In allen meinen Taten (In all that I do / In all my
undertakings), BWV 97, is a church cantata by Johann
Sebastian Bach. He composed the chorale cantata in
Leipzig in 1734 for an unspecified occasion. The text
consists of the unchanged words of the hymn by Paul
Fleming (1642).
Bach wrote the chorale cantata in 1734, about a decade
after his annual cycle of cantatas, in the same year as
his Christmas Oratorio, one year after Kyrie and Gloria
of his later Mass in B minor. He dated the man...(+)
In allen meinen Taten (In all that I do / In all my
undertakings), BWV 97, is a church cantata by Johann
Sebastian Bach. He composed the chorale cantata in
Leipzig in 1734 for an unspecified occasion. The text
consists of the unchanged words of the hymn by Paul
Fleming (1642).
Bach wrote the chorale cantata in 1734, about a decade
after his annual cycle of cantatas, in the same year as
his Christmas Oratorio, one year after Kyrie and Gloria
of his later Mass in B minor. He dated the manuscript
himself, but the occasion is unspecified. The work may
have originally been composed for a wedding, because
the score shows on top of movement 7 the crossed-out
words "nach der Trauung" (after the wedding). A later
copy mentions the fifth Sunday after Trinity. The text
consists of nine unchanged stanzas of the chorale by
Paul Fleming, published in 1642. The six lines of each
stanza rhyme in pairs: 1 and 2, 4 and 5, 3 and 6. The
text was written in 1633 at the outset of a "long and
hazardous journey" to Moscow and reflects a "beginning
in God's name". Bach structured nine stanzas in as many
movements, framing a sequence of arias and recitatives
by an opening chorus and a closing chorale. At least
two later performances between 1735 and 1747 are
documented.
In the two choral movements, Bach used the melody of
the hymn, but composed music unrelated to the melody in
the other cantata movements. The poet wrote the words
to fit the well-known tune of "Innsbruck, ich muß dich
lassen" by Heinrich Isaac. Bach had used it twice in
his St Matthew Passion, in movements 10 (Ich bin's, ich
sollte büßen) and 37 (Wer hat dich so
geschlagen).
In keeping with a beginning, Bach set the opening
chorale fantasia in the style of a French overture, in
a sequence slow – fast (fugue), as he had done
already as early as in 1714 in Nun komm, der Heiden
Heiland, BWV 61, beginning a new liturgical year. The
slow section, marked grave, in dotted rhythm is
instrumental, in the fast section, marked vivace, the
orchestra plays a fugue, to which the soprano sings the
cantus firmus of the melody line by line in long notes,
whereas the lower voices take part in the imitation of
the instrumental motifs. After the last line all voices
join in an "urgent homophonic concluding
statement".
Bach structured the inner movements, named "versus"
(Latin for stanza), as five arias and two recitatives,
using the voices from the lowest to the highest,
increasing the instrumentation from continuo to
obbligato instruments. He kept the structure of the
text, two even parts, in all of these movements but the
duet which shows a modified da capo form. The
recitatives are kept simple, the first (versus 3) is
secco, the second (versus 5) is accompanied by the
strings. Versus 2 is introduced by a ritornello of the
continuo on a theme which the bass picks up. Versus 4
is brightened by a virtuoso violin part, possible as an
image of God's grace in "Ich traue seiner Gnaden" (I
trust His grace). John Eliot Gardiner compares the
writing for the violin to that in his sonatas and
partitas for solo violin. The strings open versus 6
with motifs illustrating rest and motion, which is
obvious when the alto sings: "Leg ich mich späte
nieder" (Late do I lie me down), "erwache" (wake up),
"lieg oder ziehe fort" (lie still or go forth). Versus
7 is set as a duet with continuo. The ritornello begins
with a theme later also used by the voices and ends on
a characteristic motif illustrating the resolution of
"... then will I uncomplaining unto my fate press on".
In the last aria the oboes support the soprano singing
in extended melismas "I have surrendered myself to
Him".
In the closing chorale, the strings play three
independent parts in addition to the four vocal parts,
while the oboes play the choral melody, termed
"augmenting the luminescent harmony" by Gardiner.
Called by Dürr "hymnische Krönung" (hymnal crowning),
the movement balances the first movement and adds
weight to the summarising text of the final stanza, "To
thee be true, o spirit, and trust in Him alone now who
hath created thee".
Although originally scored for four vocal soloists
(soprano, alto, tenor, and bass), a four-part choir,
two oboes, bassoon, two violins, viola, and basso
continuo. I created this arrangement for Viola & Cello.
PARTITION