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Helmut
Rilling interprets Bach Cantatas 79 | 110 | 4 | 67 | 56 | 140 | Interview |
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Gott der Herr ist Sonn und Schild (God the Lord is sun and shield), BWV 79From the notes for Rilling's Lecture Concerts 4-CD set, Haenssler Classic catalog number 98.459. Haenssler Classic CDs are distributed in the USA by Collegium USA (800 367-9059), although this new release is not yet listed on the Collegium web site.
In the course of the concerts associated with these recordings (made in the mid to late 1990s), Helmut Rilling presented, in German, a series of lectures analyzing the cantatas. Haenssler recorded these lectures, complete with musical examples, and included them in the CD set. The following text is an English paraphrase of his presentation for Cantata 79. It's reprinted for WKSU listeners by kind permission of the publisher.
For Reformation Day 1725, Bach wrote a festive cantata for a large ensemble. The process of composition began when Bach himself drew the staffs on the music paper, since he had to have already decided what instruments he was going to use. These are two horns, two flutes, two oboes and timpani, as well as strings, voices and continuo. Introductory chorus: Bach keeps the horns strictly parallel. The timpani tend to beat a pulsating rhythm, and the other instruments, after serving merely the function of an accompaniment, turn these repeating notes into a fugue. Its theme ends with a rousing ascendant passage. The fugue runs through all the voices and joins up with the horn theme. Only then does the choir enter with long-held notes ("Sonn und Schild", "sun and shield"). "Der Herr gibt Gnade und Ehre" ("The Lord gives grace and honor") then follows with imitative entries - a sort of motet in the old style, ingeniously fit into a modern orchestra setting! Then the choral voices sing increasingly virtuoso passages. A double fugue begins at the words "Er wird kein Gutes mangeln lassen" ("He will not allow any lack of what is good"), also starting with a repetitive motif. The voices enter quickly one after another and Bach shows the most consummate contrapuntal skill in illustrating the overabundance of God’s benevolence mentioned in the text. It is impossible to say this too often! The fugue ends with a reprise of the orchestral introduction. Then, however, the soprano and the alto sing along with the horn theme, as if singing a headline, "Gott der Herr ist Sonn und Schild" ("God the Lord is sun and shield"), which the chorus takes up in chords. Into the end of this reprise, Bach has the choir once again sing "Er wird kein Gutes mangeln lassen den Frommen" ("He will not let the pious suffer any lack of what is good") - in a splendid architecture consisting of a three-part orchestra introduction, motet-like choral and orchestral elements, a large-scale fugue with a theme of its own and, at the end, a combination of all these elements! No. 2, aria: As he so often does, Bach now seeks contrast. A dance-like, chamber-music setting for flute, bassoon and organ (with the accent on the second beat of the measure) allows the alto voice to reinforce in a joyful vein what the choir has sung before. However, words such as "Schutz" ("protection"), "Feinde" ("enemies ") and particularly "Lästerhund" ("blasphemous dog") manage to bring the music briefly out of its rhythm and dim the harmonies. No. 3, chorale: A chorale at this point is unusual. Once again the obbligato horns carry the setting, which is supported by thumping timpani. Now we notice that the chorale melody, "Nun danket alle Gott" ("Now all should thank God"), also begins with repeated notes - did Bach already have this motif in mind in the introductory movement? The choir sings while the remaining instruments play a straightforward setting in notes of fixed length. Thus the first three movements of the cantata can be said to form a unit. Their theme is to praise God and thank Him for His benevolence. What is lacking is the specific occasion. This is what Bach now turns to in No. 4, recitative: "Du hast uns durch dein Wort gewiesen" ("You have instructed us through your word"), that is, Jesus is the sole intermediary, thereby addressing the basic issues of the Reformation. Bach underscores this word, "Mittler" ("mediator"), with the motif of the cross, as if to imply that the cross is necessary for any intercession between God and mankind. The following movement, No. 5, duet, begins without an orchestral prelude. The soprano and bass sing parts which are at first parallel, then imitative and finally very incisive. Orchestral interludes with broken triads and unison leaps in the violins portray a quarrel, the reason for the words to ask God not to leave "die Deinen" ("Thine own"). "Laß dein Wort uns helle scheinen" ("Let Your word shine brightly for us"), once again an issue related to the Reformation, is reason enough for Bach to change to a major key and make the voices more melodious. A contrast once again follows, depicting the raging enemies. The voices no longer sing in parallel, a symbol of support and security, but instead one voice now sings excited coloratura passages contrasting with pointed leaps in the other voice in each case. The command to love God restores balance to the setting and exhorts the congregation to do the same. In No. 6, the final chorale, the words mention two additional key ideas of the Reformation, "Wahrheit" ("truth") and "Freiheit" ("freedom "), in a majestic chordal setting in unison with the instruments. The horns shine above the movement, while the timpani add strength and at the same time serve as a bridge to the introductory chorus.
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