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] composed the ] '''{{lang|de|Wo soll ich fliehen hin}}''' (Where shall I flee),{{sfn|Dellal|2024}} '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}5''', in ] for the 19th Sunday after ] and first performed it on 15 October 1724. It is based on the ] "{{langr|de|]}}" by ]. ] composed the ] '''{{lang|de|Wo soll ich fliehen hin}}''' (Where shall I flee),{{sfn|Dellal|2024}} '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}5''', in ] for the 19th Sunday after ] and first performed it on 15 October 1724. It is based on the penitential ] "{{langr|de|]}}" by ].


{{lang|de|Wo soll ich fliehen hin}} belongs to Bach's ], the second cycle during his tenure as ] that began in 1723. The text retains the first and 11th ] of the chorale unchanged, while the other stanzas were paraphrased into alternating ]s and ]s by an unknown ]. The cantata in seven ] is scored for ] soloists and choir, ] (]), two ]s, ] and ]. {{lang|de|Wo soll ich fliehen hin}} belongs to Bach's ], the second cycle during his tenure as ] that began in 1723. The text retains the first and 11th ]s of the chorale unchanged, while the other stanzas were paraphrased into alternating ]s and ]s by an unknown ].
The cantata in seven ] is scored for ] soloists and choir, and a ]al ensemble of ] (]), two ]s, ] and ].


== History and words == == History and words ==
Bach wrote the cantata in his second year in Leipzig for the ].{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}}{{sfn|Hiemke|2016}} It is part of his ]. The prescribed readings for the Sunday were from ]'s ] – "put on the new man, which after God is created" ({{Sourcetext|source=Bible|version=King James|book=Ephesians|chapter=4|verse=22|range=–28}}) – and from the ], ] ({{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=9|verse=1|range=–8}}).{{sfn|Bach Digital|2024}} Bach wrote the cantata in his second year in Leipzig for the ].{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}}{{sfn|Hiemke|2016}} It is part of his ]. The prescribed readings for the Sunday were from ]'s ] – "put on the new man, which after God is created" ({{Sourcetext|source=Bible|version=King James|book=Ephesians|chapter=4|verse=22|range=–28}}) – and from the ], ] ({{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=9|verse=1|range=–8}}).{{sfn|Bach Digital|2024}}


The cantata text is based on the hymn in eleven ]s "{{langr|de|]}}" by ],{{sfn|Bach Digital|2024}}{{sfn|Bach Cantatas Website|2005}} published in 1630, which is recommended for the Sunday in the ''Dresdner Gesangbuch''.{{sfn|Gardiner|2006}} The hymn tune is "{{langr|de|]}}". An unknown poet retained first and last stanzas as the respective choral cantata ]s,{{sfn|Hiemke|2016}} and paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, and 9 and 10 as movement 6. A year before, Bach had composed for the occasion ], concentrating on the promise of Jesus to the sick man: "Your sins are forgiven". Similarly, the awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata. The poetry adds to the chorale images which the composer could use, for example in movement 3, the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=51|verse=4}}, {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=1|verse=5}} and {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=7|verse=14}}. In movement 5 the poet invented a ferocious, hellish army, which is silenced by the believer who shows the blood of Jesus.{{sfn|Dürr|1981}} The cantata text is based on the penitential hymn in eleven ]s "{{langr|de|]}}" by ],{{sfn|Bach Digital|2024}}{{sfn|Bach Cantatas Website|2005}} published in 1630, which is recommended for the Sunday in the ''Dresdner Gesangbuch''.{{sfn|Gardiner|2006}} The hymn tune is "{{langr|de|]}}". An unknown poet retained the first and last stanzas as the respective choral cantata ]s,{{sfn|Hiemke|2016}} and paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, and 9 and 10 as movement 6. A year earlier, Bach had composed ], for the same occasion, focused on the promise of Jesus to the sick man: "Your sins are forgiven". Similarly, the awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata. The paraphrasing poetry adds images to the chorale which the composer could use, for example in movement 3 the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=51|verse=4}}, {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=1|verse=5}} and {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=7|verse=14}}. In movement 5 the poet invented a ferocious, hellish army, which is silenced by the believer who shows the blood of Jesus.{{sfn|Dürr|1981}}


Bach first performed the cantata on 15 October 1724.{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}} The autograph score to the cantata, now in the ] of the ], was once owned by ].{{sfn|Joachim|2024}} Bach first performed the cantata on 15 October 1724.{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}} A new organ part, written by Bach, confirms a performance around ten years later. Further performances are likely but not proven.{{sfn|Hiemke|2016}}


== Music == == Music ==
=== Structure and scoring === === Structure and scoring ===
The cantata in seven movements is scored for four vocal soloists (], ], ], and ]), a ], ] (]), two ]s, two ]s, ] and ].{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}}{{sfn|Hiemke|2016}} Bach structured the cantata in seven ]. Both text and tune of the hymn are retained in the outer movements, a chorale fantasia and a four-part closing chorale.{{sfn|Dürr|1981}} Bach scored the work for four vocal soloists (] (S), ] (A), ] (T) and ] (B)), a ], and a ]al ensemble of ] (Tr, a ]), two ]s (Ob), two violin parts (Vl), one ] part (Va), and ].{{sfn|Bach Digital|2024}}{{sfn|Bach Digital|2024}}{{sfn|Dürr|1981}}{{sfn|Hiemke|2016}}<!-- The duration of the cantata is given as 25 minutes.{{sfn|Dürr|1981}}-->

In the following table of the movements, the scoring, ] and ]s are taken from ]'s standard work ''Die Kantaten von Johann Sebastian Bach''.{{sfn|Dürr|1981}} The continuo, which plays throughout, is not shown.


{{Classical movement header | show_text_source = yes | work = {{lang|de|Wo soll ich fliehen hin}} | instruments1 = Winds | instruments2 = Strings }} {{Classical movement header | show_text_source = yes | work = {{lang|de|Wo soll ich fliehen hin}} | instruments1 = Winds | instruments2 = Strings }}
Line 36: Line 40:
| number = ] | number = ]
| title = "{{langr|de|Wo soll ich fliehen hin}}" | title = "{{langr|de|Wo soll ich fliehen hin}}"
| text_source = Hunold | text_source = Heermann
| type = Chorus | type = Chorus
| vocal = SATB | vocal = SATB
| instruments1 = 2 oboes, 1 tromba da tirarsi (col Soprano) | instruments1 = 2 Ob, Tr (with S)
| instruments2 = 2 violins, 1 viola | instruments2 = 2 Vl, Va
| key = {{nowrap|]}} | key = {{nowrap|]}}
| time = {{music|common-time}} | time = {{music|common-time}}
Line 47: Line 51:
| number = ] | number = ]
| title = "{{langr|de|Der Sünden Wust hat mich nicht nur befleckt}}" | title = "{{langr|de|Der Sünden Wust hat mich nicht nur befleckt}}"
| text_source = Hunold | text_source = anon.
| type = Recitative | type = Recitative
| vocal = bass | vocal = B
| instruments1 = | instruments1 =
| instruments2 = | instruments2 =
Line 58: Line 62:
| number = ] | number = ]
| title = "{{langr|de|Ergieße dich reichlich, du göttliche Quelle}}" | title = "{{langr|de|Ergieße dich reichlich, du göttliche Quelle}}"
| text_source = Hunold | text_source = anon.
| type = Aria | type = Aria
| vocal = Tenor | vocal = T
| instruments1 = | instruments1 =
| instruments2 = 1 viola | instruments2 = Va
| key = {{nowrap|]}} | key = {{nowrap|]}}
| time = 3/4 | time = 3/4
Line 69: Line 73:
| number = ] | number = ]
| title = "{{langr|de|Mein treuer Heiland tröstet mich}}" | title = "{{langr|de|Mein treuer Heiland tröstet mich}}"
| text_source = Hunold | text_source = anon.
| type = Recitative | type = Recitative
| vocal = alto | vocal = A
| instruments1 = 1 oboe | instruments1 = Oboe
| instruments2 = | instruments2 =
| key = | key =
Line 80: Line 84:
| number = ] | number = ]
| title = "{{langr|de|Verstumme, Höllenheer}}" | title = "{{langr|de|Verstumme, Höllenheer}}"
| text_source = Hunold | text_source = anon.
| type = Aria | type = Aria
| vocal = bass | vocal = B
| instruments1 = 2 oboes, 1 trumpet | instruments1 = 2 Ob, Tr
| instruments2 = 2 violins, 1 viola | instruments2 = 2 Vl, Va
| key = {{nowrap|]}} | key = {{nowrap|]}}
| time = {{music|common-time}} | time = {{music|common-time}}
Line 91: Line 95:
| number = ] | number = ]
| title = "{{langr|de|Ich bin ja nur das kleinste Teil der Welt}}" | title = "{{langr|de|Ich bin ja nur das kleinste Teil der Welt}}"
| text_source = Hunold | text_source = anon.
| type = Recitative | type = Recitative
| vocal = soprano | vocal = S
| instruments1 = | instruments1 =
| instruments2 = | instruments2 =
Line 105: Line 109:
| type = Chorale | type = Chorale
| vocal = SATB | vocal = SATB
| instruments1 = 2 oboes, 1 violin, 1 tromba da tirarsi (col soprano) | instruments1 = 2 Ob, Tr (with S)
| instruments2 = 1 violin (coll’alto), 1 viola (col tenore) | instruments2 = 2 Vl (with S and A), Va (with T)
| key = {{nowrap|G minor}} | key = {{nowrap|G minor}}
| time = {{music|common-time}} | time = {{music|common-time}}
Line 113: Line 117:


=== Movements === === Movements ===
Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a ], which receives added weight by the ] of the chorale played by the oboe. One line of the chorale stanza is sung unchanged: "{{langr|de|was ich gesündigt habe}}" (the sins I committed).{{sfn|Dellal|2024}}{{sfn|Dürr|1981}} Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a ], which receives added weight by the ] of the chorale played by the oboe.{{sfn|Dürr|1981}}


==== 1 ==== ==== 1 ====
Line 120: Line 124:


==== 2 ==== ==== 2 ====
The first recitative, "{{langr|de|Der Sünden Wust hat mich nicht nur befleckt, er hat vielmehr den ganzen Geist bedeckt}}" (This heap of sins has not merely left a stain, it has done much more; covered my entire spirit),{{sfn|Dellal|2024}}, is a ] sung by the bass.{{sfn|Dellal|2024}} The first recitative, "{{langr|de|Der Sünden Wust hat mich nicht nur befleckt, er hat vielmehr den ganzen Geist bedeckt}}" (This heap of sins has not merely left a stain, it has done much more; covered my entire spirit),{{sfn|Dellal|2024}} is a ] sung by the bass.{{sfn|Dellal|2024}}


==== 3 ==== ==== 3 ====
In the first aria, "{{langr|de|Ergieße dich reichlich, du göttliche Quelle, ach, walle mit blutigen Strömen auf mich}}" (Pour yourself richly, you divine fountain, ah, wash over me with bloody streams),{{sfn|Dellal|2024}} the tenor voice is accompanied only by an ] viola illustrating the flow of blood, termed by ] the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", and summarised as "the cleansing motions of some prototype baroque washing machine".{{sfn|Gardiner|2006}} The tenor sings the same figuration on the word "{{langr|de|wäschet}}" (washing). Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself.{{sfn|Mincham|2010}} In the first aria, "{{langr|de|Ergieße dich reichlich, du göttliche Quelle, ach, walle mit blutigen Strömen auf mich}}" (Pour yourself richly, you divine fountain, ah, wash over me with bloody streams),{{sfn|Dellal|2024}} the tenor voice is accompanied only by an ] instrument.{{sfn|Hiemke|2016}} In the original part, it is named as a violin but the notation in tenor clef points at a ]. Some editions, such as Carus-Verlag, suggest a viola.{{sfn|Hiemke|2016}} The instrument illustrates the flow of blood, termed by ] the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", and summarised as "the cleansing motions of some prototype baroque washing machine".{{sfn|Gardiner|2006}} The tenor sings the same figuration on the word "{{langr|de|wäschet}}" (washing). Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself.{{sfn|Mincham|2010}}


==== 4 ==== ==== 4 ====
The second recitative, "{{langr|de|Mein treuer Heiland tröstet mich, es sei verscharrt in seinem Grabe, was ich gesündigt habe;}}" (My loving Savior comforts me, buried in his grave are the sins I committed),{{sfn|Dellal|2024}} is the centre-piece of the cantata.{{sfn|Hiemke|2024}} The oboe plays the chorale tune to the alto's singing.{{sfn|Dellal|2024}} The second recitative, "{{langr|de|Mein treuer Heiland tröstet mich, es sei verscharrt in seinem Grabe, was ich gesündigt habe;}}" (My loving Savior comforts me, buried in his grave are the sins I committed),{{sfn|Dellal|2024}} is the centre-piece of the cantata.{{sfn|Hiemke|2016}} The oboe plays the chorale tune to the alto's singing.{{sfn|Dellal|2024}} One line of the chorale stanza is sung unchanged: "{{langr|de|was ich gesündigt habe}}" (the sins I committed).{{sfn|Dellal|2024}}{{sfn|Dürr|1981}}


==== 5 ==== ==== 5 ====
Line 135: Line 139:


==== 7 ==== ==== 7 ====
The closing chorale is set for four parts.{{sfn|Dürr|1981}}{{sfn|Dahn|2024}} The closing chorale, "{{langr|de|Führ auch mein Herz und Sinn}}" (Guide also my heart and mind),{{sfn|Dellal|2024}} is set for four parts.{{sfn|Dürr|1981}}{{sfn|Dahn|2024}}

<score raw="1" vorbis="1">
\header { tagline = " " }
\layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } }
global = { \transposition b \key g \minor \numericTimeSignature \time 4/4 \set Score.tempoHideNote = ##t \set Timing.beamExceptions = #'() }
\score {
\new ChoirStaff <<
\new Staff
<<
\new Voice = "soprano" { \voiceOne
\relative c'' { \global \transposition b'
\partial 4 g4 |
g a bes c | d2.\fermata d4 |
d c bes c | a2.\fermata a4 |
bes c d d | c2 d4\fermata d |
bes c d d | c2 bes4\fermata d |
f d d d | c2 c4\fermata c |
d c bes c | a2 g4\fermata \bar "|."
}
}
\new Voice = "alto" { \voiceTwo
\relative c' { \global \transposition b'
\partial 4 d4 |
ees e8 fis g4 g | fis2. fis4 |
g g8 fis g4 a | fis2. fis4 |
g a bes bes | bes a8 g a4 fis |
d c f g | g f8 ees d4 f |
f f8 g a4 g | g8 f g e f4 f8 ees |
d4 e8 fis g4 g | g fis d
}
}
>>
\new Lyrics \lyricsto "soprano" {
Führ auch mein Herz und Sinn
durch dein -- en Geist da -- hin,
dass ich mög al -- les mei -- den,
was mich und dich kann schei -- den,
und ich an dei -- nem Lei -- be
ein Glied -- maß e -- wig blei -- be.
}
\new Staff
<<
\clef bass
\new Voice = "tenor" { \voiceOne
\relative c' { \global \transposition b'
\partial 4 bes4 |
c c d ees | a,2. a4 |
bes c d ees | d2. d4 |
d ees f f | g f8 ees d4 a |
bes f'8 ees d c bes4 | bes a f bes |
c d d8 c bes4 | bes8 a bes g a4 a |
bes a g8 bes ees4 | d8 c16 bes c4 b
}
}
\new Voice = "bass" { \voiceTwo
\relative c' { \global \transposition b
\partial 4 g4 |
c8 bes a4 g8 f ees4 | d2. c4 |
bes a g c | d2. d4 |
g f8 ees d c bes4 | ees f fis d |
g a bes8 a g f | ees4 f bes, bes' |
a bes fis g8 f | e4 c f f |
bes, c8 d ees4 d8 c | d2 g,4
}
}
>>
>>
\layout { }
}
\score {
\new ChoirStaff <<
\new Staff \with { midiInstrument = "choir aahs" }
<<
\new Voice = "soprano" { \voiceOne
\relative c'' { \global
\tempo 4=72
\partial 4 g4 |
g a bes c | \tempo 4=64 d2 ~ d8.. r32 \tempo4=72 d4 |
d c bes c | \tempo 4=64 a2 ~ a16 r8. \tempo4=72 a4 |
bes c d d | c2 \tempo 4=56 d8. r16 \tempo 4=72 d4 |
bes c d d | c2 \tempo 4=56 bes8. r16 \tempo 4=72 d4 |
f d d d | c2 \tempo 4=56 c8.. r32 \tempo 4=72 c4 |
d c bes c | \tempo 4=40 a2\> \tempo 4=24 g4\mp r
}
}
\new Voice = "alto" { \voiceTwo
\relative c' { \global
\partial 4 d4 |
ees e8 fis g4 g | fis2 ~ fis8.. r32 fis4 |
g g8 fis g4 a | fis2 ~ fis16 r8. fis4 |
g a bes bes | bes a8 g a8. r16 fis4 |
d c f g | g f8 ees d8. r16 f4 |
f f8 g a4 g | g8 f g e f8.. r32 f8 ees |
d4 e8 fis g4 g | g\> \tempo 4=32 fis d\mp r
}
}
>>
\new Staff \with { midiInstrument = "choir aahs" }
<<
\clef bass
\new Voice = "tenor" { \voiceOne
\relative c' { \global
\partial 4 bes4 |
c c d ees | a,2 ~ a8.. r32 a4 |
bes c d ees | d2 ~ d16 r8. d4 |
d ees f f | g f8 ees d8. r16 a4 |
bes f'8 ees d c bes4 | bes a f8. r16 bes4 |
c d d8 c bes4 | bes8 a bes g a8.. r32 a4 |
bes a g8 bes ees4 | d8\> c16 bes c4 b\mp r
}
}
\new Voice = "bass" { \voiceTwo
\relative c' { \global
\partial 4 g4 |
c8 bes a4 g8 f ees4 | d2 ~ d8.. r32 c4 |
bes a g c | d2 ~ d16 r8. d4 |
g f8 ees d c bes4 | ees f fis8. r16 d4 |
g a bes8 a g f | ees4 f bes,8. r16 bes'4 |
a bes fis g8 f | e4 c f8.. r32 f4 |
bes, c8 d ees4 d8 c | d2\> g,4\mp r
}
}
>>
>>
\midi { }
}
</score>

== Manuscripts and publication ==
A set of parts for the cantata is preserved, which was partly copied by Bach himself.{{sfn|Hiemke|2016}} The autograph score, now in the ] of the ], was once owned by ].{{sfn|Joachim|2024}}

The cantata was first published in 1851 in the first complete edition of Bach's work, the ]. The volume in question was edited by ].{{sfn|Bach Digital|2024}}{{sfn|Hiemke|2016}} In the ] it was published in 1990, edited by Matthias Wendt.{{sfn|Hiemke|2016}}<!-- with a critical report following in 1989.{{sfn|Bach Digital|2024}}-->


== Recordings == == Recordings ==
Line 364: Line 500:
* {{cite web * {{cite web
| url = http://josephjoachim.com/2014/12/07/j-s-bach-cantata-bwv-5-wo-soll-ich-fliehen-hin/ | url = http://josephjoachim.com/2014/12/07/j-s-bach-cantata-bwv-5-wo-soll-ich-fliehen-hin/
| title = J. S. Bach Cantata BWV 5, “Wo soll ich fliehen hin?” | title = J. S. Bach Cantata BWV 5, "Wo soll ich fliehen hin?"
| work = Joseph Joachim | work = Joseph Joachim
| date = 2024 | date = 2024

Latest revision as of 01:53, 10 November 2024

Chorale cantata by Johann Sebastian Bach
Wo soll ich fliehen hin
BWV 5
Chorale cantata by J. S. Bach
Title page from Bach's autograph manuscript (now in the British Library's Zweig collection)
Occasion19th Sunday after Trinity
ChoraleJohann Heermann's "Wo soll ich fliehen hin"
Performed15 October 1724 (1724-10-15): Leipzig
Movements7
VocalSATB choir and soloists
Instrumental
  • tromba da tirarsi
  • 2 oboes
  • 2 violins
  • viola
  • continuo

Johann Sebastian Bach composed the church cantata (Bach) Wo soll ich fliehen hin (Where shall I flee), BWV 5, in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is based on the penitential hymn "Wo soll ich fliehen hin" by Johann Heermann.

Wo soll ich fliehen hin belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. The text retains the first and 11th stanzas of the chorale unchanged, while the other stanzas were paraphrased into alternating recitatives and arias by an unknown librettist.

The cantata in seven movements is scored for SATB soloists and choir, and a Baroque instrumental ensemble of tromba da tirarsi (slide trumpet), two oboes, strings and continuo.

History and words

Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity. It is part of his chorale cantata cycle. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians – "put on the new man, which after God is created" (Ephesians 4:22–28) – and from the Gospel of Matthew, Healing the paralytic at Capernaum (Matthew 9:1–8).

The cantata text is based on the penitential hymn in eleven stanzas "Wo soll ich fliehen hin" by Johann Heermann, published in 1630, which is recommended for the Sunday in the Dresdner Gesangbuch. The hymn tune is "Auf meinen lieben Gott". An unknown poet retained the first and last stanzas as the respective choral cantata movements, and paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, and 9 and 10 as movement 6. A year earlier, Bach had composed Ich elender Mensch, wer wird mich erlösen, BWV 48, for the same occasion, focused on the promise of Jesus to the sick man: "Your sins are forgiven". Similarly, the awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata. The paraphrasing poetry adds images to the chorale which the composer could use, for example in movement 3 the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on Psalms 51:4, Revelation 1:5 and Revelation 7:14. In movement 5 the poet invented a ferocious, hellish army, which is silenced by the believer who shows the blood of Jesus.

Bach first performed the cantata on 15 October 1724. A new organ part, written by Bach, confirms a performance around ten years later. Further performances are likely but not proven.

Music

Structure and scoring

Bach structured the cantata in seven movements. Both text and tune of the hymn are retained in the outer movements, a chorale fantasia and a four-part closing chorale. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of tromba da tirarsi (Tr, a slide trumpet), two oboes (Ob), two violin parts (Vl), one viola part (Va), and basso continuo.

In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr's standard work Die Kantaten von Johann Sebastian Bach. The continuo, which plays throughout, is not shown.

Movements of Wo soll ich fliehen hin
No. Title Text Type Vocal Winds Strings Key Time
1 "Wo soll ich fliehen hin" Heermann Chorus SATB 2 Ob, Tr (with S) 2 Vl, Va G minor common time
2 "Der Sünden Wust hat mich nicht nur befleckt" anon. Recitative B common time
3 "Ergieße dich reichlich, du göttliche Quelle" anon. Aria T Va E-flat major 3/4
4 "Mein treuer Heiland tröstet mich" anon. Recitative A Oboe common time
5 "Verstumme, Höllenheer" anon. Aria B 2 Ob, Tr 2 Vl, Va B-flat major common time
6 "Ich bin ja nur das kleinste Teil der Welt" anon. Recitative S common time
7 "Führ auch mein Herz und Sinn" Hunold Chorale SATB 2 Ob, Tr (with S) 2 Vl (with S and A), Va (with T) G minor common time

Movements

Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a recitative, which receives added weight by the cantus firmus of the chorale played by the oboe.

1

Opening of the first movement, from Bach's autograph manuscript (Zweig collection)

In the opening chorus, "Wo soll ich fliehen hin" (Where shall I flee), Bach gave the tune in unadorned long notes to the soprano, reinforced by the trumpet. The vocal parts are embedded in an independent instrumental concerto. The motifs of the instruments, which also appear in the lower voices, are derived from the tune, following the upward movement of its first line and the downward movement of its second line.

2

The first recitative, "Der Sünden Wust hat mich nicht nur befleckt, er hat vielmehr den ganzen Geist bedeckt" (This heap of sins has not merely left a stain, it has done much more; covered my entire spirit), is a secco sung by the bass.

3

In the first aria, "Ergieße dich reichlich, du göttliche Quelle, ach, walle mit blutigen Strömen auf mich" (Pour yourself richly, you divine fountain, ah, wash over me with bloody streams), the tenor voice is accompanied only by an obbligato instrument. In the original part, it is named as a violin but the notation in tenor clef points at a violoncello piccolo. Some editions, such as Carus-Verlag, suggest a viola. The instrument illustrates the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", and summarised as "the cleansing motions of some prototype baroque washing machine". The tenor sings the same figuration on the word "wäschet" (washing). Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself.

4

The second recitative, "Mein treuer Heiland tröstet mich, es sei verscharrt in seinem Grabe, was ich gesündigt habe;" (My loving Savior comforts me, buried in his grave are the sins I committed), is the centre-piece of the cantata. The oboe plays the chorale tune to the alto's singing. One line of the chorale stanza is sung unchanged: "was ich gesündigt habe" (the sins I committed).

5

In the second aria, "Verstumme, Höllenheer, du machst mich nicht verzagt" (Be silent, host of hell, you shall not make me despair), the bass voice is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato". In sudden breaks it conveys the silencing of the host of hell. Different as the two arias are, the figuration in the second one is similar to the one in the first, interpreting that it is the very flow of blood which silences the "army of hell".

6

The last recitative, "Ich bin ja nur das kleinste Teil der Welt" (I am indeed, only the smallest part of the world), sung by the soprano, is another secco.

7

The closing chorale, "Führ auch mein Herz und Sinn" (Guide also my heart and mind), is set for four parts.

\header { tagline = " " } \layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } } global = { \transposition b \key g \minor \numericTimeSignature \time 4/4 \set Score.tempoHideNote = ##t \set Timing.beamExceptions = #'() } \score { \new ChoirStaff << \new Staff << \new Voice = "soprano" { \voiceOne \relative c'' { \global \transposition b' \partial 4 g4 | g a bes c | d2.\fermata d4 | d c bes c | a2.\fermata a4 | bes c d d | c2 d4\fermata d | bes c d d | c2 bes4\fermata d | f d d d | c2 c4\fermata c | d c bes c | a2 g4\fermata \bar "|." } } \new Voice = "alto" { \voiceTwo \relative c' { \global \transposition b' \partial 4 d4 | ees e8 fis g4 g | fis2. fis4 | g g8 fis g4 a | fis2. fis4 | g a bes bes | bes a8 g a4 fis | d c f g | g f8 ees d4 f | f f8 g a4 g | g8 f g e f4 f8 ees | d4 e8 fis g4 g | g fis d } } >> \new Lyrics \lyricsto "soprano" { Führ auch mein Herz und Sinn durch dein -- en Geist da -- hin, dass ich mög al -- les mei -- den, was mich und dich kann schei -- den, und ich an dei -- nem Lei -- be ein Glied -- maß e -- wig blei -- be. } \new Staff << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global \transposition b' \partial 4 bes4 | c c d ees | a,2. a4 | bes c d ees | d2. d4 | d ees f f | g f8 ees d4 a | bes f'8 ees d c bes4 | bes a f bes | c d d8 c bes4 | bes8 a bes g a4 a | bes a g8 bes ees4 | d8 c16 bes c4 b } } \new Voice = "bass" { \voiceTwo \relative c' { \global \transposition b \partial 4 g4 | c8 bes a4 g8 f ees4 | d2. c4 | bes a g c | d2. d4 | g f8 ees d c bes4 | ees f fis d | g a bes8 a g f | ees4 f bes, bes' | a bes fis g8 f | e4 c f f | bes, c8 d ees4 d8 c | d2 g,4 } } >> >> \layout { } } \score { \new ChoirStaff << \new Staff \with { midiInstrument = "choir aahs" } << \new Voice = "soprano" { \voiceOne \relative c'' { \global \tempo 4=72 \partial 4 g4 | g a bes c | \tempo 4=64 d2 ~ d8.. r32 \tempo4=72 d4 | d c bes c | \tempo 4=64 a2 ~ a16 r8. \tempo4=72 a4 | bes c d d | c2 \tempo 4=56 d8. r16 \tempo 4=72 d4 | bes c d d | c2 \tempo 4=56 bes8. r16 \tempo 4=72 d4 | f d d d | c2 \tempo 4=56 c8.. r32 \tempo 4=72 c4 | d c bes c | \tempo 4=40 a2\> \tempo 4=24 g4\mp r } } \new Voice = "alto" { \voiceTwo \relative c' { \global \partial 4 d4 | ees e8 fis g4 g | fis2 ~ fis8.. r32 fis4 | g g8 fis g4 a | fis2 ~ fis16 r8. fis4 | g a bes bes | bes a8 g a8. r16 fis4 | d c f g | g f8 ees d8. r16 f4 | f f8 g a4 g | g8 f g e f8.. r32 f8 ees | d4 e8 fis g4 g | g\> \tempo 4=32 fis d\mp r } } >> \new Staff \with { midiInstrument = "choir aahs" } << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global \partial 4 bes4 | c c d ees | a,2 ~ a8.. r32 a4 | bes c d ees | d2 ~ d16 r8. d4 | d ees f f | g f8 ees d8. r16 a4 | bes f'8 ees d c bes4 | bes a f8. r16 bes4 | c d d8 c bes4 | bes8 a bes g a8.. r32 a4 | bes a g8 bes ees4 | d8\> c16 bes c4 b\mp r } } \new Voice = "bass" { \voiceTwo \relative c' { \global \partial 4 g4 | c8 bes a4 g8 f ees4 | d2 ~ d8.. r32 c4 | bes a g c | d2 ~ d16 r8. d4 | g f8 ees d c bes4 | ees f fis8. r16 d4 | g a bes8 a g f | ees4 f bes,8. r16 bes'4 | a bes fis g8 f | e4 c f8.. r32 f4 | bes, c8 d ees4 d8 c | d2\> g,4\mp r } } >> >> \midi { } }

Manuscripts and publication

A set of parts for the cantata is preserved, which was partly copied by Bach himself. The autograph score, now in the Stefan Zweig Collection of the British Library, was once owned by Joseph Joachim.

The cantata was first published in 1851 in the first complete edition of Bach's work, the Bach-Gesellschaft Ausgabe. The volume in question was edited by Moritz Hauptmann. In the Neue Bach-Ausgabe it was published in 1990, edited by Matthias Wendt.

Recordings

A list of recordings is provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performances are shown with a green background.

Recordings of Wo soll ich fliehen hin
Title Conductor / Choir / Orchestra Soloists Label Year Orch. type
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 1 Nikolaus HarnoncourtConcentus Musicus Wien Teldec 1972 (1972) Period
Bach Cantatas Vol. 5 – Sundays after Trinity II Karl RichterMünchener Bach-ChorMünchener Bach-Orchester Archiv Produktion 1978 (1978)
Die Bach Kantate Vol. 54 Helmuth RillingGächinger KantoreiWürttembergisches Kammerorchester Heilbronn Hänssler 1979 (1979)
J. S. Bach: Complete Cantatas Vol. 11 Ton KoopmanAmsterdam Baroque Orchestra & Choir Antoine Marchand 1999 (1999) Period
Bach Edition Vol. 20 – Cantatas Vol. 9 Pieter Jan LeusinkHolland Boys ChoirNetherlands Bach Collegium Brilliant Classics 2000 (2000) Period
Bach Cantatas Vol. 10: Potsdam / Wittenberg John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists Soli Deo Gloria 2000 (2000) Period
J. S. Bach: Cantatas Vol. 27 – Cantatas from Leipzig 1724 Masaaki SuzukiBach Collegium Japan BIS 2003 (2003) Period

References

  1. ^ Dellal 2024.
  2. ^ Bach Digital 2024.
  3. ^ Dürr 1981.
  4. ^ Hiemke 2016.
  5. Bach Cantatas Website 2005.
  6. ^ Gardiner 2006.
  7. Bach Cantatas Website 2008.
  8. Mincham 2010.
  9. Dahn 2024.
  10. Joachim 2024.
  11. Oron 2024.
  12. Muziekweb 2024.

Cited sources

External links

Church cantatas by Johann Sebastian Bach
Before
Leipzig
First cycle
(1723–24)
Second cycle
(and chorale
cantatas)
Third cycle
Later
and other
Cantatas by Johann Sebastian Bach by BWV number
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