Английская Википедия:Herrscher des Himmels, erhöre das Lallen, BWV 248 III

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Шаблон:Short description Шаблон:Good article Шаблон:Infobox musical composition Шаблон:Lang (Ruler of heaven, hear our babble),Шаблон:Sfn BWV 248III (also written as BWV 248 III), is a 1734 church cantata for the third day of Christmas (27 December) which Johann Sebastian Bach composed as the third part of his Christmas Oratorio.Шаблон:Sfn The Christmas cantata was first performed in 1734, in Leipzig.Шаблон:Sfn Bach was then Thomaskantor, responsible for music at four churches in Leipzig, a position he had assumed in 1723.

The cantata follows the nativity of Jesus as narrated in the Gospel of Luke. It covers the adoration of the shepherds. An unknown librettist added text for reflecting recitatives and arias and included stanzas from Lutheran hymns. Bach structured the cantata in 13 movements and scored it for four vocal parts and a Baroque orchestra with trumpets and timpani, flutes, oboes, and strings. Part III of the oratorio begins with a festive chorus, which is, in contrast to the other parts, repeated after the closing choral, as a conclusion of the three days of Christmas. A tenor soloist narrates the Biblical story in recitatives as the Evangelist. An alto aria is perhaps the only newly composed aria in the entire oratorio, while music for other movements is based on two cantatas that Bach had composed for the court at Dresden.

Bach led the first performances at the Nikolaikirche, the main churches of Leipzig, on 27 December 1734, during a morning service. Шаблон:TOC limit

Background

Шаблон:See also In 18th-century Leipzig, the three Christian high holidays Christmas, Easter and Pentecost were celebrated on three consecutive days, with different prescribed readings and related music each day. Christmas was celebrated from 25 to 27 December. For the principal churches, Thomaskirche and Nikolaikirche, the director musices (Thomaskantor)Шаблон:Sfn determined which music was to be performed during the services on Sundays and feast days.Шаблон:SfnШаблон:SfnШаблон:Sfn

The prescribed readings for the third day of Christmas were from the Epistle to the Hebrews, Christ is higher than the angels, (Шаблон:Sourcetext), and from the prologue of the Gospel of John, also called Hymn to the Word (Шаблон:Sourcetext).Шаблон:Sfn Bach had been presenting church cantatas for the Christmas season in the Thomaskirche and Nikolaikirche since his appointment as director musices in Leipzig in 1723, including cantatas for the third day of Christmas:Шаблон:SfnШаблон:Sfn

In 1733, Augustus III of Poland succeeded his father, Augustus the Strong, as Elector of Saxony and took residence in Dresden.Шаблон:Sfn Bach hoped to become court composer for the Catholic Elector, and dedicated the Latin Missa in B minor, BWV 232 I, to him.Шаблон:Sfn Several of Bach's secular cantatas celebrating the Saxonian prince-electoral family were performed in Leipzig, including two cantatas first performed in 1733:Шаблон:SfnШаблон:Sfn

Bach drew on these two cantatas for choral movements, arias and duets of the oratorio's parts I to IV.Шаблон:SfnШаблон:Sfn The Bach scholar Christoph Wolff noted that Bach reused music with similar affect, "rescuing it for more durable purpose".Шаблон:Sfn Bach composed for part III the recitatives of the Evangelist, the chorus of the shepherds, the reflecting bass recitative, the chorales, and the alto aria "Schließe, mein Herze", as the only aria in the oratorio.Шаблон:Sfn

Christmas season 1734–35

Шаблон:See also

Файл:BWV 248 Libretto.JPG
First two pages of the libretto of Bach's Christmas Oratorio, as printed in 1734Шаблон:Sfn

Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735.Шаблон:Sfn Шаблон:Lang, Шаблон:Nowrap, for the Third Day of Christmas in 1734, is the third of six cantatas (or parts) constituting this oratorio. Its first cantata, Part I of the oratorio, Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248 I, had been performed on the first feast day, and was focused on the birth of Jesus. The second cantata, Part II of the oratorio, Und es waren Hirten in derselben Gegend, was performed the following day, focused on the annunciation to the shepherds.Шаблон:Sfn

Text

Departing from the usual readings for 27 December, the text of Part III deals with the adoration of the shepherds, from their itinerary to Bethlehem to their adoration in the stable, taken from the prescribed readings for the Second Day of Christmas.Шаблон:Sfn The story is told following the Gospel of Luke, interspersed with reflecting recitatives, arias and chorales.Шаблон:Sfn

The identity of the librettist of the Christmas Oratorio cantatas is unknown,Шаблон:Sfn with Picander, who had collaborated with Bach earlier, a likely candidate.Шаблон:Sfn The oratorio's libretto was published in 1734.Шаблон:Sfn The quotations from the Bible are rendered in Martin Luther's translation. The librettist included three stanzas from Lutheran hymns: "Dies hat er alles uns getan" from Luther's "Gelobet seist du, Jesu Christ",Шаблон:Sfn "Ich will dich mit Fleiß bewahren" from Paul Gerhardt's "Fröhlich soll mein Herze springen",Шаблон:Sfn and for the conclusion "Seid froh, dieweil" from Christoph Runge's "Laßt Furcht und Pein".Шаблон:SfnШаблон:Sfn The Bach scholar Klaus Hofmann noted that the traditional melodies of the chorales, which are still in use, connect the music to the present time.Шаблон:Sfn

Bach led the first performance at the Nikolaikirche during the morning service.Шаблон:Sfn

Music and content

The work is structured in 13 movements. Unlike the other cantatas in the Christmas Oratorio, the opening chorus of the cantata is repeated as the closing movement. The alto aria is perhaps the only newly composed aria in the entire oratorio.Шаблон:Sfn The cantata features four vocal soloists (soprano, alto, tenor, and bass), a four-part choir ([[SATB|Шаблон:Abbr]]) and a Baroque instrumental ensemble of three trumpets (Tr), timpani, two traversos (Tra) two oboes (Ob) also doubling as oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo.Шаблон:Sfn The scoring is equal to Part I of the oratorio.Шаблон:Sfn

The scoring in the following table follows the Шаблон:Lang (New Bach Edition). The keys and time signatures are from Alfred Dürr, and use the symbol for common time.Шаблон:Sfn No key is shown for the recitatives, because they modulate.

Шаблон:Classical movement header Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:Classical movement row Шаблон:End

Movements

24

Шаблон:Listen The cantata begins with a chorus, Herrscher des Himmels, erhöre das Lallen (Ruler of Heaven, hear the murmur),Шаблон:Sfn in D major and a triple meter like the opening of the first cantata of the oratorio. It is based on the closing chorus of BWV 214, Blühet, ihr Linden in Sachsen, wie ZedernШаблон:Sfn (Bloom, you Saxon lindens, like cedars!).Шаблон:Sfn In the original, three solo voices enter one after the other, tenor, soprano, alto, which is copied in the oratorio for the choral parts.Шаблон:Sfn

This chorus is repeated at the end of the cantata, for a conclusion of the three days of Christmas.Шаблон:Sfn

25

The Evangelist tells that, after the angels left, Und da die Engel von ihnen gen Himmel fuhren (And when the angels went away from them towards heaven),Шаблон:Sfn the shepherds spoke to each other.Шаблон:Sfn

26

Шаблон:Listen The following Biblical sentence is set as a turba chorus, Lasset uns nun gehen gen Bethlehem (Let us go now towards Bethlehem),Шаблон:Sfn in complex polyphony. The hurried walk of the shepherds is depicted in a walking bass, and an almost continuous fast movement in flute and first violin.Шаблон:Sfn

27

A bass recitative, Er hat sein Volk getröst't (He has comforted His people)Шаблон:Sfn reflects that shepherds played a role in many stories between God and his people.Шаблон:Sfn

28

Шаблон:Listen The scene is closed by a chorale stanza, Dies hat er alles uns getan (All this He has done for us),Шаблон:Sfn the seventh stanza from Luther's "Gelobet seist du, Jesu Christ", published in Wittenberg in 1524.Шаблон:Sfn

29

Шаблон:Listen A duet of soprano and bass, beginning "Herr, dein Mitleid, dein Erbarmen tröstet uns und macht uns frei" (Lord, your compassion, your mercy comforts us and makes us free)Шаблон:Sfn expands the aspect of God's mercy. It is based on the duet "Ich bin deine" / "Du bist meine"Шаблон:Sfn (I am yours / You are mine),Шаблон:Sfn a duet of Hercules and Virtue from BWV 213. The voices are accompanied by two obbligato oboes d'amore, while the original music featured two violins. The wind instruments are more suitable to represent the shepherds.Шаблон:Sfn

30

The Evangelist continues the narration with the shepherds finding the baby, "Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen" (And they came hastily and found both Mary and Joseph, along with the child lying in the manger).Шаблон:Sfn The Gospel of Luke points at Mary's reaction to what the shepherds said: "Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen" (Mary however kept all these words and pondered them in her heart).Шаблон:Sfn

31

Шаблон:Listen In an alto aria, Mary seems to tell herself "Schließe, mein Herze, dies selige Wunder fest in deinem Glauben ein!" (Enclose, my heart, these blessed miracles fast within your faith!),Шаблон:Sfn which is an invitation to the listener to do the same. The intimate setting, with an obbligato solo violin, is the only aria which Bach newly composed for the oratorio.Шаблон:Sfn

32

Шаблон:Listen The alto continues the determination to remember in an accompanied recitative: "Ja, ja! mein Herz soll es bewahren" (Yes, yes, my heart shall cherish this)".Шаблон:Sfn Two flutes are the obbligato instruments.

33

Шаблон:Listen A chorale supports the intention: "Ich will dich mit Fleiß bewahren" (I will cherish You assiduously).Шаблон:Sfn Using the 15th stanza of Paul Gerhardt's 1653 hymn "Fröhlich soll mein Herze springen", devotion is promised into eternity, which is described as "... ohne Zeit dort im andern Leben" (... without time, there in the other life). The melody that Bach used was written by Georg Ebeling in 1666 for "Warum sollt ich mich denn grämen" (Zahn 6461).Шаблон:Sfn

34

The Evangelist reports that the shepherds returned, praising God: "Und die Hirten kehrten wieder um" (And the shepherds went back again).Шаблон:Sfn

35

Шаблон:Listen A chorale concludes the story, requesting to rejoice: "Seid froh, dieweil" (Meanwhile, be happy).Шаблон:Sfn It is the fourth stanza from Christoph Runge's 1653 song "Laßt Furcht und Pein", with a melody composed by Kaspar Füger in 1593 for "Wir Christenleut'" (Zahn 2072).Шаблон:Sfn The chorale is in F-sharp minor, and unusually also ends in this key, which makes for a better transition to the repetition of the opening chorus in D major.Шаблон:Sfn

See also

References

Шаблон:Reflist

Cited sources

Bach digital

Books

Online source

External links

Шаблон:Masses, Magnificat, Passions and Oratorios by Johann Sebastian Bach Шаблон:Church cantatas by Johann Sebastian Bach Шаблон:Bach cantatas

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