| Wie schön leuchtet der Morgenstern | |
|---|---|
BWV 1 | |
| Chorale cantata byJ. S. Bach | |
 First solo violin part, as used for the first performance of the cantata | |
| Key | F major |
| Occasion | |
| Chorale | "Wie schön leuchtet der Morgenstern" byPhilipp Nicolai |
| Performed | 25 March 1725 (1725-03-25):Leipzig |
| Movements | 6 |
| Vocal | |
| Instrumental |
|
Wie schön leuchtet der Morgenstern ('How beautifully the morning star shines'),[1]BWV 1, is achurch cantata for Annunciation byJohann Sebastian Bach. In 1725, when the cantata was composed, the feast of theAnnunciation (25 March) coincided withPalm Sunday. Based onPhilipp Nicolai'shymn "Wie schön leuchtet der Morgenstern" (1599), it is one ofBach's chorale cantatas. Bach composed it in his second year asThomaskantor inLeipzig, where theMarian feast was the only occasion duringLent when music of this kind was permitted. Thetheme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach'schorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and laststanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternatingrecitatives andarias.
Wie schön leuchtet der Morgenstern is the lastchorale cantata of Bach's second cantata cycle, possibly because thelibrettist who provided the paraphrases for the middlemovements of these cantatas was no longer available. Bach scored the work for three vocal soloists, afour-part choir and aBaroque instrumental ensemble of twohorns, twooboes da caccia, two soloviolins,strings andcontinuo. The chorale melody of Nicolai's hymn appears in the opening and closing choral movements of the cantata. All instruments play in the opening festivechorale fantasia, in which thesoprano sings thehymn tune, and the two soloconcertante violins represent the morning star. An oboe da caccia accompanies the vocal soloist in the first aria. The strings, including the solo violins, return in the second aria. An independent horn part crowns the closingchorale.
The original performance parts of the cantata, partly written by the composer, are conserved in Leipzig. Commentators writing about the cantata, such asCarl von Winterfeld in the 19th century andW. Gillies Whittaker in the 20th century, were particularly impressed by its opening chorus. TheBach-Gesellschaft published the cantata in 1851 as first work in the first volume of their complete edition of Bach's works. From then on known as Bach's Cantata No. 1, it retained that number in theBach-Werke-Verzeichnis, published in 1950, and its recording appeared, in 1971, as first work of the first album ofTeldec's complete Bach cantata recordings byHarnoncourt andLeonhardt.
In 1723, Bach was appointed asThomaskantor anddirector musices inLeipzig, which made him responsible for the music at four churches. He provided church music for the two main churches,St. Thomas andSt. Nicholas, and occasionally also for two others, theNew Church andSt. Peter.[2] Bach took office in the middle of theliturgical year, on the first Sunday afterTrinity.[3]
In Leipzig, cantata music was expected on Sundays and on feast days, except during thetempus clausum ("silent periods") ofAdvent andLent.[3] Lutheran Leipzig observed severalMarian feasts, includingAnnunciation on 25 March, nine months before Christmas.[4] In 1725, the feast fell onPalm Sunday.[5] Annunciation was the only occasion for festive music during Lent. The prescribed readings were, as theepistle,Isaiah's prophecy of the birth of theMessiah (Isaiah 7:10–16), and from theGospel of Luke, the angelGabriel announcing the birth of Jesus (Luke 1:26–38).[6]
In his first twelve months in office, Bach decided to compose new works for almost all liturgical occasions. These works became known as hisfirst cantata cycle.[3] In his second year in office, Bach composed acycle of chorale cantatas, with each cantata based on oneLutheran hymn, for the liturgical occasions.[5][7] The choice of hymn for each of the cantatas was probably made according to the wishes of a local minister, who based the choices upon theprescribed readings and his plans forsermons.[5] Compared to the first cycle, the music has less emphasis on biblical texts, but more on the use of chorale text and melody.[8]
Bach's earliest extant chorale cantata,Christ lag in Todes Banden, BWV 4, written more than a decade before arriving in Leipzig, followed theper omnes versus principle, that is, it adopted the text of all stanzas of the hymn without modification, the hymn's melody being used throughout. Most of the chorale cantatas Bach wrote in his second year in Leipzig, includingWie schön leuchtet der Morgenstern, were formatted differently. In this structure, the outer stanzas of the hymn, and its melody, were retained in the outer movements of the cantata: typically the first stanza was set as an openingchorale fantasia, and the last as a closingfour-part chorale. The inner stanzas of the hymn were rephrased intorecitatives andarias for the cantata's inner movements, their setting mostly not based on the hymn tune.[5][9]
Bach's cantataWie schön leuchtet der Morgenstern is based on Philipp Nicolai'shymn with the same name. Nicolai wrote the hymn when he was pastor inUnna and faced an outbreak ofthe plague, intending it to project a view of a heavenly world as counterpoint to pain and suffering in the real world.[10] Nicolai published the hymn in 1599 as part of a collection titledFrewdenspiegel deß ewigen Lebens ('Mirror of the joys of eternal life') in 1599.[11] Thehymn tune with which Nicolai published his text,Zahn No. 8359,[12] is reminiscent of a 1538 melody published in theStrasbourg Psalter in 1539 with the song"Jauchzet dem Herren alle Land", possibly by Jakob Dachser, Zahn No. 1705.[13]
The image of the morning star is taken fromRevelation 22:16 ("I am the root and theoffspring of David, and the bright and morning star."). In its title, Nicolai indicated the hymn asBrautlied ('Bridal song') of the soul addressingJesus as itsheavenly bridegroom,[10][11] which refers toPsalm 45, described as a bridal song in theLuther Bible, and to theSong of Songs.[11][14] Nicolai did not write a paraphrase of the biblical texts, but used elements from them for the seven stanzas of his hymn.[15] He also alludes to thenativity.[16]
The hymn was associated withEpiphany[17] but also with the Annunciation.[18] Expressing the longing for the arrival of the Saviour, it can be connected to the reading about Jesus' birth being announced toMary. The theme of arrival was also fitting for Palm Sunday, when thearrival of Jesus in Jerusalem is celebrated.[18]
A librettist retained the first and last stanzas of the hymn and paraphrased the other stanzas, using the second stanza for the first recitative, the third stanza for the first aria, the fourth stanza and part of the fifth for the second recitative, and the sixth stanza for the second aria. Bach scholarAlfred Dürr wrote: "The librettist must be credited with the empathy he shows for that fervour which characterises Nicolai's poem and which has made his hymns into an enduring possession of the Protestant Church."[18]
While the identity of the librettist, a "poetically and theologically competent specialist", is not certain, scholars have suggestedAndreas Stübel, a Leipzig intellectual who held controversial theological views.[5][20]
For the first performance of the cantata, on 25 March 1725, Bach helped copy out his composition score for the musicians participating in the premiere.[19][21][22]Johann Andreas Kuhnau, a main copyist of Bach at the time, produced most of this performance material, that is, all performance parts, except thefigured bass part (partly written by the composer) and one of the oboe da caccia parts (written by the composer's sonWilhelm Friedemann).[19][23][24]
Wie schön leuchtet der Morgenstern was to be the last newly composed chorale cantata of Bach's second cantata cycle.[18] If Stübel was the librettist, his death in January 1725 would explain the end of the chorale cantatas in the second cycle, because Bach lost a competent collaborator and source of inspiration.[20] Bach returned to other texts for the remaining liturgical times ofEaster,Pentecost and Trinity. The completion of the cycle of chorale cantatas was so important to him that he included the early chorale cantata for Easter,Christ lag in Todes Banden, in 1725, and over the following decade added a few chorale cantatas for some missing occasions.[25]
The title page of the extant 18th-century set of performance parts of BWV 1, written around 1750 by an unknown scribe, mentions the occasion (Annunciation), the cantata's title (incipit) and scoring, and its composer.[19]
Bach structured the cantata in sixmovements. Both text and tune of the hymn are retained in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame a sequence of alternating recitatives and arias. Bach scored the work for three vocal soloists (soprano (S),tenor (T) andbass (B)), afour-part choir, and aBaroque instrumental ensemble of two horns (Co), twooboes da caccia (Oc), two solo violins (Vs), strings consisting of two violin parts (Vl) and oneviola part (Va), andbasso continuo.[26] A festive scoring like this, includingbrass, was usually employed on holidays. The duration of the cantata is given as 25 minutes.[6]
In the following table of the movements, the scoring,keys andtime signatures are taken from Dürr.[26] The continuo, which plays throughout, is not shown.
| No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
|---|---|---|---|---|---|---|---|---|
| 1 | Wie schön leuchtet der Morgenstern | Nicolai | Chorale fantasia | SATB | 2Co 2Oc | 2Vs 2Vl Va | F major | 12 8 |
| 2 | Du wahrer Gottes und Marien Sohn | anon. | Recitative | T |  | |||
| 3 | Erfüllet, ihr himmlischen göttlichen Flammen | anon. | Aria | S | Oc | B-flat major | | |
| 4 | Ein irdscher Glanz, ein leiblich Licht | anon. | Recitative | B | | |||
| 5 | Unser Mund und Ton der Saiten | anon. | Aria | T | 2Vs 2Vl Va | F major | 3 8 | |
| 6 | Wie bin ich doch so herzlich froh | Nicolai | Chorale | SATB | 2Co 2Oc | 2Vl Va | F major | |
Bach provided a rich orchestration. The sparkle of the morning star is illustrated by two solo violins, first in the first chorus, and reappearing with the other strings in the second aria.[27] The sound of the oboe da caccia, first heard in the opening chorus, returns in the first aria. In the closing chorale, thefour-part harmony setting of the hymn tune, performed by choir andcolla parte instruments, is complemented by acounter-melody played by the second horn.[28] The scoring is reminiscent ofSie werden aus Saba alle kommen, BWV 65, written for Epiphany 1724.[22] Bach would later use the pair of horns inPart IV of hisChristmas Oratorio, dealing with the naming of Jesus as announced to Mary.[18]
The first movement, "Wie schön leuchtet der Morgenstern" ('How beautifully the morning star shines'),[1] is a stately, richly coloured chorale fantasia for the chorus.[29][30] Thecantus firmus of the chorale melody is sung in long notes ofdottedminims by the sopranos.[29][31] A substantial orchestral 12-barritornello orsinfonia begins the movement, with the solo instruments in the foreground; its wide harmonic range contrasts with the chorale, which remains mostly in thetonic key ofF major.[29][31] Bach achieves "unusual animation" by setting the hymn not in common time but12
8.[5][30] Thescintillatingsemiquaver passagework of two soloconcertante violins illustrate the sparkle of the morning star.[5][32] A baroque pastoral imagery is established by the addition of two other pairs of solo instruments which play pronouncedly below the range of the higher solo violinbariolage, resulting in a transparent multilayered musical texture:[29][33] the two pairs of horns and oboes da caccia, all associated with the hunt and nature, evoking abucolic landscape.[33]
The text of the hymn is reflected in the music iconography: the horn calls signify the majesty of the king, while the virtuosic concertante violin passagework signifies the morning star and joy in the universe.[33][34] Musical analysis of the chorale fantasia makes specific references to the 10 lines of the hymn text; an English metrical translation is given here as an ad hoc composite, combining two early 18th-century sources, theLyra Davidica and thePsalmodia Germanica, as well as a late 19th-century translation byM. Woolsey Stryker.[35][36]
Wie schön leuchtet der Morgenstern
Voll Gnad und Wahrheit von dem Herrn,
Die süße Wurzel Jesse!
Du Sohn David aus Jakobs Stamm,
Mein König und mein Bräutigam,
Hast mir mein Herz besessen,
Lieblich,
Freundlich,
Schön und herrlich, groß und ehrlich,reich von Gaben,
Hoch und sehr prächtig erhaben.
How fairly shines the morning star,
with God's full grace and truth afar,
sweet Jesse's offspring royal.
O David's son of Jacob's line,
thou art my king and spouse divine,
thou hast my heart true loyal.
Lovely,
kindly,
fair and glorious, great and righteous,rich in wonder,
high and most sublime in splendour.
The 12-bar sinfonia is based on themes that are derived directly from thecantus firmus (notated here in thesoprano clef); in particular the leap of afifth in the opening theme and the recurringtriads.[31][34] Thus, as conductorJohn Eliot Gardiner notes, the movement begins intimately with a phrase of the second solo violin, with an orchestral tutti as response. The phrase is reprised a fifth higher by the first solo violin, again answered by the full orchestra. Aninversion of the last threequavers in the first theme provides a second theme, which is heard amongst the three different solo instrumental groups—horns, oboes da caccia and violins—and is echoed individually, before an orchestral tutti on acadence, heralding the entrance of the soprano.[22][34] The sinfonia is similar in structure to aconcerto grosso where different pairs of solo instruments compete against each other.[29]
After the sinfonia, the first line of the sopranocantus firmus is countered by the lower voices with a version of the first theme, doubled by instruments. Throughout the fantasia, whenever thecantus firmus is exposed, it is doubled by the horn. The other nine lines are punctuated by instrumental episodes of differing lengths. Some are quite short, where other pairs of instruments briefly play the first theme. For line 2, the tenor, followed by the alto, sing thecantus firmus indiminution, i.e. sung at twice the speed, with dottedcrotchets instead of minims. Line 5 is similar, but this time the alto is followed by the tenor. In the episode between lines 2 and 3, the second themes are heard. Between lines 3 and 4 there is a recurrence of the sinfonia with different solo instruments allocated to the parts. Between lines 4 and 5, there is a two bar episode with the first theme; and between lines 5 and 6, the second theme is heard again. The vocal lines 4–6 are a repetition of lines 1–3, reflecting the over-archingbar form of the movement.[33][37]
The extended instrumental passage between lines 6 and 7 features a duet between the two concertante violins, with the first theme countering the semiquaver bariolage.[38] In line 7 the word "lieblich" ('lovely') is sung to plain chords in the choir, punctuated by one bar of the first theme; in line 8 the same happens for the word "freundlich" ('kindly').[1] After a two-bar episode similar to the violin duet, the whole orchestra and chorus are heard in line 9, with rolling quavers, in contrary motion. A 4-bar episode for the concertante violins leads to fugal entries in the lower voices and the climactic tenth line: with animated accompaniment from the entire orchestra and lower voices, the sopranos sing a descending scale to the words "Hoch und sehr prächtig erhaben" ('high and most sublime in splendour'). The orchestral ritornello closes the movement.[29][38]
Dürr andRichard Jones write that the chorale fantasia is "a movement of jubilant splendour, colourful profusion, and Advent joy".[31]W. Gillies Whittaker describes the long movement as "one of the most unforgettable pictures in musical art" with "kaleidoscopic changes of the fascinating material".[39]
The tenor expresses insecco recitative the belief "Du wahrer Gottes und Marien Sohn" ('You, very son of God and Mary').[1] The text is crafted paraphrasing the second stanza of the hymn, and also alludes to the annunciation from the Gospel reading.[29]
In the first aria, the soprano renders "Erfüllet, ihr himmlischen göttlichen Flammen" ('Fill utterly, you divine celestial flames'),[1] accompanied by anobbligato oboe da caccia, an instrument inalto range. The instruments illustrate the celestial flames incoloraturas.[28] Two oboe parts exist for the obbligato instrument, one in the normal clef for an oboe da caccia, the other in a "fingering notation".Ulrich Leisinger, editor of a publication byCarus, noted that it is unclear if the latter was meant to help a player not experienced in the instrument, or if actually two players alternated, which would make breathing easier.[29]
In another secco recitative, "Ein irdscher Glanz, ein leiblich Licht rührt meine Seele nicht" ('No earthly gloss, no fleshly light could ever stir my soul'), the bass contrasts earthly light with heavenly light.[40] The terms "Freudenschein" ('joyful radiance') and "Erquickung" ('refreshment') are emphasised by amelisma.[31] Editor Leisinger summarised: "Nothing worldly pleases the soul, only that semblance of joy which is sent by God alone (for which the morning star can evidently serve as an image)".[29]
The text of the fifth movement, "Unser Mund und Ton der Saiten" ('Our mouths and the tones of strings'),[1] paraphrases the stanza"Zwingt die Saiten in Cythara" ('Pluck the strings of the cittern').[29] The aria is sung by the tenor who, following the text, is accompanied by strings only, including the two solo violins from the first movement.[29] An expression of thanks and praise, it is intensified by a dance-like motion, described as "gracefulminuet pulse" by Bach scholarKlaus Hofmann.[28] The soloist sings coloraturas on the repeated word"Gesang" ('singing').[5]
The closing chorale, "Wie bin ich doch so herzlich froh"[41] ('How heartily glad I am indeed'),[18] is complemented by an independent part of the second horn,[29] while the other instruments play colla parte with the four-part chorale sung by the choir. Thus, the last chorale cantata in the second cantata cycle reaches an "air of baroque festive splendour".[28]
When the composer died in 1750, theautograph composition scores of the chorale cantata cycle presumably went with Friedemann, Bach's eldest son, to Halle, where they were later sold: most of these manuscripts, including that ofWie schön leuchtet der Morgenstern, went lost without further trace. Bundles of original performance parts of the chorale cantatas, includingWie schön leuchtet der Morgenstern, were briefly owned by the composer's widow,Anna Magdalena, who sold them to the St. Thomas School.[19][42] Apart fromBach's motets, these chorale cantatas were the only works of the composer which were performed with some continuity in Leipzig between the composer's death and the 19th-centuryBach Revival.[43] Over a century later, the St. Thomas School deposited the original performance part manuscripts of the chorale cantata cycle in theBach Archive in Leipzig, for conservation.[19]
Carl von Winterfeld's description of the cantata, published in 1847, focuses mostly on the composition's opening movement.[44] Writing in the second half of the 19th century,Philipp Spitta listed 35 Bach chorale cantatas in alphabetical order in the second volume of his biographyJohann Sebastian Bach, but assumed that all these works were composed late in Bach's career.[45] He wrote: "In these thirty-five cantatas a series of the most beautiful and the best known Protestant chorales of the sixteenth and seventeenth centuries is subjected to elaborate treatment."[46] He noted that inWie schön leuchtet der Morgenstern, the chorale, which was not originally written for the occasion of the Annunciation, had to be connected by expanded poetry to the topic of the feast.[47] Building on Spitta's educated guesswork about the time of origin ofBach's church cantatas—which was later proven to be largely mistaken[48]—Reginald Lane Poole listed the cantata as the last one composed by Bach, thus ranging it as a very mature work.[49]
In the 1906Bach-Jahrbuch, the third yearbook of theNeue Bachgesellschaft,Woldemar Voigt wrote about the cantata:
Ein kostbares Stück, und wohl wert, die Gesamtausgabe der Werke S. Bachs zu eröffnen. Insbesondere gehört der einleitende figurierte Choral nach Stimmungsgehalt und Farbenreichtum zu den schönsten, und man wird trotz der unbestreitbaren Länge keinen Takt entbehren.[50]
A precious work, and well worth opening the complete edition of Bach's works. In particular, the introductory chorale fantasia is among the most beautiful in terms of mood and richness of colour, and one will not want to miss a single measure of it despite its considerable length.
The sameBach-Jahrbuch volume presents an overview of performances of Bach's works between late 1904 and early 1907: two are listed forWie schön leuchtet der Morgenstern, one in Leipzig, and one at theBethlehem Bach Festival in Pennsylvania.[51]Albert Schweitzer, in his bookJ. S. Bach, published in 1908 and translated in 1911, still dated the chorale cantatas to 1734 and later. Schweitzer wrote in a short passage about the first movement ofWie schön leuchtet der Morgenstern that Bach's "music converts the text into an expression of mystical exuberance. In the orchestral accompaniment the themes of the separate hues of the chorale are largely employed as motives."[52]
In 1950, the cantata was listed as BWV 1 in theBach-Werke-Verzeichnis.[53] Dürr's comprehensive study of the chronology of Bach's cantatas was first published in the late 1950s: in it, the cantata's time of origin was fixed to Bach's second year in Leipzig.[54] In preparation of the 2018Bachfest Leipzig, three Bach experts were asked to name their favourites among Bach's cantatas: Gardiner,Michael Maul (then the festival's new director), andPeter Wollny, the director of the Bach Archive. 15 cantatas appeared in the lists of all three, includingWie schön leuchtet der Morgenstern.[55]
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TheBach-Gesellschaft choseWie schön leuchtet der Morgenstern as first composition in the first volume of theBach-Gesellschaft Ausgabe (BGA).Robert Schumann, the publisher of theNeue Zeitschrift für Musik, ThomaskantorMoritz Hauptmann and philologistOtto Jahn had initiated this first complete edition of Bach's works a century after the composer's death.[22][56] Its first volume was published in 1851, edited by Hauptmann.[21] Leisinger mentioned three reasons why theGesellschaft's choice to open their edition with this cantata made sense:[56]
Gustav Rösler [de] prepared avocal score for a publication byEdition Peters in Leipzig in 1875.[57]Breitkopf & Härtel, the publisher of the BGA, began a series of vocal scores of Bach's cantatas, titledJoh. Seb. Bachs Kirchenkantaten, with this cantata appearing around 1890. They published another version in the same series around 1932, with an English text by Mevanwy Roberts,All glorious doth the day-star shine, a French text by Henriette Fuchs,Brillante étoile du matin, and a piano reduction byGünter Raphael.[58] Possibly in 1928, a score of the cantata was published in the seriesEulenburgs kleine Partitur-Ausgabe byEulenburg in Leipzig;Arnold Schering had revised the BGA, based on the original vocal parts.[57]
An English version was published in London as a vocal score, as part ofNovello's Original Octavo Edition, possibly in 1927. The translation, titledHow Brightly Shines yon Star of Morn was made byPaul England, and the piano reduction prepared by John E. West. In the U.S., a vocal score appeared inPhiladelphia around 1947, titledHow Bright and Fair the Morning Star, as No. 88 of the Choral Series of the Association of American Choruses.[57] TheNew Bach Edition (Neue Bach-Ausgabe, NBA) published the work in 1995, edited by Matthias Wendt, with critical commentary added the same year.[21] Carus published a critical edition in German and English as part of itsStuttgarter Bach-Ausgaben in 1998, edited byReinhold Kubik.[59] In the 21st century,Bach Digital published high-resolution facsimile images of the manuscript parts from the first quarter of the 18th century.[19]
The conductorFritz Lehmann recorded Bach's cantatas with theBerliner Motettenchor and theBerliner Philharmoniker withDeutsche Grammophon in the early 1950s. The recordings of nine cantatas, includingWie schön leuchtet der Morgenstern, were reissued in 2018.[60]Fritz Werner recorded around 50 of Bach's church cantatas with theHeinrich-Schütz-Chor Heilbronn and thePforzheim Chamber Orchestra, mostly in the 1960s, includingWie schön leuchtet der Morgenstern.[61]
In 1971,Wie schön leuchtet der Morgenstern was the first cantata recorded for theTeldec series—a project aiming to record all church cantatas by Bach on period instruments inhistorically informed performances, conducted byNikolaus Harnoncourt andGustav Leonhardt.[62][63][64] All vocalists were male singers, as during Bach's tenure in Leipzig. Harnoncourt conducted the first four cantatas (BWV 1 to 4), with theWiener Sängerknaben and theConcentus Musicus Wien, with asoprano soloist from the boys' choir and acountertenor for the alto part.[62]Helmuth Rilling, who began a recording of all Bach cantatas in 1969 and completed it in 1985,[64] recordedWie schön leuchtet der Morgenstern in 1980, with theGächinger Kantorei andBach-Collegium Stuttgart.[65]
Pieter Jan Leusink conducted all Bach church cantatas with theHolland Boys Choir and theNetherlands Bach Collegium in historically informed performance, but with women for the solo soprano parts.[66] Gardiner, who in 2000 conducted theBach Cantata Pilgrimage with the Monteverdi Choir, performing and recording Bach's church cantatas on the occasion for which they written, recordedWie schön leuchtet der Morgenstern atSt Peter's Church, Walpole St Peter.[67]: 13, 18 Masaaki Suzuki, who studied historically informed practice in Europe, began recording Bach's church cantatas with theBach Collegium Japan in 1999, at first not aiming at a complete cycle, but completing all in 2017.[68] They releasedWie schön leuchtet der Morgenstern in 2007.[69]
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