Erhalt uns, Herr, bei deinem Wort (Uphold us, Lord, within thy word), BWV 126, is a church cantata by Johann Sebastian Bach. He wrote it in 1725 in Leipzig for the Sunday Sexagesimae, the second Sunday before Ash Wednesday, and first performed it on 4 February 1725.
Contents |
Bach wrote the chorale cantata in his second year in Leipzig for Sexagesimae and first performed it on 4 February 1725. This means that it was performed only two days after the cantata BWV 125 for the Purification of Mary on 2 February.[1] The prescribed readings for the day are 2 Corinthians 11:19 – 2 Corinthians 12:9, and Luke 8:4–15, the Parable of the Sower. The cantata is mainly based on the hymn Erhalt uns, Herr, bei deinem Wort of Martin Luther,[2] but also on other hymn stanzas, which frequently appeared together in hymnals of Bach's time; three stanzas of Luther's chorale, are followed by two stanzas of Justus Jonas, Luther's German version of Da pacem Domine (Give peace, Lord, 1531), and a stanza of Johann Walter paraphrasing 1 Tim 2:2 (1566).[3]
The result are seven stanzas:
The unknown poet of the cantata text kept stanzas 1, 3, 6 and 7 unchanged, expanding 3 by recitative, and reworded 2, 4 and 5 for the respective movements of the cantata. The topic of both, the hymn and the gospel, is obviously God's word, but instead of relating more closely to the parable, the poet concentrates on a general request to God: keep his people faithful to his word, protect them from enemies and provide peace.[3]
The cantata is scored for alto, tenor, and bass soloists, a four-part choir, trumpet, two oboes, two violins, viola and basso continuo.[3]
A characteristic feature of the opening chorus is a four-note trumpet signal, which is derived from the beginning of the chorale melody, as if to repeat the words "Erhalt uns, Herr" (Uphold us, Lord) again and again.[4] The motif consists of the three notes of the A minor chord in the sequence A C A E, with the higher notes on the stressed syllables, the highest one on "Herr". The cantus firmus of the chorale[2] is sung by the soprano, the other voices sing in imitation, embedded in an independent concerto of the orchestra.[3]
The first aria is a prayer, intensified by two oboes. In the middle section the words "erfreuen" (delight) and "zerstreuen" (scatter) are illustrated by fast runs in the tenor. The second aria, movement 4, is dramatic, especially in the restless continuo. John Eliot Gardiner quotes W. G. Whittaker: Bach’s "righteous indignation at the enemies of his faith was never expressed more fiercely than in this aria".[4] Movement 3 presents the recitative in the alternating voices alto and tenor, but the ornamented chorale as a duet. The chorale melody switches also, given to the voice which enters, whereas the other one continues its recitative by accompanying material. Movement 6 combines the two stanzas from different chorales in a four-part setting.[3]
|
||||||||