Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
The frightfully successful collection of balances in
this 40th cantata, Darzu ist erschienen der Sohn Gottes
("For this purpose the Son of God was made visible')
was premiered 26 December1723 in Leipzig. It features a
unique distribution of movements that strike a
compelling balance: chorus, recitative, chorale
(chorus), aria, recitative, chorale (chorus), aria, and
chorale. This sort of inverted palindrome breaks from a
more conventional style of two recitative and aria
pairs, each begun with a chorus, with the work
concluded by a final chorale. Part of the reason Bach's
legacy is so enduring is his ability to make music
simple more interesting, the form more compelling, such
as is heard here. The instrumentation continually
varies, as does the range of the singer taking on the
next solo section. Everything keeps changing, yet
affirming the basic material of this single, cohesive
work. The opening chorus draws text from I John 3: 8,
but it is not known who wrote the poetry. In tone and
in musical treatment, this cantata is an aggressive
denunciation of the devil. In the first chorus horn,
oboes, strings and continuo perform a ritornello that
accompanies the chorus' announcement that the
destruction of Satan and his works is at hand. This is
a martial statement, and there is an implicit challenge
in the general atmosphere of the cantata. Later in the
bass' aria, the downfall of Satan is further elaborated
on with text drawn from Genesis 3: 15, wherein the dark
angel is portrayed as a snake. Other references to the
bible then go on to compare Jesus to hen protecting her
chicks (Matt. 23: 34-9) and other, comparatively
pleasant metaphors. Some work painting exists as well,
as is heard in the tenor aria with the word erschrecken
(‘terrible'), which is heard as an extended melisma
to suggest the breathlessness of fear. In all, there is
an incredible wealth of musical beauty to comment on in
the 40th cantata. Readers would do well to make a first
hand investigation.
Although originally written for Chorus (SATB) and
Orchestra, I created this arrangement for Woodwind
Ensemble (Flutes (2), Oboes (2), Bb Clarinet, French
Horns (2), Bassoon & Harpsichord).
PARTITION