Bach Texts as Cantata Mini-Cycles

William L. Hoffman wrote (January 9, 2021):
From his earliest sacred compositions, the actual text was a significant, defining factor, supported by imaginatively idiomatic music. This caused Bach to give considerable thought to the madrigalian poetry of arias and recitatives complementing the surrounding, often introductory biblical dictum chorus and ubiquitous closing chorale. Consequently, Bach continually explored old published cantata cycle texts while searching for convenient local poets, pastors, and students to provide new, appropriate lyrics. In particular, the pragmatic Leipzig cantor notably sought poetry, both rhymed and free-verse, that embodied Lutheran theology and biblical commentary as found in his personal library while expressing indigenous local interests, conventions, and practices. These enabled Bach to set appropriate music to inspiring texts particularly in his cantatas as musical sermons. The pragmatic Bach also observed local proscriptions requiring prior Town Council approval, chafing under dogmatic oversight, while engaging in continual conversation with his personal pastor, Christian Weise (Weiss) Sr. (https://www.bach-cantatas.com/Lib/Weiss-Christian.htm), and in collaboration increasingly with the utilitarian local poet and emissary Christian Friedrich Henrici, pen name Picander (https://www.bach-cantatas.com/Lib/Picander.htm). The result, particularly in his third and final full cycle, was a wide-ranging, contrasting, imaginative collection of distinctive mini-cycles.

Bach's selective cantatas were quite a contrast to prolific colleagues such as Georg Philipp Telemann in Hamburg (https://www.bach-cantatas.com/Lib/Telemann-Georg-Philipp.htm), Johann Friedrich Fasch in Zerbst (https://www.bach-cantatas.com/Lib/Fasch-Johann-Friedrich.htm), Christoph Graupner in Darmstadt (https://www.bach-cantatas.com/Lib/Graupner-Christoph.htm), and Gottfried Heinrich Stölzel in Gotha (https://www.bach-cantatas.com/Lib/Stolzel-Gottfried-Heinrich.htm). Among the distinguishing features of Bach's three cantata cycles are: textual, stylistic, and innovative elements in blending of ecclesiastical and operatic devices such as the Vox Christi/Domini and allegorical characters in duets, the troping of hymns with recitatives, and the use of pastorale dance forms in good shepherd works; the great biblical text choruses that open many of the cantatas from Cycle 1 as one of its defining features; the closing congregational plain chorale begun in Weimar as well as elaborate interludes and obbligato instruments as well as the blending of different chorales in one cantata; the internal alternating and combining of secular-influence madrigalian texts (recitatives, arias, ariosi); the use of concerto style as well as arresting musical images in the arias; and the high incidence of dance rhythms.

Musical Structures, Literary Conventions, Messages

From his earliest proto-cantatas onward, Bach sought to perfect various structural forms, functional literary conventions, and conveyed messages. The earliest cantatas, known as concertos, motets, or church pieces, were a collection for special church services of joy (weddings [BWV 196, 224], town council installations [BWV 71, 1138.1, 1138.2 (?143, 21]) or sorrow (penitential, funeral, memorial [BWV 233a, 106, 131]). The sorrow "cantatas" are a template of certain literary conventions such as the liturgical use of the Latin Kyrie (BWV 233a, https://www.youtube.com/watch?v=1BwPSI6P_zs), chorale tropes with Psalms (BWV 131/2, 4, https://www.bachvereniging.nl/en/bwv/bwv-131/) within a full Psalm 130 (de Profundis) setting, and the multi-faceted BWV 106 (https://www.youtube.com/watch?v=snqxsCFY48U), which includes a concerted opening Sonatina (Molto Adagio) in the Italian style, and a mini-Passion setting from Luke, "Into thy hands I commend my spirit" (BWV 106/3a, Lk. 23:46) and "Thou shalt be with me today in Paradise" (BWV106/3b, Lk. 23:43) which is a mystical dialogue between Jesus (bass, vox Christi) and the soul (alto) singing Simeon's canticle, "Mit Fried und Freud" (With peace and joy). This unio mystica (mystical union), Jesus' perpetual, spiritual indwelling in the believer’s heart (inhabitatio), would be portrayed in numerous Bach cantatas, including Weimar Christmas Cantata 152 (https://www.youtube.com/watch?v=p7h3NlIAVVo), Pentecost Cantata 172 (https://www.youtube.com/watch?v=I5X89TsW4To), and Cantata 162 (https://www.youtube.com/watch?v=O513-KYNY8s), the first of three cantatas (BWV 162/5, 180/2, dialogue Cantata 49/2,3,6 [https://www.youtube.com/watch?v=A1WnUy3DEYQ]) for the 20th Sunday after Trinity. Pentecost Cantata 172, 59, and 74 "describe the Holy Spirit's entry into the faithful Christian in metaphors drawn from mysticism and the Song of Songs (Old Testament book, https://en.wikipedia.org/wiki/Song_of_Songs), says Isabella van Elferen.¹

Dialogue Solo Cantatas

Most prominent among the some three dozen Bach vocal works are the six designated dialogue solo cantatas for soprano and bass (BWV 32, 49, 57, 58, 59, 152; http://www.bach-cantatas.com/Topics/Dialogue-Cantatas.htm, http://bach-cantatas.com/Order-2014.htm: "Solo Cantatas for Soprano & Bass") as well as BWV 60 (Dialogus) for alto (Fear), tenor (hope), and bass (Christus). The dialogue form was quite popular in 17^th century Germany, particularly among certain composers, including members of the Bach family. The Jesus-Soul dialogue “derives from the Song of Solomon where, according to Christian interpretation, the bridegroom is identified with Jesus (or God or the Holy Spirit) and the bride with the Faithful Soul (or the Church or the congregation),” says Richard D. P. Jones.² Andreas Hammerschmidt, J. R. Ahle, and W. C. Briegel “all published collections of such [biblical epic] dialogues from 1645 onwards,” says Jones. Also, Heinrich Schütz and Buxtehude each produced six compositions each. About 1676-79, members of the Bach Family produced thee sacred dialogue concertos that Sebastian Bach preserved in his Alt Bachisches Archiv of music from the Bach Family: the Johann Michael Bach (1648-1694) 1676 “Liebster Jesu, hör mein Flehen” (Dearest Jesus, hear my supplication), a Dialogue for the Second Sunday in Lent (Reminiscere), and Johann Christoph Bach (1642-1703) undesignated 1676 Dialogue, “Herr, wende dich und sei mir Gnädig” (Lord, turn and be merciful to me, Job 11:16), as well as an extensive and influential Bach family wedding work, Meine Freundin, du bist schön (My love, your are fair), based on the Song of Solomon.

Oratorio Passion Settings, Motets

After Cantata 152 in Weimar, Bach set various vox Christi bass voice monologue arias, ariosi and recitatives, in the manner of oratorio Passion settings, usually using biblical quotations or paraphrases, in numerous sacred cantatas (https://en.wikipedia.org/wiki/Vox_Christi). In the dialogue arias and cantatas Bach “seems very much at home in attempting a compromise between traditional ecclesiastical and modern, secular styles,” observes Jones (Ibid.: 218). Bach'sPassion settings of John and Matthew use both the traditional biblical narrative and the “highly secularized, theatrical Passion-oratorio cultivated by Brockes, Hunold, and others,” says Jones. Two types of Bach Passion dialogues are the bass arias with chorus in the St. John Passion, No. 24 “Eilt, ihr angefochtnen Seelen” (Hurry, you tormented souls, https://www.youtube.com/watch?v=gcYQE_ZGfZI) and No. 32 “Mein truer Heiland” (My beloved Saviour, https://www.youtube.com/watch?v=orXuLfPS8T0), and contrasting choirs in the St. Matthew Passion (No. 1 https://www.youtube.com/watch?v=RnkSFKJ4rC0), and No. 60, "Sehet, Jesus hat die Hand" (See Jesus had stretched out his hands, https://www.youtube.com/watch?v=3y6aLKD06_k). Expressions of love for Jesus are found in No. 13, "Ich will dir mein Herze schenken" (I shall give my heart to you, https://www.youtube.com/watch?v=QYi1E1dkth0), and No. 49, "Aus Liebe will mein Heiland sterben" (Out of love my saviour is willing to die, https://www.youtube.com/watch?v=-88ZpkYssf0). "The emphasis on the emotional significance of this love sacrifice for the individual believer is typical of Lutheran devotion and makes this aria [No. 49] the theological core" of the St. Matthew Passion, says Elferen (Ibid.: 288). Bach also makes references to mystical dialogue in his Leipzig motets, BWV 227, "Jesu, meine Freude" (Jesus, my joy, http://www.bach-cantatas.com/VD/BWV227.htm: "Discussions in the Week of June 19, 2016 (4th round)"; BWV 228, "Fürchte dich nicht, ich bin bei dir" (Do not fear, I am with you, http://www.bach-cantatas.com/VD/BWV228.htm: "Motet BWV 228, `Fürchte dich nicht,' & Chorale"); and BWV 229, "Komm Jesu, Komm" (Come, Jesus, come).

Bach's Dramatic Music

A "mystical dialogue between an allegorical Jesus and the human soul was not strange or awkward in the works of Bach," says Robert-Jan van der Meer.³ "It was a well known theological topic in Bach's works." The theatrical element is first found in Bach's Cöthen serenades with symbolic characters which Bach parodied as sacred feast day cantatas in Leipzig in 1724 (BWV 66 [https://www.youtube.com/watch?v=qFlTRAhCav8] and 134 [https://www.youtube.com/watch?v=HW63EPFPKZs]). Later in Leipzig are three profane drammi per musica with dialogues: BWV 201 with mythical characters, and the Coffee Cantata BWV 211 and Peasant Cantata Burlesque BWV 212 with real, human characters. Four cantatas have soprano and bass solos: BWV 81/1,4 (Epiphany 4); 159/1,4 (pre-Lent), 145/1 (Easter Sunday), and 21/7,8 (Trinity 3). The treatment of soprano and bass duets as well as solo love songs are found in the Christmas Oratorio of 1734-35, based on parodied from earlier drammi per musica, BWV 213-215. "The genres of drammi per musica and oratorio were closely related," observes Markus Rathey.⁴ "While the drammi per musica was the smaller relative of opera, the oratorio was the sacred sister of the genre." "In other words, when Bach transferred movements from his drammi per musica to his oratorio, the movements stayed "in the family;" they remained within the realm of the opera-related genres, within the realm of dramatic music."

Symbolic Bride, Bridegroom

Most notable is the transformation from lullaby to love song, particularly from profane Cantata 213, Hercules at the Crossroads. Pleasure's hypnotic song, BWV 213/3, "Schlafe mein Liebster" (Sleep my love, https://www.youtube.com/watch?v=J-f7-aOa3qA, becomes an angelic lullaby, BWV 248/19 (https://www.youtube.com/watch?v=oH5bRBwcRso). Another is the duet based on the Song of Salomon (6:3), also set by Dietrich Buxtehude between the allegorical figures of the Bride and Bridegroom (Faithful Soul and Jesus), BUXWV 111, and Johann Christoph Bach's wedding work (see above). In the Christmas Oratorio (XO), Bach parodies an alto-tenor duet, BWV 213/11, that unashamedly begins with a paraphrase from the Song of Solomon (6:3), “Ich bin deine’ (I am yours), “Du bist meine” (you are mine), https://www.youtube.com/watch?v=TOVg6lHToM0. In Bach’s original, “it is one of the most enticing and erotic moments in all of Bachs music!,” says Rathey (Ibid.: 43). In the XO, BWV 248/29, "Herr, dein Mitleid" (Lord, thy compassion), with two oboi d-amore (https://www.youtube.com/watch?v=9o9x8tshhaU) occurs as the shepherds journey to Bethlehem to see the Christ-child. Another form of love duet in the XO are the three original chorale-recitative dialogues, sung by the soprano with the bass singing a poetic commentary, as Snyder points out. Their incipits are: (no. 7), Soprano, “Er ist auf Erden kommen arm” (He has come on Earth in poverty), bass, “Wer will die Liebe recht erhöhn” (Who will rightly extol the love); No. 38, Bass, “Immanuel, o süßes Wort! / Mein Jesus heißt mein Hort” (Emmanuel, O sweet word! / My Jesus is my refuge), Soprano trope, “Jesu, du mein liebstes Leben, / Meiner Seelen Bräutigam” (Jesus, you who are my dearest life, / My soul's bridegroom); and No. 40, Bass, “Wohlan, dein Name soll allein / In meinem Herzen sein!” (Well then, your name alone / Shall be in my heart), Soprano trope, “ Jesu, meine Freud und Wonne, / Meine Hoffnung, Schatz und Teil” (Jesus, my joy and delight / My hope, treasure and share). Another aria in the secular cantata, BWV 213/7, that quotes scripture, is Virtue's "Auf meinen Flügeln sollst du schweben" (On my wings you will soar aloft, https://www.youtube.com/watch?v=osaOMwQPL3g), a reference to Isaiah 40:31, "they shall mount up with wings as eagles" (KJV).

Vox Dei, Vox Christi, Unio Mystica

Beginning with his initial early sacred proto cantatas, the texts to which Bach set to music biblical quotations are found iin mostly from Old Testament law, as well as Lutheran congregational chorale stanzas reflective of Gospel teachings. The former quotations embodied basic teachings known in music as vox Dei (the voice of God) and vox Christi (the voice of Christ), with the latter bass voice soon united with the alto voice to form the dialogue of unio mystica between Jesus and the Soul (believer, Christian Church) in dialogue found in the closing eschatological (last things) hymns in Das neu Leipziger Gesangbuch of 1682. Bach's guiding Leipzig hymnal ends (https://en.wikipedia.org/wiki/Gottfried_Vopelius) with the categorical rubric, “Death & Dying” (nos. 324-389), which is followed by “Last Days, Resurrection of the Dead, & Eternal Life” (nos. 390 to 396). They are found in the Schemelli Gesangbuch (https://en.wikipedia.org/wiki/Georg_Christian_Schemelli) as "Von Jüngsten Gericht und ewigen Leben" (Eternal Judgement & Eternal Life, nos. 743-762) and are listed in the Weimar Orgelbüchlein (Little Organ Book) Appendix as Justification (nos. 157-164). Bach later set the remaining Orgelbüchlein numbers variously as four Trinity Time chorale cantatas, BWV 26, “Ach wie nichtig, ach wie flüchtig”; BWV 137, “Lobe den Herrn den Mächtigen König” (melody, not in NLGB); BWV 180, “Schmücke dich, O liebe Seele”; and BWV 20, “O Ewigkeit, do Donnerwort”

Third Cantata Cycle Mini-Cycles

In addition to the Mariane Ziegler nine Easter-Petecost cantatas (BWV 103, 108, 87, 128, 183, 74, 68, 175, 176), other mini-cycles in tthird cantata cycle are found composed between 1725 and 1727 to texts of the following librettists: Christoph Birkmann, eight cantatas (BWV 49, 52, 55, 56, 58, 82, 98, 169; https://www.bach-cantatas.com/Lib/Birkmann-Christoph.htm), Georg Christian Lehms, nine cantatas (BWV 13, 16, 32, 35, 57, 110, 151, 170, 1135-Anh. 209; https://www.bach-cantatas.com/Lib/Lehms.htm), Rudolstadt/Meinengen (Helms), seven cantatas (https://www.bach-cantatas.com/Lib/Helm.htm; BWV 17, 39, 43, 45, 88, 102, BWV 187) and Johann Ludwig Bach (substitute 1726, https://www.bach-cantatas.com/Lib/Bach-Johann-Ludwig.htm, JLB 1-19); as well as seven Picander (BWV 19, 157, 84, 30, 249, 145, 36); seven possibly Christian Weiss (BWV 6, 42, 85, 79, 76a, 75a, 1135=Anh. 199); three Salomo Franck (BWV 168, 164, 72); Neumeister, BWV 24, Johann Friedrich Helbig, BWV 47. various (BWV 27). and anonymous (BWV 22, 51).

During the third cantata cycle, Bach transcribed music blending instrumental and vocal music into movements of new cantatas. "Between May and November 1726 Bach wrote six works — Cantatas 146, 170, 35, 47, 169, and 49 — that display a rich array of sinfonias, choruses, and arias calling for organ solo. Almost all of these movements appear to be derived from pre-existing violin and oboe concertos from Bach’s Cothen years (1717-1723)," says George Stauffer.⁵ "Bach seems to have created this new type of church setting as part of his intense interest in novel vocal and instrument combinations, a passion that comes to the fore in the third cantata cycle." The concerted organ-obbligato movements from Bach’s cantatas were arranged in appropriate tonalities and fast-slow-fast sequences (https://en.wikipedia.org/wiki/Reconstruction_of_music_by_Johann_Sebastian_Bach) to produce three Bach organ concerto reconstructions: Concerto No. 8 in D minor, BWV 1059 (BWV 35/1 156/1 or 35/2, 35/5); Concerto No. 2 in D Major, BWV 1053 (169/1,5, 49/1); and Concerto No. 1 in D minor, BWV 1052 (from BWV 146/1,2 and BWV 188/1). Putative modern concerto reconstructions include: Recorder Concerto in G Major (arias from BWV 215/3, and 32/1,5), Organ Concerto in D minor (BWV 1052/1, 146/2, 188/1), Viola Concerto in G Major (BWV 1053), Three Violin Concertos in D Major (BWV 1064), Concerto for Oboe d'Amore in B minor (BWV 209/1,3/5), Concerto for Cor Anglais in E-flat Major (BWV 54), Concerti for Oboe (BWV 105/5, 170/1,4, 49/1), and Concerto for Flute in C Major, BWV 1032.

Psalm, Obbligato Instrument Mini-cycles

Bach creates mini-cycles throughout the Leipzig sacred cantata cycles and other vocal music, particularly biblical Psalms or Psalm paraphrases as well as arias with certain obbligato instruments such as violoncello piccolo, flute, and oboe. The psalm settings are found in Cantatas 85 (Ps. 23), 112 (Ps. 23), 1083 (Ps.51), 131 (Ps.130), and 80 (Ps. 46), as well as motets BWV 230 (Ps. 117), and 225 (Ps. 149, 150). Bach also utilized certain obligato instruments in his Leipzig vocal music when talented guest performers were available (https://www.bach-cantatas.com/Topics/IndexTopics2.htm, "Part 2: Instruments, Voices, Choirs"). The violoncello piccolo use appears in cantatas BWV 68, 85, 41, 175, 183, 115, 49 (http://www.bach-cantatas.com/Topics/Violoncello-Piccolo.htm), http://www.bach-cantatas.com/BWV85-D4.htm: "Violoncello Piccolo, Cantata 85." The use of flute is found in Robert L.Marshall's essay,⁶ with a table of Trinity Time chorale cantatas of 1724 in 18 choruses and arias.

ENDNOTES

¹ Isabella van Elferen, "Mystical Love in Johann Sebastian Bach's Vocal Works," Chapter 5, in Mystical Love In the German Baroque: Theology, Poetry, Music; Contextual Bach Studies, No. 2, ed. Robin A. Leaver (Lanham MD: Scarecrow Press, 2009: 286); Amazon.com: "Look inside").
² Richard D. P. Jones, The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750 (New York: Oxford University Press, 2013: 171f); Amazon.com: "Look inside").
³ Robert-Jan van der Meer, J.S. Bach and Mystical Theology: Bach’s St. Matthew Passion (Amsterdam/Leyden: 2016; Academia: 17f).
⁴ Markus Rathey, "From Love Song to Lullaby — The Christmas Oratorio, BWV 248," Chapter 3, in Bach's Major Vocal Works: Music Drama, Liturgy (New Haven CN: Yale University Press, 2016: 37);
Amazon.com: "Look inside"; review, https://www.bach-cantatas.com/Books/B0216.htm).
⁵ George Stauffer, "Organ Concertos and Sinfonias by J.S. Bach," program notes, https://www.gothic-catalog.com/Bach_Sinfonia_Organ_Concertos_Lippincott_p/g-49130.htm). http://www.bach-cantatas.com/NVD/Organ-Music-Trans1.htm.
⁶ Robert L. Marshall, "The Compositions for Solo Flute: a reconsideration of their authenticity and chronology," in The Music of Johann Sebastian Bach: The sources, the Style, the Significance (New York: Schirmer, 1989: 214). Bach use of the oboe is found in the oboe family http://www.bach-cantatas.com/Topics/Oboe.htm.
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To Come: Christoph Wolff: "What is the explanation for the broad spectrum of different compositional settings for chorus, solo voices, and instruments?" in Bach's Cantatas. https://groups.io/g/Bach/search?q=posterid:2270104