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The first recitative, "{{langr|Der Sünden Wust hat mich nicht nur befleckt, er hat vielmehr den ganzen Geist bedeckt|de}}" (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}}
Both other recitatives are secco.


==== 3 ==== ==== 3 ====

Revision as of 14:01, 9 October 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 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 stanza 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, 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 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 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 before, Bach had composed for the occasion Ich elender Mensch, wer wird mich erlösen, BWV 48, 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 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. The autograph score to the cantata, now in the Stefan Zweig Collection of the British Library, was once owned by Joseph Joachim.

Music

Structure and scoring

The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, tromba da tirarsi (slide trumpet), two oboes, two violins, viola and basso continuo.

Movements of Wo soll ich fliehen hin
No. Title Text Type Vocal Winds Strings Key Time
1 "Wo soll ich fliehen hin" Hunold Chorus SATB 2 oboes, 1 tromba da tirarsi (col Soprano) 2 violins, 1 viola G minor common time
2 "Der Sünden Wust hat mich nicht nur befleckt" Hunold Recitative bass common time
3 "Ergieße dich reichlich, du göttliche Quelle" Hunold Aria Tenor 1 viola E-flat major 3/4
4 "Mein treuer Heiland tröstet mich" Hunold Recitative alto 1 oboe common time
5 "Verstumme, Höllenheer" Hunold Aria bass 2 oboes, 1 trumpet 2 violins, 1 viola B-flat major common time
6 "Ich bin ja nur das kleinste Teil der Welt" Hunold Recitative soprano common time
7 "Führ auch mein Herz und Sinn" Hunold Chorale SATB 2 oboes, 1 violin, 1 tromba da tirarsi (col soprano) 1 violin (coll’alto), 1 viola (col tenore) 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. One line of the chorale stanza is sung unchanged: "was ich gesündigt habe" (the sins I committed).

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, " Error: {{Lang}}: unrecognized language tag: Der Sünden Wust hat mich nicht nur befleckt, er hat vielmehr den ganzen Geist bedeckt (help)" (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

The first aria is accompanied only by an obbligato viola illustrating the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", summarized 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.

5

The second aria is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato".< In sudden breaks it conveys the silencing of "Verstumme, Höllenheer" (Be silent, 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".

7

The closing chorale is set for four parts.

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. Joachim 2024.
  8. Bach Cantatas Website 2008.
  9. Mincham 2010.
  10. Dahn 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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