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William L. Hoffman wrote (October 5, 2018):
For the Easter Season in Leipzig, Bach observed the six Sundays after Easter using prescribed, familiar Lutheran chorales for the three-day Feast of Easter and the first three Sundays after Easter and turned to appropriate topical chorales for the final three Sundays after Easter which emphasize John's gospel of Jesus' Farewell Discourse to his Disciples (Chapters 14-17), found only in John's gospel and taking place on Maundy Thursday evening following the Last Supper, which is not found in John's gospel. The polyphonic motets that opened the Sunday services were settings mostly of the Latin Introit psalm incipit for each Sunday and paved the way for the Christological themes found in John's gospel and the day's Epistle: Quasimodogeniti (New-born, 1 Peter 2: 2-3), Misericordias Domini (Mercy of the Lord), Jubilate (Shout with joy), Cantate (Sing ye), Rogate (Petition, ask) and Exaudi (Hear my voice). The term Rogate is not based on a psalm but is the incipit for the day's Gospel, John 16:23, "And in that day ye shall ask me nothing," kjv https://www.biblegateway.com/passage/?search=John+16%3A23&version=KJV).
The best-known Easter Season chorales are the hymn de tempore (hymn of the day), Luther’s "Christ lag in Todesbanden” (http://www.bach-cantatas.com/Topics/Cantatas-After-Easter.htm); the Pulpit hymn, Luther’s “Christ ist erstanden” (Christ is arisen); and the Hymns for Chancel, Communion, and closing: anonymous "Erstanden ist der heil'ge/Herre Christ (Arisen is the holy/Lord Christ), Stoltzhagen-Gesius “Heut triumphieret Gottes Sohn” (This day in triumph, God’s Son) and Nicolaus Hermann “Erscheinen ist der Herrlich’ Tag” (Here shining is the splendid day). These also are the hymns for the First to Third Sundays after Easter in Bach's favored Hymnbook, Neu Leipziger Gesangbuch (NLGB) of 1682 with 21 Easter settings (Nos. 89-107)1 and also are found in the Schmelli Gesangbuch (Leipzig 1736) under the rubric of "Von der Auferstehung (Resurrection) Jesu Christi," Nos. 319-334. An alphabetical list of 72 old Easter hymns is found at http://www.christliche-gedichte.de/?pg=1650.
Bach in Weimar from 1710 to 1714, had composed chorale prelude settings for the church year services as the first part of a well-ordered church music, including six which he set for the Easter Season in the Orgelbüchlein (Ob. 34-39), "Christ lag in Todesbanden,: BWV 625; "Jesus Christus, unser Heiland," BWV 626; "Christ ist erstanden," BWV 627; "Erstanden ist der heil´ge Christ," BWV 628; "Erschienen ist der herrliche Tag," BWV 629, and "Heut´triumphieret Gottes Sohn BWV 630 (https://www.youtube.com/watch?v=64g8UR39n3o). Bach set three in season cantatas: Luther's Christ lag in Todesbanden as an Easter Sunday chorale cantata, BWV 4 (https://groups.yahoo.com/neo/groups/BachCantatas/conversations/topics/39524), for the Easter Monday "Christ ist erstanden" as a plain to close 1724 Easter Monday Cantata 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts), and for the 1st Sunday after Easter (Quasimodogeniti), the melody "Erschienen ist der herrlich Tag" in the central chorale recitative in Cantata 67, "Halt im Gedächtnis Jesum Christ" (Keep in memory Jesus Christ, http://www.bach-cantatas.com/BWV67-D4.htm). The other three were set as free-standing plain chorales for liturgical use in Easter services as communion hymns, BWV 364 (http://www.bach-chorales.com/BWV0364.htm, BWV 306 (http://www.bach-chorales.com/BWV0306.htm), and BWV 342 (http://www.bach-chorales.com/BWV0342.htm).
For the Easter Season, Bach set six chorales for the and eight others:
Ob. 34. BWV 625 — “Christ lag in Todesbanden” (Zanh 7012a); Chorale Cantata BWV 4, BWV 277-279 (plain chorales, PC); Sebastian Bach Choral Book (SBCB 59, BWV 695(a?)(Kirnberger Chorale), BWV 718(misc. chorales, MC); ?Anh. 171(MC), ?Emans 42.
Ob. 35. BWV 626 — “Jesus Christus, unser Heiland, der den Tod überwand” (Z1978); SBCB60, BWV 665-6(Great 18), BWV 364(PC).
Ob. 36. BWV 627 — “Christ ist erstanden” (Z8584); Cantata 66/6 (PC), 276(PC), SBCB65-66, BWV 746(MC, by Johann Caspar Ferdinand Fischer).
Ob. 37. BWV 628 — Erstanden ist der heil'ge Christ (Z288); BWV 306(PC), Anh. 51 (MC-D).
38. BWV 629 — Erschienen ist der herrlich Tag (Z1743); Cantata 67/4(PC); SBCB61,68.
Ob, 39. BWV 630(a) — “Heut triumphieret Gottes Sohn” (Z2585); BWV 342(PC), SBCB66-67.
-- “Ach bleib bei uns”; BWV 253(PC); BWV 649(SC)=6/3.
-- “Auf! Auf! mein Herz mit Freuden”; BWV 441(Schmelli Gesangbuch, SG).
-- “Christus ist erstanden, hat überwunden”; BW284 (PC).
-- “Jesu, meine Zuversicht”; BWV365(PC), BWV 728(MC).
-- “Jesu, unser Trost und Leben”; BWV 475(SG).
-- “Kommt her zu mir, spricht Gottes Sohn”; Cantata 86/3(PC).
-- “Kommt, wieder aus der finstren Gruft”; BWV deest/Wiemer 10(PC), BWV 480(SG).
-- “Surrexit Christus Hodie” (Z291, alt. S.5-6 Z8572C, NLGB 101a); SBCB63; = Erstanden ist der herrliche Christ (Zahn 288, NLGB 101b).
Bach’s use of Easter chorales in Leipzig was quite flexible, observes Günther Stiller.2 He notes that for the entire three-day Easter Festival (Sunday to Tuesday), Bach used various familiar hymns. The three hymns for Easter festival are “Ach, bleib bei uns, Herr Jesu Christ,” “Erschienen ist der herrlich Tag” and “Wenn mein stündlein vorhanden ist.” At the same time, “Ach, bleib bei uns,” is a main service hymn for Easter Monday in Leipzig, while “Erschienen ist der herrlich Tag” is an Easter season chorale and “Wenn mein Stündlein vorhanden ist” is an omnes tempore hymn (Death & Dying). Stiller details Bach’s use of certain chorale melodies and stanzas in various cantatas for the Easter Festival. “Only in one case did Bach use an Easter hymn that was not so common and yet not unknown in certain Leipzig hymnbooks, , “Auf, mein Herz! Des Herren Tag” at the beginning of Cantata BWV 145 (Easter Tuesday 1729, Picander text).
Bach's settings of Easter chorales
"In his selection of hymns for the Easter cantatas, Bach likewise maintained his connection with the familiar stock and store of hymns," says Stiller (Ibid.). Luther's 1524 "Christ Lag in Todesbanden" was often listed as the first hymn assigned to Easter in the Leipzig and Dresden hymnbooks. It was the Hymn of the Day for Easter Sunday and Tuesday in Leipzig. Luther's "Christ ist erstanden" was "always sung before the Sermon on all Easter Days in Leipzig and beyond that every Sunday throughout the Easter season." Most of Bach's Easter chorale settings are found in Helmut Rilling's "Ein Choralbuch: Ostern, Himmelfahrt, Pfingsten, Trinitatis."3
The chorales for the Easter season were based on Saxon Duke Heinrich's 1539 Agenda and the subsequent Church Book of 1718 (http://www.bach-cantatas.com/Articles/Leipzig-Churches-Petzold.pdf). While the three Easter Feast Days prescribed de tempore (Proper Time) chorales which could be sung through the third Sunday after Easter (Jubilate), all six Sundays after Easter were considered "Feastless Days/Periods" (Ibid.: 12) of omnes tempore (Ordinary Time), with John's gospel emphasizing Jesus' Farewell Discourse to his disciples. Bach's NLGB listed no chorales for the succeeding three Sundays after Easter, (Cantate, Rogate, Exaudi), thus Bach continued during Easter "Season" to use appropriate, topical chorales such as: "Also hat Gott die Welt geliebt" (Thus God so loved the world), "Der Herr ist mein getreuer Hirt" (The Lord is my faithful Shepherd), "Du Friedefürst, Herr Jesu Christ" (Thou Prince of Peace, Lord Jesus Christ), "Erhalt uns, Herr, bei deine Wort" (Guide us, Lord, with thy word), and "Es ist das Heil uns kommen her" (Salvation has come to us)."
Quasimodogeniti Sunday
|The First Sunday in Easter is known as Quasimodogeniti infantes, being Latin for "Like newborn babes." It is the opening phrase of the Introit reading appointed for the church's worship that day, "Like newborn babes desire the pure milk of the word, that you may grow thereby" (1 Peter 2: 2-3). Quasimodogeniti Sunday, also is known as the Second Sunday of Easter as well as the Octave of the Resurrection, Low Sunday or Thomas Sunday for the doubting disciple. The early church had made special reference to the newly baptized neophytes, as well as in the general allusion to peoples' renewal through the Resurrection in the readings: Gospel, John 20-19-31 (Jesus appears to the disciples), and the Epistle, 1 John 5:4-10 (Faith overcomes the world), see http://www.bach-cantatas.com/Read/Quasimodogeniti.htm. The polyphonic setting of the Introit was Psalm 116, Dilexi quoniam (I love the Lord), and the text is found at http://www.kingjamesbibleonline.org/Psalms-Chapter-116/. Other appropriate Introit motets settings Bach may have used were Orlando di Lassus' 1575 motet Christus resurgens ex morituis (Christ has risen from the dead), based on an Easter Sunday chant, and a 1573 motet Jam non dicam vos servos (I will not now call you servants, John 15:15), as well as a Monteverdi vesper motet, Tres sunt qui testimonium dant caelo (For there are three that bear record in heaven), 1 John 5-7, day's Epistle).
For the first three Sundays in Easter, Bach could chose from the chorales designated for the Easter Festival in his hymnbook, Neu Leipziger Gesangbuch (NLGB) of 1682: Martin Luther’s Hymn of the Day, "Christ lag in Todesbanden” (Christ lay in death's bonds), the Pulpit Hymn, Luther’s “Christ ist erstanden” (Christ is arisen); and the Hymns for Chancel, Communion, and Closing: anonymous "Erstanden ist der heil'ge Christ (Arisen is the holy Christ), the Stoltzhagen-Gesius “Heut triumphieret Gottes Sohn” (This day in triumph, God’s Son) and Nicolaus Hermann's “Erscheinen ist der Herrlich’ Tag” (Here shining is the splendid day). Following the three festive Sundays, chorales could be chosen in accordance with the Gospel while the "hymn schedules of the Leipzig and Dresden hymnbooks for the Easter days also frequently contained the general direction, "The Hymns of This Festival," says Stiller (Ibid.:240).
Selecting chorales for his Easter cantatas, Bach had a variety from which to choose. These included the familiar Easter hymns of Luther on the Theology of the Cross and Doctrine of Justification and hymns of praise to thematic hymns that this Sunday addressed with Jesus as Prince of Peace, based on the iconic gospel greeting, "Peace be with you," notably the closing hymns of Cantata 67, Jakob Ebert's 1601 eschatological "Du Friedefürst, Herr Jesu Christ" (Thou Prince of Peace, Lord Jesus Christ" (http://www.bach-cantatas.com/Texts/Chorale001-Eng3.htm), and Cantata 42, Luther's 1529 “Verleih uns Frieden, gnädiglich” (Graciously grant us peace), expansive paraphrase of the Dona nobis pacem Mass Ordinary closing. Bach also was flexible and could choose Easter chorales related to the sermon since his Thomas Church confessing pastor Christian Weise Sr. may have begun an annual cycle of emblematic sermons with Jesus as the model at Easter 1724, possibly involving the Leipzig tradition of "chorale-sermons,"says Alfred Dürr.4 which would have also observed the 200th anniversary of the first publication of Lutheran hymnbooks. For Quasimodogeniti, the designated hymn was "Erscheinen ist der Herrlich’ Tag," "which in Weißenfels was always sung at vespers on this Sunday," says Stiller (Ibid.).
Misericordias Domini, Good Shepherd
The readings for Misericordias Domini are the Gospel of John 10:12-16, “I am the Good Shepherd” (found only in John’s Gospel) and the Epistle Lesson, I Peter 2:21-25 (You were as sheep gone astray). The German text of Luther’s 1545 and the English Authorised (King James) Version 1611 are found at http://www.bach-cantatas.com/Read/Misericordias.htm. The Introit Psalm for Misericordias Domini is Psalm 23, Dominus regit me (The Lord is my shepherd). The full text (KJV) is found on line at http://christiananswers.net/bible/psa23.html. Misericordias means the "Goodness (literally "tender mercies") of the Lord." It comes from the incipit of Psalm 89, “I will sing of the mercies of the Lord.” This Sunday is also called "Good Shepherd Sunday." It is so called from the incip of the Introit "Misericordia Domini plena est terra . . ." ("The land is filled with the mercy of the Lord") from Psalm 33. Motet & Chorales for Misericordias: Introit, Misericordia Domini; Motets of Victoria, di Lassus, Palestrina, the plainchant Alleluia: Surrexit Christus et illuxit ("Christ is risen, and has illumined us") and Surrexit Pastor Bonus (The Good Shepherd is risen); as well as the core Communion hymn, “Der Herr is mein getreuer Hirt” (The Lord is my faithful Shepherd), NLGB No.251, Bach's moist recent source being the Dresdener Gesangbuch, and the customary hymn for this Sunday in the various hymnbooks, says Stiller (Ibid.).
The Easter chorales Bach used in the cantata for Misericordias Domini are Cornelius Becker's "Der Herr ist mein getreuer Hirt, dem ich," plain chorale closing Cantata 104/6 and chorale aria in Cantata 85/3; Muselin's "Der Herr ist mein getreuer Hirt" in Cantata 112 and "Ist Gott mein Schutz und treuer Hirt" (If God is my protection and faithful Shepherd), closing Cantata 85/6. Composed in 1725, Bach’s wholly original solo Cantata BWV 85, “Ich bin ein guter Hirt” (I am a good shepherd), is the bridge between the Easter festival with its celebration of the resurrection central to Christianity and the ensuing Great 60 Days of the Easter-Pentecost Season with the darkness of the discipexternal threats without the protection of Jesus but the illuminating promise in his Farewell Discourse (John:16) that the sanctifier Holy Spirit will provide the Christian Trinitarian link of the advocate and protector to the figures of God the Father and Creator and Jesus Christ as the Son and Redeemer serving as the Good Shepherd of the Psalm 23 people of Israel under the law and the Christian Church under the Gospel, bringing a new sense of trust.
The first two Sundays in Easter emphasize that all believers are “new-born children of God” (Quasimodogeniti) and that the earth and all hearts “should be full of the goodness of the Lord” (Misericordias). These two engender a sense of thankfulness in the remaining four Sundays with their musical qualities: “Make a joyful noise unto God (Psalm 66:2, Jubilate), “Sing unto the Lord a new song” (Psalm 98:1, Cantate Dominum); voices of gaiety (Voces jucunditas, Rogate); and “God will heart it” (Audit ubique Deus, Psalm 147:1, Exaudi). “Running throughout the season is the idea that human attributes, especially reason and the senses, are inadequate to sustain the life of faith, which inevitably succumbs to worldly pressures,” says Eric Chafe in his chapter “Spring 1725: An Overview, Easter through Misericordias: Cantatas 249, 6, 42, and 85 (Ibid.: 389).5 “Something more is needed – the Holy Spirit -- and it is the purpose of the season as a whole to set fourth both the need and the solution.”
Jubilate Sunday
The theme of sorrow turned to joy or the sorrow-joy-antithesis is found in all four chorus cantatas Bach presented in Leipzig on “Jubilate” or the Third Sunday after Easter, with each concluding with plain chorales of joy. The first is Cantata BWV 12, “Weinen, Klagen, Sorgen, Zagen” (Weeping, crying, mourning, sighing) [(John 16:20] (Salomo Franck text, Weimar, 4/22/1714); repeated April 30, 1724, Bach’s only repeat in the first cycle for the Sundays after Easter. The other Jubilate cantatas are: BWV 103, “Ihr werdet weinen und heulen” (Ye shall weep and howl) [John 16:20] (Mariane von Ziegler text, Leipzig, 4/22/1725); repeated 4/15/1731. *BWV 146, “Wir müsen durch viel Trübsal in das Reich Gottes eingehen” (We must through much tribulation into the Kingdom of God enter) [Acts 14:22] (?Picander text; Leipzig, 5/12/1726 or 5/18/1728). *JLB 8, “Die mit Tränen säen” (That with tears seen) [Psalm 126:4-6] (Leipzig 5/12/1726 [uncertain] c.1743-46) (Prince Ernst of Meiningen/Rudolstadt text). Cantata BWV 150, “Nach dir, Herr, verlanget mich” (For you, Lord, is my longing, Psalm 25:1), April 29, 1708 or earlier, is appropriate for Jubilate Sunday, says Petzoldt (Ibid.).
The joyous closing chorales are: Cantata 12, "Weinen, klagen," No. 6 tenor aria, trumpet melody, “Jesu, meine Freude” (Jesus, my joy), and No. 7 plain chorale, melody “Was Gott tut, das ist wohlgetan . . . dabei will ich verblieben” (What God does, that is well-done . . . Thereon shall I rest) = 69a/6 Tr. 12. 103/6 chorale text Paul Gerhardt 1653 “Barmherzger Vater, höchster Gott” (Merciful Father, highest God); Cantata 103/6 melody “Was mein Gott will” (What my God wills), Mariuane von Ziegler 1725 text; Cantata 146/ plain chorale, No. 8, text “Lasset ab von eurer Tränen” (Leave off your tears), 1728 Picander text, and melody "Werde munter, mein Gemüte” (Become cheerful, my spirit); and Cantata JLB 8,1726, No. 8, chorale, “Komm her zu mir, spricht Gottes Sohn” (Come here to me, speaks God’s Son), Rudolstadt text.
The opening Introit antiphon, “Make a joyful noise,” and Psalm are the beginning of Psalm 66:1-2: “Jubilate Deo” (Be joyful in God all ye lands; sing the glory of his name and praise; how awesome are your deeds, through your great power your enemies submit). The Jubilate readings are: Epistle: 1 Peter 2: 1-20 Suffer patiently for well-doing, and the gospel, John 16: 16-23 Now you have sorrow, but your heart shall rejoice (http://www.bach-cantatas.com/Read/Jubilate.htm). The Jubilate service began with the Introit Psalm 100, Jubilate Deo omnis terra, alleluia (Make a joyful noise unto the Lord, all ye lands, https://www.biblegateway.com/passage/?search=Psalm+100&version=KJV), Jubilate Motets & Chorales (Douglas Cowling): Introit: “Jubilate Deo” (LU 821); Motet: “Jubilate Deo Omnis Terra”; Hymn de Tempore: “Christ Lag in Todesbanden”; Pulpit Hymn: “Christ ist Erstanden”; Hymns for Chancel, Communion & Closing: “Erscheinen ist der Herrlichen Tag.” Undesignated Cantata BWV 150, “Nach dir, Herr, verlanget mich” (For you, Lord, is my longing, Psalm 25:1, http://www.bach-cantatas.com/BWV150-D6.htm), April 29, 1708 or earlier, is appropriate for Jubilate Sunday, says Martin Petzoldt.6
The theme reflecting sorrow at Christ’s death and joy at his resurrection is based on the service Gospel reading, John 16:16-23, “Jesus’ Farewell,” in Jesus’ Farewell Discourses to his disciples in John’s Gospel, Chapters 14-17. It is the first of four Discourses used as the Gospel readings for the final four Sundays After Easter: Jubilate [3rd Sunday after Easter, "Make a joyful noise"], John 16:16-23 Christ’s Farewell; Cantate [4th Sunday after Easter, "Sing"], John 16: 5-15, Work of the Spirit; Rogate [5th Sunday after Easter, "Pray"], John 16:23-30, Christ’s Promise to the Disciples; Exaudi [6th Sunday after Easter, "Hear"], John 15: 26-16: 4, Spirit will come. The Pentecost Gospel is the last of the five unique Jesus’ farewell discourses to his disciples in John’s gospel, Chapters 14-16; Whit Sunday [1st Day of Pentecost], John 14: 23-31 "Promise of the Paraclete" as "The Gift of Peace."
Cantate, 4th Sunday after Easter
For the 4th Sunday after Easter, known as Cantate Sunday, Bach in Leipzig reduced his workload to two extant intimate solo cantatas, BWV 166, "Wo gehest du hin?" (Where are you going?, John 16:5; https://en.wikipedia.org/wiki/Wo_gehest_du_hin%3F_BWV_166), and BWV 108, "Es ist euch gut, daß ich hingehe" (It is expedient that I should go away, John 16:7; https://en.wikipedia.org/wiki/Es_ist_euch_gut,_daß_ich_hingehe,_BWV_108), as well as another cantata of his Meiningen cousin Johann Ludwig Bach (JLB 14), all three presented within a three-year period, 1724-26 (http://www.bach-cantatas.com/LCY/Kantate.htm). Liturgically, the day's gospel of John's Farewell Discourse (16:5-15, It is expedient that I go away) presents a transitional concept of the pending Ascension of Jesus and the coming of the Holy Spirit as Comforter. This is reflected in the choice of chorales for this Sunday in Bach's time. While the Easter festival hymns in the NLGB are appropriate, others for the Ascension and Pentecost may be sung. Bach responds by using Paul Gerhardt's "Gott Vater, sende deinen Geist" (God our Father, send your spirit, see details below) closing Cantata 108, Stanza 10, “Dein Geist, den Gott vom Himmel gibt” (Your Spirit, which God gives from heaven). Cantatas 166 and JLB 14 use thematic-related Jesus hymns. The other Cantate readings is the Epistle, James 1:17-21 “Every good gift is from above” http://www.bach-cantatas.com/Read/Cantate.htm (alluded to in Cantata JLB 14). Cantate Sunday is derived from Cantate Domino (Sing to the Lord) from the Introit Motet, Psalm 98:1: “O sing unto the Lord a new song; forhe hath done marvelous things” (https://www.biblegateway.com/passage/?search=Psalm+98&version=KJV).
In 1724 Cantata 166, Bach used two thematically-related chorales with popular melodies: the central (no. 3) chorale aria, Stanza 3 “Ich bitte dich, Herr Jesu Christ, / Halt mich bei den Gedanken” (I ask you, Lord Jesus Christ, / keep me in your thoughts), fBartolomäus Ringwaldt’s 1582 “Herr Jesu Christ, ich weiß gar wohl” (HJC, I know Thee quite well), set to the anonymous 1597 melody “Herr Jesu Christ, du höchstes Gut” (HJC, Thou Highest Good), and the closing plain chorale (No. 6), Ämilie Juliane, Count of Schwartzburg-Rudolstadt, 12-stanza 1688 chorale text, “Wer weiß, wie nahe mir mein Ende” (Who knows how near to me is my end?), to the possible Georg Neumark melody “Wer nur den lieben Gott laßt wahlten” (Who only lets the dear God govern).
Cantata 108 closes with a setting of “Gott Vater, sende deinen Geist,” the Paul Gerhardt 16-stanza, six line (AABCBC) pietist chorale is listed in the Dresden hymnbooks "specifically" for Cantate Sunday, says Stiller (Ibid.: 241). It is listed in the Dresdner Gesangbuch 1725 for Cantate and Exaudi Sundays, says Pezoldt (Ibid.: 858). It was first published in the 1653 (Berlin) edition of Johann Crüger’s Praxis Pietatis Melica, to a melody by Crüger, “Den Herren meine Seel’ erhebt.” Bach follows general use in associating the hymn with the tune “Kommt her zu mir,” as it appeared first in Gerhardt’s Geistliche Andachten (Berlin, 1667). “Gott Vater, sende deinen Geist” also closes Bach’s Pentecost Sunday chorus Cantata BWV 74, “Wer mich liebet, der wird mein Wort halten” (Whoever loves me will keep my word, John 14:23), premiered four weeks after Cantata 108, on 20 May 1725, Stanza 2, “Kein Menschenkind hier auf der Erd / Ist dieser edlen Gabe wert” (No human being here on earth / is worthy of this noble gift), music settings https://www.youtube.com/watch?v=mEjh0j8KHv8. The Gerhardt text and Francis Browne English translation are found at BCW http://www.bach-cantatas.com/Texts/Chorale096-Eng3.htm. Bach also used another Gerhardt hymn designated for Cantate Sunday, “Wach auf, mein Herz, und singe” (Awake my heart and sing, https://www.youtube.com/watch?v=m8AoE7sDCzU), in Cantata 194, “Höchsterwünschtes Freudenfest” (Most greatly longed for feast of joy), for Trinityfest 1724, 1726, and 1731. The Gerhardt (1607-1676) BCW Biography is found at http://www.bach-cantatas.com/Lib/Gerhardt.htm.
Rogate Sunday
The Sunday preceding the feast of the Ascension, called Rogate, was both Martin Luther's focus on prayer, replacing the spring procession into prepared fields for God's blessing, as well as petitioning the Father that the incarnate Son, Jesus Christ, who came from and would return to God in the Great Parabola, would change sorrow into eternal joy. The title, “Sonntag Rogate” or 5th Sunday after Easter does not come from the introit. It is a reference to the traditional pre-Reformation Rogation Litany (Intercessory Prayer) of the saints (https://en.wikipedia.org/wiki/Rogation_days#Minor_Rogations), suppressed by Luther and turned into the "Supplication Week" of prayer. The theme of “asking” ("rogate," "redirect" or "petition") appears in the Gospel reading (John 16:23–30, Farewell Discourse, beginning, "And in that day ye shall ask me nothing."
In Bach's time, the Gospel for the Fifth Sunday after Easter, John 16:23-30, is known as a “Prayer in the name of Jesus” in “Christ’s Promise to the Disciples.” It is the third, or valedictory address, of five Sunday Christ Farewell Discourses used as the Gospel readings from the 12 discourses in John’s Gospel, Chapters 14 and 16, for the Sundays of Jubilate, Cantate, Rogate, Exaudi, and Trinityfest in Bach’s time. The Rogate Epistle reading is James 1:22-27, emphasizing “Hearing and doing” (http://www.bach-cantatas.com/Read/Rogate.htm. The Rogate Collect communal prayer is based on Galacian chant: "O God, all good things come from you. Inspire your humble servants to think those things that are right, and guide and empower us to do them" (The Historic Collects, https://acollectionofprayers.files.wordpress.com/2016/08/the-historic-collects.pdf).
The opening introit polyphonic setting used Psalm 50, Deus deorum (The mighty God, KJV), or Psalm 34, Benedicam Dominum (I will bless the Lord, KJV), says Petzoldt (Ibid.: 811). He calls the former “observing God’s service” and the latter as “notes of thanks for God’s friendliness.” The full texts are found at http://www.kingjamesbibleonline.org/Psalms-Chapter-50/ and http://www.christiananswers.net/bible/psa34.html.
Rogate Sunday "procession to the fields is usually traced back to Mamertus, Bishop in Vienna in 452, who, because of pestilence and famine, made this Sunday and the following days the occasion for solemn petitions," says Paul Zeller Strodach.7 It is reminiscent of Psalm 126:4, “Die mit Tränen säen / werden mit Freuden ernten” (Who has sorrow planting reaps then rejoicing), the dictum of Johann Ludwig Bach's Jubilate Cantata JLB 8, which Bach presented in 1726. The emphases in Bach's time, which had experienced plague and the ravages of the Thirty Year's War (1618-48) and its aftermath, were based on the Gospel verse 28, "I came forth from the Father, and am come into the world: again, I leave the world, and go to the Father," and the Epistle, James 1:22, "But be ye doers of the word, and not hearers only . . . ."
Bach's NLGB of 1682 lists the following Easter festival chorales for Rogate: Hymn de Tempore, “Christ Lag in Todesbanden”; Pulpit Hymn, “Christ ist Erstanden,” and Hymns for Chancel, Communion & Closing, “Vater Unser in Himmelreich," NLGB No. 175, Catechism. In the later Sundays of the Easter period, a variety of chorales is appropriate, from the Easter festival to hymns with thematic emphases on the day's Gospel, to Ascension-related chorales of Jesus Christ returning to the Father. One in particular is the old Easter song, "Es ist das Heil uns kommen her" (Salvation has come to us) while others are topical hymns, especially under the rubric, Cross & Persecution, related to the Doctrine of Justification and Theology of the Cross, inferred in the Rogate liturgical readings. Another related Easter song is “Komm her zu mir, spricht Gottes Sohn” (Come here to me, said God’s Son, http://www.bach-cantatas.com/Texts/Chorale095-Eng3.htm). The related Rogate chants are: Introit Vocem Jucunditatis (Voice of Joy, https://www.youtube.com/watch?v=hP7ii4451Oo); also Allelujah Exivi a Patre (Came and went from his father, https://www.youtube.com/watch?v=qKvmTCbwoes), Pater Noster (Our father, https://www.youtube.com/watch?v=1hWE52zsOaA), and Oremus Praeceptis (Let us pray, https://www.sanctamissa.org/en/tutorial/ordo-missae-5.html).
Bach composed two Rogate Cantatas based on the day's gospel: "Wahrlich, wahrlich, ich sage euch" (Truly, truly, I say to you, John 16:23), BWV BWV 86, 1724, and BWV 87, "Bisher habt ihr nichts gebeten in meinem Namon" (Until now you have asked nothing in my name, John 16:24), 1725. Cantata 87 moves from sorrow to joy, with two undesignated (hybrid aria-arioso) Vox Christi bass solos of mottos from the Gospel of John 16:23-30, the Farewell Discourse: the initial dictum (verse 24), and Movement 5 (Verse 33), “In the world you will have anguish” (http://www.bach-cantatas.com/Texts/BWV87-Eng3.htm, http://www.bach-cantatas.com/BWV87-D4.htm). Cantata 87 closes (No. 7) wHeinrich Müller’s 1659 BAR Form song of praise chorale, “Selig ist die Seele” (Blessed is the Soul), with closing Stanza 9, “Must I be troubled?” (http://www.bach-chorales.com/BWV0087_7.htm).8 Bach harmonized it to the associated Johann Crüger (1653) popular melody (Zahn 8032), “Jesu, meine Freude” (Jesus, my joy, http://www.bach-cantatas.com/CM/Jesu-meine-Freude.htm, https://www.youtube.com/watch?v=PqBMP0J0-Ag). The Müller nine 10-line (AABCCDEEFF) chorale was first published in Geistliche Seeln Musik (Rostock 1659). The pietist melody "Jesu, meine Freude" is found in the NLGB as No. 301, Cross & Persecution, in the Weimar Orgelbuchlein as No. 610, Christmas, prelude BWV 610, and in the Schmelli Gesangbuch (Leipzig 1736) as No. 744, Joyful Jesus Song, while “Selig ist die Seele” is found in the Schmelli Gesangbuch as No. 709, Love & Longing for Jesus.
Two other cantata texts for Rogate were readily accessible to Bach. The Rudolstadt libretto book of 1726 has the text for a presumed lost Johann Ludwig Bach Cantata, “Der Herr is nahe allen” (The Lord is near all, Psalm 145:18), which Sebastian may have performed on May 26, 1726, but does not survive. Later, Bach student Gottfried August Homilius composed a cantata with the same incipit, “Der Herr is nahe allen” (EG 326), closing with the nine-stanza 1675 pietist hymn "Sei Lob und Ehr dem höchsten Gut!" (Let there be praise and honour for the highest good), Stanza 5, "Der Herr ist noch und nimmer nicht / von seinem Volk geschieden" (The Lord is not and never has been / separated from his people), Schmelli Gesangbuch No. 824, Praise & Thanks song. A Picander Cycle text P 35 exists for 15 May 1729, “Ich schrei laut mit meiner Stimme (I shout aloud with my voice), but no music or parody has been found https://archive.org/stream/bub_gb_GSJLAAAAcAAJ#page/n156/mode/1up. It closes with the Johann Heermann's 1630 "Treuer Gott, ich muß dir klagen" (Faithful God, I must lament to you, http://www.bach-cantatas.com/Texts/Chorale032-Eng3.htm), Stanza 3, "O mein Gott, vor den ich trete" (O my God, before whom I come), set to the Louis Bourgeois 1550 Psalm 42 paraphrase melody, "Freu dich sehr, o meine Seele" (Rejoice greatly, o my soul), Bach uses, http://www.bach-cantatas.com/CM/Freu-dich-sehr.htm. The Heermann chorale is found in the NLGB as No. 297, Cross & Persecution, and in the Schmelli Gesangbuch as No. 100, Penitential Song, both thematic categories appropriate for Rogate. Bach set the 6th and 7th Stanzas of Heerman's text as a pain chorale (http://www.bach-chorales.com/BWV0194_6.htm), closing Cantata 194, "Höchsterwünschtes Freudenfest" (Most greatly longed for feast of joy), for Trinityfest 1724/26/31.
In addition there is a slight possibility that Bach on Rogate Sunday between 1728 and 1731 may have premiered his undesignated per omnes versus chorale Cantata, BWV 117, "Sei Lob und Ehr dem höchsten Gut!" (Let there be praise and honour for the highest good, http://www.bach-cantatas.com/Texts/Chorale019-Eng3.htm), with its anonymous, pre-Reformation Easter melody, "Es ist das Heil uns kommen her" (Salvation has come to us, http://www.bach-cantatas.com/CM/Es-ist-das-Heil.htm) on Rogate Sunday, particularly 29 April 1731, when he mostly presented previous works from his Cycles 1 and 3, for the Easter Season. It also is possible that Bach reperformed this Easter 1731 Easter cycle in 1735 when he introduced the unique Ascension Oratorio, BWV 11, possibly followed by the lost Pentecost Oratorio, BWV deest.
Exaudi Sunday (Last in Easter)
Bach's Leipzig performance schedule for the last Sunday (6th) in Easter, called Exaudi, as well as the next Sunday's three-day Pentecost festival, shows a scarcity of original works. Like the preceding two Sundays in Easter, Cantate and Rogate, Bach composed only two original works for Exaudi, probably because he was completing the school year at the Thomas School as cantor. The two extant Cantatas are BWV 44 in 1724 and BWV 183 in 1725, for the first and third church-year cycles — both with the same Gospel cautionary dictum, John 16:2, “Sie werden euch in den Bann tun" (They will put you under a ban), his Farewell Discourse to his disciples that they would be shunned from the temple. Beyond the focus on Jesus' final, stern warning to his disciples, Exaudi also emphasized the expectation of the coming of the Holy Spirit on Pentecost Sunday as the birthday of the Church and its half season (omnes tempore, Ordinary Time) of teachings, as well as the blessing of baptismal waters signifying the coming of the disciples' baptism with the spirit on Pentecost Sunday, as Jesus promised them in Acts 1:5).
Meanwhile, as an Exaudi contrast, it is quite possible that Bach began composing a chorale Cantata BWV 97, "In allen meinen taten" (In all my doings), for Exaudi Sunday 1725, the beginning of a 10-year odyssey, borrowing material from Köthen for an opening chorus and tenor aria. He then set two movements aside until 1731 when he added a series of recitative-aria-recitative and closing chorale (? BWV 392) for Exaudi 1731 as part of mostly repeats for Easter Season following the premiere of the St. Mark Passion, BWV 247. Later, Bach set all nine versus, with three more progressive arias, totaling 26 minutes) as a pure-hymn cantata in 1734 for a special festive event, then possibly performed it again the next year at Exaudi Sunday (May 22, 1735) in between the Ascension Oratorio and a lost, possible Pentecost Oratorio. John Elliot Gardiner appropriately presented this cantata during his 2000 Bach Cantata Pilgrimage to conclude the 5th Sunday after Easter (Rogate).
Exaudi Sunday comes from the first word of the Introit opening: "Hear, O Lord, when I cry with my voice (Psalm 27, A Prayer of Praise; verse 7). This Sunday, following Ascension Thursday, centers on the Disciples' waiting for the Holy Spirit to come and is a brief time of expectation. The Gospel, John 15: 26-16: 4, has the theme "The Spirit (Helper, Comforter) will come" followed by Christ's warning that his disciples will be expelled from the synagogues. It is the penultimate Farewell Discourse of Jesus to his Disciples (John's Gospel, Chapters 14-16. The day's Gospel reading is divided into two sections: 15:26-27, "The Witness of the Paraclete" (advocate, intercessor), and 16:1-4, "Persecutions." These discourses are virtually unique to John's Gospel, although Jesus warned his disciples earlier in the synoptic gospels to be careful what they said in public and to avoid the synagogues. Exaudi comes from the first word of the Introit opening: "Hear, O Lord, when I cry with my voice (Psalm 27, A Prayer of Praise; verse 7).
Bach closes Cantata 183 affirmatively with the plain chorale, "Zeuch ein zu deinen Toren" (Move into thy gates), Paul Gerhardt's 1653 12-stanza Pentecost text set to the Paul Figulus 1580 festive New Year' melody, "Helft mir Gotts Güte preisen" (Help me God's goodness praise). Bach sets Gerhardt's fifth stanza, "Du bist ein Geist, der lehret" (You are the spirit that teaches), Cantata 183 details, http://www.bach-cantatas.com/BWV183-D5.htm. Cantata 44 has a tenor chorale aria, No. 4, "Ach Gott, wie manches Herzeleid" (Ah God, how many a heart-sorrow), Stanza 1 of Martin Moller's 1587 18-stanza chorale text, set to the Seth Calvesius 1694 melody, "O [Herr] Jesu Christ, meins Lebens Licht (Lord Jesu Christ, my life's light), based on the melody "Rex Christe factor omnium," a chant of praise and affirmation. Moller's text isa free paraphrase of Bernard of Clairvaulx's 12th century "Jesu dulcis memoria, some 42-53 verses, for the Office (vespers or lauds) of the Feast of the Holy Name of Jesus, the Sunday After New Year, on January 2/3. The text and Francis Browne’s English translation are found at BCW http://www.bach-cantatas.com/Texts/Chorale065-Eng3.htm. Information on the melody is found at http://www.bach-cantatas.com/CM/Herr-Jesu-Christ-meins-Lebens-Licht.htm.
Closing Cantata 44 (no. 7) is the plain chorale setting of the closing stanza, "So sei nun, Seele, deine" (So be now, soul, thine) of Paul Flemming's 1642 nine-verse chorale, "In allen meinen taten," set to Paul Gerhardt's 1648 Passion melody, "O Welt, ich muss dich lassen" (O world, I must leave theeLater Bach set the same stanza and text to close solo Cantata 13, "Meine Seufzer, meine Tränen" (My sighs, my tears), for the Second Sunday After Epiphany, June 20, 1726 in the third cycle. The full text of "In allen meinen taten" (EKG 292) is found in Francis Browne’s BCW English translation, http://www.bach-cantatas.com/Texts/Chorale100-Eng3.htm. Details of the melody "O Welt, ich muss dich lassen" (Zahn 2293b), are found at BCW http://www.bach-cantatas.com/CM/O-Welt-ich-muss.htm. The Fleming (1609-40) BCW Short Biography is found at http://www.bach-cantatas.com/Lib/Fleming.htm.
This Sunday, following Ascension Thursday, centers on the Disciples' waiting for the Holy Spirit to come and is a brief time of expectation. The Gospel, John 15: 26 -16: 4, has the theme "The Spirit (Helper, Comforter) will come" followed by Christ's warning that the Disciples will be expelled from the synagogues. It is the penultimate Farewell Discourse of Jesus to his Disciples (John's Gospel, Chapters 14-16. The day's Johannine Gospel reading is divided into two sections: 15:26-27, "The Witness of the Paraclete" (advocate, intercessor), and 16:1-4, Persecutions. These discourses are virtually unique to John's Gospel, although Jesus warned his disciples earlier in the gospels to be careful what they said in public and to avoid the synagogues. The related Epistle for Exaudi is 1 Peter 4:8-11, “Minister to one another, each according to the gift he has received.” The German and English (KJV) texts for the Gospel and Epistle are found at BCW http://www.bach-cantatas.com/Read/Exaudi.htm. The Exaudi Introit opening Psalms are Psalm 27, Dominus illuminatio, “The Lord is my light (KJV), and Psalm 143, Domine, exaudi, “Hear my prayer, O Lord (KJV), according to Petzoldt (Ibid.: 939). Petzoldt describes Psalm 27 as “trust and pleasure in God and his word” and Psalm 143 as a “penitential prayer on the turning away of the ill-tempered, and the attainment of good.” The full KJV texts of the two psalms is found at http://biblehub.com/kjv/psalms/27-1.htm and http://biblehub.com/kjv/psalms/143-1.htm. The Sunday After Ascension Motet and Chorale Musical Context, according to Douglas Cowling (BCW) is: Introit: "Exaudi Domine" (LU854); Motet: "Deus Adjutor Fortis"; "Exaudiet Te Dominus"; Hymn de Tempore: "Nun Freut Euch, Gottes Kinder"; Pulpit Hymn: "Christ fuhr gen Himmel"; and Hymns for Chancel, Communion & Closing: "Zeuch ein zu Thoren," in the motet collection and NLGB Bach hymn book. Cowling adds (December 25, 2010): “All Bach's motet collection appears only to have contained polyphonic "stile antico" motets by French composers, the text was used in several large scale grand motets in the 17th and 18th centuries. Here's Campra's setting of the text [Exaudiet Te Dominus] in a superb performance by William Christie: http://www.youtube.com/watch?v=b02WtXB_Xxk. Is there any evidence of Bach knowing this kind of repertoire? He certainly knew the orchestral and keyboard music” (BCML Cantata 44, Discussion Part 3, http://www.bach-cantatas.com/BWV44-D3.htm).
Bach’s 1725 Johannine cantatas from Exaudi Sunday through Trinity Sunday, the end of the de tempore first half of the church year, involve “the reappearance of many of the themes of the cantatas for earlier weeks in the season,” says Chafe (Ibid.: 509). The themes are “worldly persecution, Jesus’s protection of the faithful, anticipation of the Holy Spirit, prayer.” The work of the Holy Spirit, as Luther emphasized and Chafe point out, “is bounded up with inner conflict,” particularly in the believer’s struggle with personal infirmity (Acts 8:26). Luther’s solution is the “acceptance of worldly suffering and conflict, as the will of God.” Where Cantata 44 the previous year also begins with the disciples being shunned and expressed in the chorus’s lamentation, Cantata 128 moves on to the theme of the actually experience of the Holy Spirit in place of the ascended Jesus Christ.
"Zeuch ein zu deinen Toren" is a Pentecost hymn that is listed as the first of four assigned to Exaudi in the Leipzig hymn books of Bach's time, says Stiller (Ibid.: 241). Gerhardt’s 12-stanza Pentecost hymn is found in the Dresdener Gesangbuch 1725/1736 as No. 185 and in the de tempore section of the Leipzig hymnbooks of 1734 for Exaudi Sunday, says Petzoldt (Ibid.: 952). It was first published in the Berlin (1653) edition of Crüger’s Praxis Pietatis Melica, to its own melody, says Charles S. Terry,9 and is also set in the hymn books to the tune “Von Gott will ich nicht lassen.” It is listed as “Zieh” instead of “Zeuch” in the Gerhardt Register über Zuordnung der Lieder zu den Sonn- und Feiertagen des Kirchenjahres, No. 29 for Pentecost Sunday, along with “Gott Vater, sende deinen Geist,” No. 31, and “Also hat Gott die Welt geliebt,” No. 25. Bach’s stanza setting is No. 5 in a 16-stanza version (EKB 105), http://www.zeno.org/Literatur/M/Gerhardt,+Paul/Gedichte/Gedichte/Zeuch+ein+zu+deinen+Toren. The associated melody is usually attributed as Wolfgang Figulus’ 1525 “Helft mir Gott's Güte preisen” (Help me to praise God's goodness (Zahn 5267), set to the 1580 New Year’s text of Paul Eber as found in Das neu Leipziger Gesangbuch of 1682 as NLGB No. 45. Bach’s possible melody source is the 1715 Gotha Hymnal, with more information on the melody, text variants, and Bach’s uses at BCW http://www.bach-cantatas.com/CM/Helft-mir-Gottes-Gute-preisen.htm. |
