J.S. Bach / Die Elenden sollen essen, BWV 75 (Herreweghe) Johann Sebastian Bach (1685-1750) Cantata BWV 75: Die Elenden sollen essen (30 May 1723) Part I. 1. Die Elenden sollen essen (Chorus) 2. Was …More
J.S. Bach / Die Elenden sollen essen, BWV 75 (Herreweghe)
Johann Sebastian Bach (1685-1750)
Cantata BWV 75: Die Elenden sollen essen (30 May 1723)
Part I.
1. Die Elenden sollen essen (Chorus)
2. Was hilft des Purpurs Majestät (Recitative: B) 04:06
3. Mein Jesus soll mein alles sein (Aria: T) 05:01
4. Gott stürzet und erhöhet (Recitative: T) 09:48
5. Ich nehme mein Leiden mit Freuden auf mich (Aria: S) 10:25
6. Indes schenkt Gott ein gut Gewissen (Recitative: S) 15:15
7. Was Gott tut, das ist wohlgetan (Chorale) 15:54
Part II.
8. Sinfonia 17:28
9. Nur eines kränkt (Recitative: A) 19:54
10. Jesus macht mich geistlich reich (Aria: A) 20:46
11. Wer nur in Jesu bleibt (Recitative: B) 23:19
12. Mein Herze glaubt und liebt (Aria: B) 23:52
13. O Armut, der kein Reichtum gleicht! (Recitative: T) 27:27
14. Was Gott tut, das ist wohlgetan (Chorale) 28:07
Soloists:
Soprano: Carolyn Sampson
Countertenor: Daniel Taylor
Tenor: Mark Padmore
Bass: Peter Kooy
Performed by Philippe Herreweghe and Collegium Vocale Gent. Recorded by Harmonia Mundi in 2003
"[Bach's] first official duty [in Leipzig], the performance of the newly composed cantata Die Elenden sollen essen (BWV 75), was worthy of a mention in the Acta Lipsiensium academica: 'On 30 May 1723, the First Sunday after Trinity, the new Kantor and Director of the Collegium Musicum, Herr Joh. Sebastian Bach, recently arrived here from the Prince's court at Cöthen, performed his first music to considerable applause [mit guten applausu].' The 'applause' that greeted Bach's work should of course not be understood as an outbreak of demonstrative handclapping; rather, this not particularly effusive remark should be interpreted as signifying that the composer's music had met with approval, and that he had thus discharged the duties required of him, which he was contractually bound to fulfil. The theme of the cantata, the antithesis between poverty and wealth, earthly trifles and divine Providence, was provided by the Gospel for that Sunday, the parable of Lazarus and the rich man. However, the layout of the libretto, which is by an unknown hand, must have been decided by Bach himself. The first part, to be performed before the sermon, applies the parable didactically to the Christian life. Right from the opening chorus Bach presented himself to the people of Leipzig as a composer who was capable of placing the highest artistic skill at the service of a vivid translation of words into music. The first of these ('Die Elenden sollen essen, dass sie satt werden') unfolds in a freely imitative choral texture full of expressive suspensions, which is incorporated in an orchestral style influenced by the French overture. These elements are further developed, and taken up by the choir, in the next section ('und die nach dem Herrn fragen'). After a recapitulation of the orchestral introduction, the words 'Euer Herz wird ewiglich leben' are set as an extended fugue making considerable use of melisma.
Johann Sebastian Bach (1685-1750)
Cantata BWV 75: Die Elenden sollen essen (30 May 1723)
Part I.
1. Die Elenden sollen essen (Chorus)
2. Was hilft des Purpurs Majestät (Recitative: B) 04:06
3. Mein Jesus soll mein alles sein (Aria: T) 05:01
4. Gott stürzet und erhöhet (Recitative: T) 09:48
5. Ich nehme mein Leiden mit Freuden auf mich (Aria: S) 10:25
6. Indes schenkt Gott ein gut Gewissen (Recitative: S) 15:15
7. Was Gott tut, das ist wohlgetan (Chorale) 15:54
Part II.
8. Sinfonia 17:28
9. Nur eines kränkt (Recitative: A) 19:54
10. Jesus macht mich geistlich reich (Aria: A) 20:46
11. Wer nur in Jesu bleibt (Recitative: B) 23:19
12. Mein Herze glaubt und liebt (Aria: B) 23:52
13. O Armut, der kein Reichtum gleicht! (Recitative: T) 27:27
14. Was Gott tut, das ist wohlgetan (Chorale) 28:07
Soloists:
Soprano: Carolyn Sampson
Countertenor: Daniel Taylor
Tenor: Mark Padmore
Bass: Peter Kooy
Performed by Philippe Herreweghe and Collegium Vocale Gent. Recorded by Harmonia Mundi in 2003
"[Bach's] first official duty [in Leipzig], the performance of the newly composed cantata Die Elenden sollen essen (BWV 75), was worthy of a mention in the Acta Lipsiensium academica: 'On 30 May 1723, the First Sunday after Trinity, the new Kantor and Director of the Collegium Musicum, Herr Joh. Sebastian Bach, recently arrived here from the Prince's court at Cöthen, performed his first music to considerable applause [mit guten applausu].' The 'applause' that greeted Bach's work should of course not be understood as an outbreak of demonstrative handclapping; rather, this not particularly effusive remark should be interpreted as signifying that the composer's music had met with approval, and that he had thus discharged the duties required of him, which he was contractually bound to fulfil. The theme of the cantata, the antithesis between poverty and wealth, earthly trifles and divine Providence, was provided by the Gospel for that Sunday, the parable of Lazarus and the rich man. However, the layout of the libretto, which is by an unknown hand, must have been decided by Bach himself. The first part, to be performed before the sermon, applies the parable didactically to the Christian life. Right from the opening chorus Bach presented himself to the people of Leipzig as a composer who was capable of placing the highest artistic skill at the service of a vivid translation of words into music. The first of these ('Die Elenden sollen essen, dass sie satt werden') unfolds in a freely imitative choral texture full of expressive suspensions, which is incorporated in an orchestral style influenced by the French overture. These elements are further developed, and taken up by the choir, in the next section ('und die nach dem Herrn fragen'). After a recapitulation of the orchestral introduction, the words 'Euer Herz wird ewiglich leben' are set as an extended fugue making considerable use of melisma.