Gott der Herr ist Sonn und Schild (God the Lord is sun
and shield), BWV 79, is a church cantata by Johann
Sebastian Bach. He composed it in Leipzig in 1725 for
Reformation Day and first performed it on 31 October
1725.
Bach composed the cantata for the Reformation Day. The
prescribed readings for the feast day were from the
Second Epistle to the Thessalonians, "be steadfast
against adversaries" (2 Thessalonians 2:3–8), and
from the Book of Revelation, fear God and honour him
(Revelati...(+)
Gott der Herr ist Sonn und Schild (God the Lord is sun
and shield), BWV 79, is a church cantata by Johann
Sebastian Bach. He composed it in Leipzig in 1725 for
Reformation Day and first performed it on 31 October
1725.
Bach composed the cantata for the Reformation Day. The
prescribed readings for the feast day were from the
Second Epistle to the Thessalonians, "be steadfast
against adversaries" (2 Thessalonians 2:3–8), and
from the Book of Revelation, fear God and honour him
(Revelation 14:6–8). An unknown poet was not
concerned about the readings, but did justice to the
festive occasion, beginning with a quotation from Psalm
84 (Psalms 84:11), and including the first stanza from
Martin Rinckart's hymn "Nun danket alle Gott" and as
the closing chorale the final stanza of Ludwig
Helmbold's hymn "Nun laßt uns Gott dem Herren".
Bach first performed the cantata on 31 October 1725. He
performed it again, probably in 1730, when he
re-orchestrated it, doubling the oboes by flutes and
assigning a flute as the obbligato instrument in the
alto aria. He used the music of the opening chorus and
the duet again in his Missa in G major, BWV 236, and
the music of the alto aria in his Missa in A major, BWV
234.
John Eliot Gardiner, who conducted the cantatas for
Reformation at the Schlosskirche, Wittenberg where the
Reformation began, describes this, the first chorale
"Nun danket alle Gott" (Now let everyone thank God),
that Bach uses the first theme of the opening again,
simultaneously with the chorale tune. Helmuth Rilling
notes the unity of topic, praise and thanks to God, for
the first three movements. Gardiner assumes that the
sermon may have followed the chorale.
Although originally scored for four vocal
soloists—soprano, alto, tenor and bass, two horns,
timpani and basso continuo, I created this arrangement
for Flute, Oboe & Strings (2 Violins, Viola, Cello &
Bass).
SHEET MUSIC