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Cantata BWV 48
Ich elender Mensch, wer wird mich erlösen
Discussions - Part 3 |
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Continue from Part 1 |
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Discussions in the Week of May 13, 2012 (3rd round) |
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Ed Myskowski wrote (May 13, 2012):
Introduction to BWV 48 -- Ich elender Mensch, wer wird mich erlösen
Weekly reminder:
This week we continue Trinity season cantatas with BWV 48, the first of three works for the 19th Sunday after Trinity. Details of text, commentary, recordings, and previous discussion for this week are accessible via: http://www.bach-cantatas.com/BWV48.htm
The link to commentary by Julian [Mincham], music examples included, is especially recommended as an introduction to listening.
The BWV 48 page has convenient access to notes from the Gardiner, Koopman (notes by Christoph Wolff), Suzuki, and Leusink (and more!) CD issues, via link beneath the cover photo.
The chorale text and melody are accessible via links at the BWV 48 page. Francis Browne has recently added new commentary on the cantata texts to his interlinear translations, linked via [English 3]. We can expect these to continue, not necessarily weekly. Douglas Cowling and William L. Hoffman are also posting relevant to chorales and other music for the Lutheran Church Year, accessible via LCY pages.
I do not always take the time to check all links before posting. Special thanks to the folks who provide timely corrections. |
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David D. Jones wrote (May 13, 2012):
[To Ed Myskowski] This is one of my favorite cantatas, and sucked me right into the world of Gardiner's cantata interpretations. I bought the volume with this cantata because I was looking for Gardiner's BWV 80; boy did it contain gems I have come to love! The opening chorus, with its solemn and luminous counterpoint and its soft, tender clarino descant is utterly heartbreaking. As always, Bach's word setting is matchless; who else could deliver such music to match St. Paul's sorrowful, imploring words? |
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Ed Myskowski wrote (May 13, 2012):
David Jones wrote:
< As always, Bach's word setting is matchless; who else could deliver such music to match St. Paul's sorrowful, imploring words? >
Gardiner’s words are often of comparable caliber:
<Now that we are approaching the end of Trinity season, the thematic emphasis is on the thorny and intractable issues of belief and doubt.> (end quote)
I hasten to point out that we will endure these late Trinity themes through summer and into the autumn of 2012. As Gardiner describes it in other commentary, <the vast desert of the Sundays after Trinity>.
Perhaps he felt exactly that way, in the effort to continue and complete the Pilgrimage project?
Gardiner again:
<[Bach] has an unfailing knack of being able to vivify the doctrinal message, and, when appropriate [to deliver] it with a hard dramatic kick, yet balancing this with music of an emollient tenderness.> (end quote)
I trust Gardiner will forgive (perhaps appreciate?) a grammatic tweak from an American subscriber? |
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William L. Hoffman wrote (May 15, 2012):
BWV 48 -- Trinity 19 Chorales, Readings, Fugitive Notes
See: Motets & Chorales for 19th Sunday after Trinity
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Ed Myskowski wrote (May 21, 2012):
William L. Hoffman wrote:
< Trinity 19
Bach employs various techniques and devices to engage the listener in all three works: a general shift from the problem to the solution (negative to positive) in the text and musical setting, the use of well-known chorales with mostly selective Catechism confessional stanzas to confront the listener with the Living Word of God, graphic and descriptive poetic texts, various biblical quotations and illusions, and the use of dance style and other musical techniques. >
Thanks to Will for sharing his detailed work with us on a regular basis. I would recommend the following introductory sentence as required reading for all BCML participants: |
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Continue on Part 4 |
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