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At this point the first statement of the chorale follows, ending part 1. The secco recitative has one short scalic passage in the continuo suggesting, perhaps, the holy light of illumination which invigorates the very air bar 5. The movement concludes in a most tender arioso, nudged on by the quietly insistent quaver bass line, humbly proffering the prayer expressed in the following chorale which ends part 1.
Bach also contrives to finish on the chord of E, that on which the chorale begins. The chorale is well worth waiting for. Although Bach uses the solitary trumpet, there is none of the extrovert glorification of God in this setting. The trumpet has a noticeably doleful sound in its lower register as it both anticipates and doubles, with the sopranos each phrase in turn.
First violins and oboe join to create an elusive obbligato melody rising above all else but still, with its stream of suspensions, oddly reticent. The most seemingly aggressive part of the arrangement is the continuo line, an unvaried repetition of an unpretentious but persistent four-note motive, previously introduced in the bass recitative. In short, both humble obeisance and hushed determination may be detected in this strikingly original presentation of what is essentially an undemanding chorale melody.
It is doubtful that the Leipzig parishioners had heard anything like it before. As in the previous week, Part 2 begins with an instrumental sinfonia.
But whereas that of C 75 was sustainedly fugal and ebullient, C 76 commences with an introduction that is reclusive and introverted. Whether this motivic link with the opening chorus is intentional or fortuitous we can only guess. It is quite possible that the sinfonia was adapted from an earlier work; it certainly was later reused by Bach in his organ trio sonata BWV The mood of its allegro is spirited and boisterous although somewhat moderated by the E minor setting and the muted colours of the chosen instruments.
Bass recitative. The sustained chords of the upper strings return to encompass the bass as he asks God to bless that throng on earth which, through constant labour and effort, may yet be purified. There is little to note in the setting except perhaps the rising of the melodic line to the word Himmel—-Heaven—- bar 6 and the degree of rhythmic dislocation at the mention of the hatred and danger that should be resisted bars Tenor aria.
But the following tenor aria must, like the chorale, have alerted the congregation members to the fact that with the appointment of Herr Bach, they were, on occasions, going to be startled if not shocked. This is Bach at his most strikingly original and overtly theatrical.
The middle section, however, tells a different story both through text and music—-I would forgo any pleasures just to embrace Christ. The vocal lines become smooth and mellifluous and the disjunctive musical intervals are now absent. And, indeed, we are reminded of that fact by the return of a truncated first section and the harshly resounding d.
Alto recitative. The odious throng is nowhere present in the succeeding alto recitative—-the true Christian is fed with the divine manna of Love which strengthens brotherly bonds on earth. There are only three bars of recitative proper; the rest of the movement is in the form of a gentle arioso expressing the exquisiteness of Divine sustenance and the warmth of fraternal love. The text, expressed in the first person, relates directly to the individual.
Alto aria. Once again the key of Em and the sombre qualities of both voice and instruments create a feeling of peace and introspection. Both texts touch on the theme of death; that promised sleep of the individual latterly portrayed in C and that of Jesus and his Brothers here in C In either case death may be the cause of loss and grieving but it is not a reason for despair; the gigue-like rhythms of the aria testify to this important Christian truth.
There may be sadness and regret but it resides alongside salvation and consequent contentment.
We may detect and feel all these mixed emotions in this single aria. The form is essentially organic, lacking a clear middle section and laying stress upon repetitions of the main theme—-Christians, bring Love to all your actions—-before the closing ritornello.
Annotate this sheet music. Login to add to list. String Ensemble. Christmas Piano. String Orchestra. Quantity Discount.
The last of the six recitatives is for tenor and it concludes with the, by now, expected arioso section. Closing chorale. The carefully wrought chorale setting deserves a second hearing. The verse is different but the sentiment is the same—-let all people thank and praise God and may the Father, Son and Holy Spirit bless us, and the land prosper.
PART 1 Chorus—recit tenor —aria sop —recit bass —aria bass —recit alto —chorale.
PART 2 Sinfonia—recit bass —aria tenor —recit alto —aria alto —recit tenor —chorale. The second cantata of the cycle for the second Sunday after Trinity. PART 1. Opening chorus. The general outline may be represented as follows: Prelude:- Ritornello —bass solo— ritornello 4 bars —first choral segment 16 bars C-Am — ritornello 8 bars —second choral segment 16 bars A-Em — ritornello 8 bars.
The fugue need not be described in detail but most listeners should be able to note the following:- Fugue:- First exposition of the lengthy theme from bar 67 in the order T, B, S and A. Second exposition of same theme, from bar 94 S, A, T and B. Soprano aria.