann Bitter published six songs from Anna Magdalena's second Шаблон:Lang, including "Шаблон:Lang".Шаблон:SfnШаблон:SfnШаблон:Sfn Ernst Naumann published the aria separately in 1890, with a keyboard realisation of the accompaniment of his own hand.Шаблон:SfnШаблон:Sfn The Шаблон:Lang published "Шаблон:Lang" twice, both in the voice and continuo version as found in Anna Magdalena's notebook:

Файл:Blanche Marchesi btv1b85969067-p025 (cropped).jpg
Blanche Marchesi recorded "Шаблон:Lang" in 1906.Шаблон:Sfn

Also in 1894, Novello published Three Songs from Anna-Magdalena Bach's Notebooks, among which "Шаблон:Lang", with an English translation.Шаблон:SfnШаблон:Sfn A story about Bach's family life, published in the same year for a youthful audience, describes the aria as especially captivating among the songs and dances of the notebooks.Шаблон:Sfn After the publication of several anthologies, all the pieces of the second notebook were published in a single volume in 1904.Шаблон:SfnШаблон:Sfn "Шаблон:Lang" was recorded in 1906, sung by Blanche Marchesi.Шаблон:Sfn

Around 1915 Max Schneider discovered the orchestral version of "Шаблон:Lang", along with four other arias by Stölzel, in an 18th-century manuscript at the library of the Sing-Akademie zu Berlin.Шаблон:Sfn At the time, this source was not further explored.Шаблон:Sfn In the 1920s the aria appeared in fictionalised biographical accounts:Шаблон:Sfn

Lotte Lehmann recorded "Шаблон:Lang" in 1929.[15] Singers who recorded the aria in the 1930s include Elisabeth Schumann, Paula Salomon-Lindberg and Jo Vincent.[16][17][18] Richard Crooks sang "If Thou Be Near", an English-language version of the aria, on a recording that was released in 1938.[19] Another English-language version, "Be Thou with me", was sung by Isobel Baillie on a war-time recording.[20] During the Second World War, the archive of the Berlin Sing-Akademie went lost.[21] Otto Klemperer's orchestral version of the aria was recorded in the 1940s.[22]

1950s and later

In 1950 Wolfgang Schmieder listed "Шаблон:Lang" as a composition by Bach in the first edition of the Bach-Werke-Verzeichnis, assigning it the number 508 in that catalogue. In 1957 the aria was published in the New Bach Edition, where its editor, Georg von Dadelsen, mentioned the lost orchestral version in the Critical Commentary volume.Шаблон:Sfn[23][24] The 1998 edition of the Bach-Werke-Verzeichnis kept "Шаблон:Lang" in the main catalogue (i.e. without moving it to the Anhang either of the doubtful or of the spurious works), but mentions it was based on a setting by Stölzel in an inaccessible source.[25]

Recordings of the aria from the second half of the 20th century include:

In 1999 the lost archive of the Sing-Akademie zu Berlin was recovered in Kyiv.[27][21][28] Nonetheless the manuscript with the five Stölzel arias was still considered lost as late as 2006.Шаблон:Sfn That same year the manuscript was however described in a publication by the Bach Archive, edited by Wolfram Enßlin.[21][4] In 2009 a full catalogue of the Sing-Akademie's archive was published, in which the manuscript containing the five arias by Stölzel is indicated as SA 808.[29] By this time "Шаблон:Lang" and the four other arias of the SA 808 manuscript were identified as belonging to Stölzel's opera Diomedes.[29] The archive of the Sing-Akademie was transmitted to the Berlin State Library, which made a facsimile of the manuscript containing the Diomedes arias available on their website.[3][21]

"Шаблон:Lang" has become a very popular choice for wedding ceremonies and other such occasions.Шаблон:Sfn[30] The question whether the perception and popularity of the piece would have been affected if it would have been identified as Stölzel's in an earlier stage remains unanswered.Шаблон:Sfn

21st-century recordings of "Bist du bei mir" include:

References

Шаблон:Reflist

Sources

External links

Шаблон:Bach spurious Шаблон:Authority control

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  1. ↑ 1,0 1,1 1,2 1,3 1,4 1,5 Шаблон:RISM.
  2. ↑ 2,0 2,1 2,2 2,3 Diomedes (Excerpts): "Bist du bei mir geh ich mit Freuden" at RISM website.
  3. ↑ 3,0 3,1 (Sammelhandschrift) 11 Geistliche Gesänge at Berlin State Library website, pp. 129–131.
  4. ↑ 4,0 4,1 Collection: 11 Sacred songs at RISM website.
  5. ↑ Шаблон:RISM.
  6. ↑ Шаблон:RISM.
  7. ↑ Шаблон:RISM.
  8. ↑ Шаблон:RISM.
  9. ↑ Klavierbüchlein für Anna Magdalena Bach (1725) at Berlin State Library website.
  10. ↑ Шаблон:BDh
  11. ↑ Шаблон:BDh
  12. ↑ Шаблон:BDh
  13. ↑ Шаблон:BDh
  14. ↑ Шаблон:BDh
  15. ↑ The Lehmann Recordings at Lotte Lehmann League website. Шаблон:Retrieved
  16. ↑ Hmv-db2291-32-4808-2wx767 at Public Domain Project website. Шаблон:Retrieved
  17. ↑ Шаблон:OCLC Шаблон:Retrieved
  18. ↑ Шаблон:BNF Шаблон:Retrieved
  19. ↑ If Thou Be Near (Bist du bei Mir) by Richard Crooks; J. S. Bach; Charles O'Connell; Wilfred Pelletier – Victor (1912-B) at Internet Archive website. Шаблон:Retrieved
  20. ↑ Шаблон:OCLC Шаблон:Retrieved
  21. ↑ 21,0 21,1 21,2 21,3 Patrice Veit. "ENßLIN, Wolfram, Die Bach-Quellen der SingAkademie zu Berlin. Katalog", recension in Revue de l'Institut français d'histoire en Allemagne, 2007.
  22. ↑ J.S. Bach: Magnificat In D; Brandenburg Concerto No. 5; Air From Suite No. 3; Bist Du Bei Mir at ArkivMusic website. Шаблон:Retrieved
  23. ↑ Georg von Dadelsen, editor. New Bach Edition, Series V: Keyboard and Lute Works, Vol. 4: The Klavierbüchlein für Anna Magdalena Bach from 1722 and 1725, Score (1957; 21963; 31978; 42014) and Critical Commentary (1957). Bärenreiter.
  24. ↑ Шаблон:BDh
  25. ↑ (BWV2a) Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe. Preface in English and German. Wiesbaden: Breitkopf & Härtel, 1998. Шаблон:ISBN – Шаблон:ISBN, pp. 308–309.
  26. ↑ Elisabeth Schwarzkopf – Perfect Prima Donna, EMI Classics, Cat. 9184592, at ArkivMusic.
  27. ↑ Michael O'Loghlin. "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School", University of Queensland, Australia, 2008. Шаблон:ISBN, p. 60
  28. ↑ Patricia Kennedy Grimsted. "Bach is Back in Berlin: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics", Harvard Ukrainian Research Institute, 2003. pp. 24-26
  29. ↑ 29,0 29,1 Axel Fischer and Matthias Kornemann, editors. The Archive of the Sing-Akademie zu Berlin: Catalogue. Walter de Gruyter, 2009. Шаблон:ISBN, p. 67, 249–250 and 687–688.
  30. ↑ Stölzel, Gottfried Heinrich "Bist du bei mir" at hbdirect.com.
  31. ↑ Шаблон:Citation
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