Of the latter two, C is much larger in scale, a monumental piece consisting of two dynamic sections separated by a recitative. C is a more concentrated chorale fugue with independent instrumental accompaniment, but no introduction or ritornello. It seems as if Bach, liberated from the self-imposed constraints of the chorale fantasia, became intent upon exploring as many forms of cantata and chorus shape and structure as possible in the final dozen works of this cycle.
It is well known that composers in dire stress could produce joyous music and vice versa. This is because they were professionals, often composing several hours a day and used to fulfilling commissions with varying requirements at very short notice. Even so, it is difficult not to conclude that Bach ended his two years of immense cantata production with less enthusiasm than when he had begun it. The small scale of this work is one possible indication. Even more illuminative is the character of the first chorus which is terse, laconic and bordering upon the aggressive.
With no introduction, choir and orchestra leap straight into the fugal exposition. Recitative secco [Alto, Continuo]: Recitative secco, arioso [Bass; Continuo]: Bach set the opening words as a choral fugue that is built up from the bass, by way of tenor and alto, to the soprano, all of whom then sing to the end.
Thomas had until recently been a court conductor, forms an effective contrast to the weighty introductory chorus. In the following bass recitative fourth movement , Nicodemus to some extent speaks for all the hesitant believers. At the end its words of encouragement and hope for the afterlife, combined with the vision of participation in the heavenly praise of the Father, make an allusion to the Holy Trinity and thus to the feast of the Trinity.
Bach P 81 and the original parts in the possession of a private Ame- rican collector. The set of parts does not, however, include the second violin doublet the part used by the second player that one would normally expect to be present, or a transposed continuo part for the organ.
The ascending-descending contour in the opening motet-like fugue https: The juxtaposition of Nicoedmus night and Jesus day in the alto recitative No. Notes on Text, Music Overall form. University of California Press, The affirmative tenor aria No. An elaboration of motet style. Bach altered the traditional motet form in several ways: The work has six movements , as follows: The opening chorus in C minor concentrates, without instrumental introduction, on a choral fugue. A complex theme illustrates both contrasting aspects that Jeremiah mentioned of the human heart, rendering " trotzig " defiant twice, once in a repeated high note reached by a triad fanfare, then in an upward run with a surprising modulation, whereas " verzagt " timid appears as a sighing motif in chromatism.
The strings accompany " trotzig " marked forte , " verzagt " piano, while the oboes double the voices. The soprano aria " Dein sonst so hell beliebter Schein " Your dear bright light [1] is in contrast a "light-footed" gavotte , sometimes without continuo. In the following recitative , Nicodemus speaks for the Christian.
In the alto aria, an unusual obbligato of three oboes in unison , including one oboe da caccia, alludes to the Trinity that is celebrated. The closing chorale is a four-part setting of the archaic modal melody [7] of " Christ unser Herr zum Jordan kam ".
Gardiner concludes that Bach "signs off his second Leipzig cycle with this cantata crammed with provocative thoughts and musical exegesis. From Wikipedia, the free encyclopedia. Bach Christiana Mariana von Ziegler , the author of the cantata text. Retrieved 13 June Enter your mobile number or email address below and we'll send you a link to download the free Kindle App.
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