978-0393602517 Chapter 19

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CHAPTER 19

Musical Sermons: Bach and the Lutheran Cantata

OVERVIEW

Music of the Lutheran church during the late Baroque serves as the main subject of this chapter.

The chapter introduces the chorale as the central musical component of the Lutheran worship

service, followed by Bach’s Wachet auf (“Sleepers Awake”), which is framed to illustrate the use

of chorales in the composition of sacred cantatas during the late Baroque era.

LEARNING OBJECTIVES

1. To understand the chorale as the central musical component of the Lutheran worship service

2. To understand the Lutheran cantata as a multimovement liturgical work with solo arias,

recitatives, and chorales, all with instrumental accompaniment

3. To understand Bach’s Cantata No. 140, Wachet auf, as a chorale cantata that elaborates on

the melody and stanzas of a well-known chorale

LECTURE SUGGESTIONS

1. After reviewing the function of chorales as musical sermons during Lutheran worship

services, have students form pairs. First, have them recount the parable of the Wise and

Foolish Virgins from Matthew 25:1–3, and then have them discuss how each stanza of

Wachet auf (textbook pp. 104–05, mvts. 1, 4, and 7) reflects the message of the parable.

Ask students to share their responses with the class, noting the movements that set the

chorale text. Have students give their ideas on how this music reflects the meaning of

each individual stanza. Next, ask students to consider how the text of the third movement

(“Wenn kömmst du, mine Heil?”) acts as a commentary or gloss over the first stanza and

then how Bach’s compositional choices (duet texture, da capo form, solo violin, etc.) act

to vividly portray for listeners the meaning of this text. Based on student responses, what

are the advantages—from a liturgical point of view—of having such a cantata performed

for worship services in the Lutheran church?

2. In a presentation slide, copy each phrase of the chorale melody of Wachet auf’s first stanza

on a separate line (8 total). As you play the first movement, highlight each phrase as the

sopranos sing it.

ASSIGNMENT SUGGESTIONS

1. Luther and his followers were well aware of the ability of chorales not only to reach the

hearts of worshipers but also to teach them the meanings of biblical passages, especially

the parables preached by Jesus in the gospels of the New Testament. What are some other

examples of music that is intended to teach people what to believe or how to think about

or remember certain stories or events? Your examples can come from secular and sacred

contexts alike.

2. Bach also wrote other compositions based on chorales, including instrumental works that

eschew the text. Listen to an excerpt of an instrumental arrangement of the chorale

movement from Bach’s cantata Herz und Mund und Tat und Leben, BWV 147, known

popularly today as Jesu, Joy of Man’s Desiring. Popular arrangements of this piece

include versions by Christopher Parkening (guitar), E. Power Biggs (organ), and Myra

Hess (piano). Although Bach did not make these instrumental arrangements, in what

ways does the music reflect the words and meaning of the original cantata chorus?

Original German:

English translation (Gavito):

Wohl mir, daß ich Jesum habe,

What joy for me that I have Jesus,

O wie feste halt ich ihn,

Oh how firmly I hold on to him,

Daß er mir mein Herze labe,

So that he may make my heart rejoice,

Wenn ich krank und traurig bin.

When I am sick and mournful.

Jesum hab ich, der mich liebet

I have Jesus, who loves me

Und sich mir zu eigen gibet;

And gives himself to me for his own;

Ach drum laß ich Jesum nicht,

Ah, therefore I shall not let go of Him,

Wenn mir gleich mein Herze bricht.

Even if my heart should break.

TEACHING CHALLENGES

Bach’s Wachet auf is the earliest excerpt of music for chorus and orchestra in the repertory that

accompanies this textbook. Hearing all of the performing forces, especially in dense polyphonic

passages, might be a little overwhelming for students. Try introducing all of the instruments of

the orchestra before playing the excerpt so students have an idea of what to expect before

listening. Noting which instruments are doubling the voices in the choral fugue will also help

guide students as they listen for the polyphony.

SUPPLEMENTAL REPERTORY

Buxtehude: Wachet auf, ruft uns die Stimme, BuxWV 100, 101

J. S. Bach: Cantata BWV 62, Nun komm der Heiden Heiland

SUPPLEMENTAL BIBLIOGRAPHY

Liupold, Ulrich S., ed. Luther’s Works. Vol. 53, Liturgy and Hymns. Philadelphia: Fortress Press,

1965. A collection of Luther’s own thoughts on the subject of music and chorales in the

Lutheran liturgy. Of most relevance is the preface to Symphoniae iucundae (1537) (pp. 321–

24), in which Luther notes the value and importance of music in the worship experience.

Wolff, Christoph, ed. The World of Bach Cantatas. Vol. 1, The Early and Sacred Cantatas. New

York: W. W. Norton, 1995. An excellent collection of essays on the subject of Bach’s

cantatas. See especially Daniel R. Melamed’s “Cantata Choruses and Chorales” (pp. 143–54)

for further information on Bach’s use of chorales in his cantata choruses.

CHAPTER OUTLINE

Musical Sermons: Bach and the Lutheran Cantata (Chapter 19)

I. The Lutheran Chorale and Cantata

A. Martin Luther

1. believed in congregational singing

2. professional musicians: singers and instrumentalists

B. Chorales: German hymn tunes

1. composed or recycled melodies, German poetry or Biblical passages

2. specific chorale integrated in weekly service

3. sung in unison by congregation

4. professional choir: four-part harmony

C. Cantata: multimovement work for soloists, chorus and orchestra

1. “musical sermon”: elaboration of weekly chorale

2. related to Gospel reading of the day

3. integral part of church service

4. solo arias, recitatives, and chorus; orchestral accompaniment

II. Bach and the Lutheran Cantata

A. Johann Sebastian Bach (1685–1750)

1. German composer, organ virtuoso; devout Lutheran

2. renowned, best-known during his lifetime as a performer

3. culminating figure of Baroque style

4. court positions: Weimar and Anhalt-Cöthen

5. 1723–1750 church position: St. Thomas Church, Leipzig

6. two marriages, nineteen children: four sons, leading composers

7. style: raised existing forms to highest level, master of contrapuntal composition

8. output: prolific in secular and sacred works, suites, concertos, sonatas, keyboard

music, cantatas

B. 200 Bach cantatas survive

1. Bach composed four or five yearly cycles

2. each cantata, five to eight movements

a. first, middle, last movements based on chorale tune: full ensemble

b. hymnlike settings to intricate fugues

c. interspersed: solos or duet arias, recitatives

C. Wachet auf (Sleepers, Awake)

1. cantata in seven movements

2. text: Gospel of Matthew, parable of the Wise and Foolish Virgins

a. Lutherans prepare spiritually for Christmas

3. hymn tune (chorale) by Philipp Nicolai

4. same hymn sung in unison by congregation

5. chorale tune featured in three choral movements

D. Listening Guide 8: Bach, Cantata No. 140, Wachet auf (Sleepers, Awake), Nos. 1 and 4

(1731)

1. 1st mvt.: Chorale fantasia

a. stanza 1 of chorale; bar form (A-A-B)

b. majestic, marchlike: arrival of Christ

c. uplifting major key, insistent dotted rhythm in orchestra

d. recurring instrumental sections (ritornellos)

e. complex, imitative polyphony in lower voices

2. 4th mvt.: Unison chorale

a. stanza 2 of chorale; bar form (A-A-B)

b. bright major key

c. chorale tune sung in unison by tenors, countermelody in strings