College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 1 Page: 18
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Cantata 74, Wer mich liebet, der wird mein Wort halten, was written for Pentecost in
1725 on a text by Mariane von Ziegler. Three elements are taken up in this text: the de-
scent of the Holy Spirit, the second coming, and the deliverance from hell by Christ's
Passion. The tenor aria, "Kommt, eilet!" touches on the two latter themes, though the
overriding affect is the joy of anticipation of Christ's return reflected in the virtuosic
concertato of the violin and tenor solo.
Cantata 75, Die Elenden sollen essen, for the first Sunday after Trinity, marked the first
music to be performed by the newly appointed Leipzig Cantor, on May 30, 1723. Like
many of the early Leipzig cantatas, it was an extensive work in two parts, each conclud-
ing with a chorale treatment more elaborate than normally expected. The Sinfonia,
which opens the second part, also incorporates this chorale melody (originally for trum-
pet, but performed this evening on oboe) over a dense, driving fugue-like polyphony.
In the Gospel for the tenth Sunday after Trinity, Luke 19:41-8, Jesus prophesies the
destruction of Jerusalem and drives the traders out of the temple. Cantata 101, Nimm
von uns, Herr, du treuer Gott, was first performed on August 13, 1724, within the scope
of Bach's second Leipzig cantata cycle, in which Bach sought to organize each cantata
around the text and tune of a specific chorale. While almost every movement incorpo-
rates lines from the chorale by Martin Moller, the tenor aria "Handle nicht nach deinen
Rechten" is the exception. The anonymous librettist did, however, manage to insert a
reference to the destruction of Jerusalem mentioned in the Gospel. The solo instru-
mental part was first conceived for the transverse flute but was later replaced by vio-
lin - tonight we hear the original version. Abundant word-painting characterizes the
The Sinfonia of BWV 209, Non sa che sia dolore, features the solo flute in a manner
very similar in style to Bach's well known Suite #2 in B-minor. Few specifics are known
about the origin, provenance and purpose of this occasional work, a circumstance
which has led to some questions about its authenticity.
As an example of over-the-top word-painting, the aria "So schnell em rauschend
Wasser schieft" from Cantata 26, Ach wie fluchtig, ach wie nichtig, can hardly be sur-
passed. The mercurial interchange of the solo violin and flute suggests something
fleeting and transitory, while the tenor is drawn into the fiendishly difficult instrumen-
tal fioratura at breakneck speed, only to be fragmented, like drops of water spray, and
cast into the abyss. The entire cantata is about the transitory nature of life and the cer-
tainty that everything of this world must fall and perish. It is another example of a
chorale cantata from Bach's second Leipzig cycle, in which the entire text is either cited
or paraphrased from the thirteen verses of Michael Frank's chorale.
The Cantata Bisher habt ihr nichts gebeten in meinem Namen (BWV 87), for the fifth
Sunday after Easter, is based on a text by Mariane von Ziegler and belongs to Bach's
second cycle of Leipzig chorale cantatas. The cantata opens with the words of Jesus:
Here’s what’s next.
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University of North Texas. College of Music. College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 1, book, 2012; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc114723/m1/19/: accessed December 13, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Music Library.