Herz und Mund und Tat und Leben, BWV 147. (Ton Koopman) Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, is a cantata by Johann Sebastian Bach. It was written originally …More
Herz und Mund und Tat und Leben, BWV 147. (Ton Koopman)
Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, is a cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723.
Weimar
The cantata is based on a cantata text written by Salomo Franck for the fourth Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Philippians, "Rejoice in the Lord always" (Philippians 4:4–7), and from the Gospel of John, the testimony of John the Baptist (John 1:19–28).The lyrics contained only movements 1, 3, 7, 5, 9 and a different closing chorale, Bach composed the music, BWV 147a, in 1716 in Weimar but possibly did not finish nor perform it then.
Leipzig
As Leipzig observed tempus clausum (time of silence) from Advent II to Advent IV, Bach could not perform the cantata there in Advent and rewrote it for the feast of the Visitation. The original words were suitable for a feast celebrating Mary in general, more specific recitatives were added, the order of the arias changed, the closing chorale was replaced and repeated on a different verse to expand the cantata to two parts. The words are the verses 6 and 16 of the chorale Jesu, meiner Seelen Wonne (1661) by Martin Jahn. The prescribed readings for the day are Isaiah 11: 1—5 and Luke 1: 39—56.
Scoring and structure
The cantata is scored for four soloists and a four-part choir, a festive trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola and basso continuo including bassoon. Its ten movements are in two parts, movements 1 to 6 to be performed before the sermon, the others after the sermon.
Part I
1. Chorus: Herz und Mund und Tat und Leben
2. Recitativo (tenor): Gebenedeiter Mund!
3. Aria (alto, oboe d'amore): Schäme dich, o Seele nicht
4. Recitativo (bass): Verstockung kann Gewaltige verblenden
5. Aria (soprano, violin): Bereite dir, Jesu, noch itzo die Bahn
6. Chorale: Wohl mir, daß ich Jesum habe
Part II
7. Aria (tenor): Hilf, Jesu, hilf, daß ich auch dich bekenne
8. Recitativo (alto): Der höchsten Allmacht Wunderhand
9. Aria (bass, trumpet, oboes): Ich will von Jesu Wundern singen
10. Chorale: Jesus bleibet meine Freude
Music
The opening chorus renders the complete words in three section, the third one a reprise of the first one and even the middle section not different in character. An instrumental sinfonia is heard in the beginning and in the end as well as, slightly changed, in all three sections with the choir woven into it. In great contrast all three sections conclude with a part accompanied only by basso continuo. Sections one and three begin with a fugue with colla parte instruments. The fugue subject stresses the word Leben (life) by a melisma extended over three measures. The soprano starts the theme, the alto enters just one measure later, tenor after two more measures, bass one measure later, the fast succession resulting in a lively music as a good image of life. In section three the pattern of entrances is the same, but building from the lowest voice to the highest. The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuous expressive motive, interrupted only when the child's leaping in the womb (in German: Hüpfen) is mentioned which they illustrate. The three arias of the original cantata are scored for voice and solo instruments (3., 5.) or only continuo, whereas the last aria, speaking of the miracles of Jesus, is accompanied by the full orchestra. The chorale movements 6 and 10, ending the two parts of the cantata, are the same music based on a melody by Johann Schop, Werde munter, mein Gemüthe, a melody which Bach also used in his St Matthew Passion on the words Bin ich gleich von dir gewichen (#40). The simple four-part choral part is embedded in a setting of the full orchestra dominated by a motive in pastoral triplets derived from the first line of the chorale melody.
Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, is a cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723.
Weimar
The cantata is based on a cantata text written by Salomo Franck for the fourth Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Philippians, "Rejoice in the Lord always" (Philippians 4:4–7), and from the Gospel of John, the testimony of John the Baptist (John 1:19–28).The lyrics contained only movements 1, 3, 7, 5, 9 and a different closing chorale, Bach composed the music, BWV 147a, in 1716 in Weimar but possibly did not finish nor perform it then.
Leipzig
As Leipzig observed tempus clausum (time of silence) from Advent II to Advent IV, Bach could not perform the cantata there in Advent and rewrote it for the feast of the Visitation. The original words were suitable for a feast celebrating Mary in general, more specific recitatives were added, the order of the arias changed, the closing chorale was replaced and repeated on a different verse to expand the cantata to two parts. The words are the verses 6 and 16 of the chorale Jesu, meiner Seelen Wonne (1661) by Martin Jahn. The prescribed readings for the day are Isaiah 11: 1—5 and Luke 1: 39—56.
Scoring and structure
The cantata is scored for four soloists and a four-part choir, a festive trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola and basso continuo including bassoon. Its ten movements are in two parts, movements 1 to 6 to be performed before the sermon, the others after the sermon.
Part I
1. Chorus: Herz und Mund und Tat und Leben
2. Recitativo (tenor): Gebenedeiter Mund!
3. Aria (alto, oboe d'amore): Schäme dich, o Seele nicht
4. Recitativo (bass): Verstockung kann Gewaltige verblenden
5. Aria (soprano, violin): Bereite dir, Jesu, noch itzo die Bahn
6. Chorale: Wohl mir, daß ich Jesum habe
Part II
7. Aria (tenor): Hilf, Jesu, hilf, daß ich auch dich bekenne
8. Recitativo (alto): Der höchsten Allmacht Wunderhand
9. Aria (bass, trumpet, oboes): Ich will von Jesu Wundern singen
10. Chorale: Jesus bleibet meine Freude
Music
The opening chorus renders the complete words in three section, the third one a reprise of the first one and even the middle section not different in character. An instrumental sinfonia is heard in the beginning and in the end as well as, slightly changed, in all three sections with the choir woven into it. In great contrast all three sections conclude with a part accompanied only by basso continuo. Sections one and three begin with a fugue with colla parte instruments. The fugue subject stresses the word Leben (life) by a melisma extended over three measures. The soprano starts the theme, the alto enters just one measure later, tenor after two more measures, bass one measure later, the fast succession resulting in a lively music as a good image of life. In section three the pattern of entrances is the same, but building from the lowest voice to the highest. The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuous expressive motive, interrupted only when the child's leaping in the womb (in German: Hüpfen) is mentioned which they illustrate. The three arias of the original cantata are scored for voice and solo instruments (3., 5.) or only continuo, whereas the last aria, speaking of the miracles of Jesus, is accompanied by the full orchestra. The chorale movements 6 and 10, ending the two parts of the cantata, are the same music based on a melody by Johann Schop, Werde munter, mein Gemüthe, a melody which Bach also used in his St Matthew Passion on the words Bin ich gleich von dir gewichen (#40). The simple four-part choral part is embedded in a setting of the full orchestra dominated by a motive in pastoral triplets derived from the first line of the chorale melody.
