| Wer da gläubet und getauft wird | |
|---|---|
BWV 37 | |
| Church cantata byJ. S. Bach | |
 Ascension, Church of the Holy Cross inJelenia Góra | |
| Occasion | Feast of the Ascension |
| Bible text | Mark 16:16 |
| Chorale |
|
| Performed | 18 May 1724 (1724-05-18):Leipzig |
| Movements | 6 |
| Vocal | SATB choir and solo |
| Instrumental |
|
Wer da gläubet und getauft wird (He who believes and is baptised),[1]BWV 37,[a] is acantata byJohann Sebastian Bach, achurch cantata for the feast of theAscension of Jesus. Bach composed it inLeipzig and first performed it on 18 May 1724.
The work is Bach's first cantata composition for the feast of the Ascension. Surprisingly for a high feast day, it is modestly scored; only twooboes d'amore add to the sound of the regularstrings andbasso continuo, accompanying four vocal parts. An anonymous poet derived thoughts from the prescribed Gospel, even quoting a verse, but excluded the Ascension itself and concentrated on theLutheran idea of justificationby faith alone. The poet structured the sixmovements of the cantata in two parts, each concluded by achorale.
Bach composed the cantata in Leipzig forAscension. The prescribed readings for the feast day were from theActs of the Apostles, the prologue andAscension (Acts 1:1–11), and from theGospel of Mark, Jesus telling his disciples to preach and baptize, and his Ascension (Mark 16:14–20).[2]
An unknown poet began with the quotation of verse 16 from the Gospel.[3]Werner Neumann suggests thatChristian Weiss may be this anonymous poet.[4]Klaus Hofmann notes that the pattern of the text is the same as inWo gehest du hin? BWV 166, andWahrlich, wahrlich, ich sage euch, BWV 86, performed the two previous Sundays.[5] While the Gospel contains both the request to preach and baptise, and the ascension, the cantata text excludes the ascension and concentrates on the justification of the baptised Christian by faith.[2] The cantata is short, but nonetheless in two parts, each closed by a chorale, the fifthstanza ofPhilipp Nicolai'shymn "Wie schön leuchtet der Morgenstern" (1599) as movement 3 and for the closingchorale the fourth stanza of the hymn "Ich dank dir, lieber Herre" (c. 1535) byJohannes Kolrose.[2] Part I (movements 1 through 3) reflects the love of Jesus, with the chorale expressing thanks for it. Part II (movements 4 through 6) argues like a sermon, reminiscent ofPaul's teaching inRomans 3:28, that good works alone are not enough for a blessed life if they are not founded in faith. The closing chorale is another song of thanks.[2]
Bach first performed the cantata on 18 May 1724,[6] and again on 3 May 1731. It was his first composition for the feast of the Ascension.[7]
The cantata in six movements is scored rather modestly: the four vocal soloists (soprano,alto,tenor andbass) and a four-partchoir are accompanied only by twooboes d'amore, twoviolins,viola andbasso continuo.[2][8] Bach's cantatas for the occasion in later years,Auf Christi Himmelfahrt allein, BWV 128, andGott fähret auf mit Jauchzen, BWV 43, and hisAscension Oratorio use a more festive orchestra includinghorns ortrumpets.[2]
| No. | Title | Type | Vocal | Winds | Strings | Key | Time |
|---|---|---|---|---|---|---|---|
| 1 | Wer da gläubet und getauft wird | Chorus | SATB | 2ObDa | 2Vl Va Bc | A major | 3/2 |
| 2 | Der Glaube ist das Pfand der Liebe | Aria | Tenor | (Vl) Bc | A major |  | |
| 3 | Herr Gott Vater, mein starker Held | Choral | Soprano, alto | Bc | D major | 12/8 | |
| 4 | Ihr Sterblichen, verlanget ihr | Recitative | Bass | 2Vl, Va, Bc | | ||
| 5 | Der Glaube schafft der Seele Flügel | Aria | Bass | 1ObDa | 2Vl, Va, Bc | B minor | |
| 6 | Den Glauben mir verleihe | Chorale | SATB | 1ObDa (col Soprano), 1ObDa (coll'Alto) | 1Vl (col Soprano), 1Vl (coll'Alto), Va (col Tenore), Bc | A major | |
Although the text for the first movement is a quotation of Jesus, it is not given to the bass as thevox Christi but to the choir.John Eliot Gardiner notes that Bach treats it as a "statement by the faithful, as though to demonstrate that they had already absorbed its message to 'go into all the world, and preach the gospel to every creature".[7] The movement begins with an extended instrumentalSinfonia which introduces three melodic lines that occur simultaneously. The firstmotif is played by the oboes and later taken by the choir,[2] According to Gardiner, it suggests "steadfastness of faith".[7] The second motif in the violins is reminiscent of Luther's hymn "Dies sind die heiligen zehn Gebot" (These are the holy Ten Commandments), which opened two other cantatas. Gardiner describes it as "emollient and graceful, a halfway house between a minuet and a waltz, affirming a more serene side to faith."[7] The third motif is part of the hymn "Wie schön leuchtet der Morgenstern" and appears in the continuo. In two vocal sections, the voices are embedded in a repetition of the Sinfonia.[2]
Movement 2 is anaria with a solo violin part missing, as theNeue Bach-Ausgabe reported.[2] Reconstructions have been made, and are often included in performances. In movement 3, the chorale appears in the form of achorale concerto, an Italianate form thatJohann Hermann Schein had used a century earlier.[5] The chorale melody is changed according to the meaning of the words; only the continuo accompanies two voices. The followingrecitative is accompanied by the strings. They appear also in the last aria, in which an oboe comes and goes, with interesting effects. The closing chorale is a four-part setting.[2]
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