Yukari Nonoshita ; Counter-tenor: Matthew White ; Tenor: Makoto Sakurada ; Bass: Atsuko Ozaki; Violin I: Yoshiko Morita, Amiko Watabe Continuo: Hidemi Suzuki, Mime Yamahiro; Double-bass: Masaaki Suzuki, Naoya Otsuka; Organ: Thore Brinkmam; Digiul Editing: Takako Mitsuno ; Alto: Mariko Sasaki ; Tenor: Masatoshi Sasaki ; Bass: Keiichi Usami ; Organ: Timothy Bentch ; Bass: Download this recording from: Cantatas for the Complete Liturgical Year Vol.
Siri Thornhill ; Alto: Petra Noskaiova ; Tenor: Christoph Genz ; Bass: Orient meets Occident [C-1]. Cantata BWV 93 [ Simon Witzig [Ensemble]; Tenor: Sabine von Blohn ; Alto: Gabriele May ; Tenor: Thomas Burger ; Bass: Alexander Lauer Evangelische Kantorei St.
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Recorded live at Martin-Luther-Kirche, St. Damien Guillon ; Tenor: Second half of a concert recorded at l'Abbaye aux Dames in Saintes, France. Rudolf Lutz Reflection lecture: Miriam Feuersinger ; Counter-tenor: Julius Pfeifer ; Bass: Renate Steinmann, Plamena Nikitassova; Viola: Kerstin Kramp, Luise Baumgartl; Organ: The DVD in German, no subtitles includes a film recording of the complete cantata, introductory workshop, reflection lecture of the speaker and a film portrait of the J.
Stefan Ritzenthaler, Johannes Widmer; Producer: Marnix De Cat ; Tenor: Harry van Berne ; Bass: Jelle Draijer Musica Amphion: Staas Swierstra, Marinette Troost; Cello: Margaret Urquhart; Oboe, Oboe d'amore: He who trusts in God does not build upon the sand. In the second verse, the bass soloist poses the questions and the chorus answers. What use are grievous worries, "Weh und Ach" Woe and Alas?
They merely weigh the heart and bring distress. A Christian does better by bearing his cross with Christ-like assurance and calm. The tenor soloist maintains that if we are observant when the hour of the cross draws nigh, we shall finally see salvation. Over the instrumental sounding of the chorale, the soprano and alto soloists confidently observe that he who knows the time for gladness will discover God comes to bring a positive result.
An ensuing restatement of the chorale with tenor recitative implores that no thought be wasted when fire and thunder crackle for, after the rains, Jesus brings sunlight. In an aria of comforting certainty, the soprano soloist sings that she will place her trust in the Lord, for he can work the rarest wonders.
The seventh and concluding chorale urges the faithful to sing, pray, and travel along God's own pathways, performing good works and resting in the Lord, who forsakes not his people. AllMusic relies heavily on JavaScript. A reflective, unpretentious utterance seems eminently appropriate. The instrumental forces, though, are modest; the usual four-part choir, oboes, strings and continuo.
Wer nur den lieben Gott läßt walten, BWV 93 - Wikipedia
The oboes and violins interplay with each other in a series of ritornello statements throughout. The former begin with a short canonic statement but by the third bar they are playing in unison. Thence they inter-relate with the violins playing in thirds, so the ear hears, from this point, two strong melodic lines above the continuo, one on wind, the other on strings. The soprano carries the cantus firmus line throughout but its relationship with the other three voices is complex. Each chorale phrase is preceded by imitative entries derived loosely from the shape of its first notes, and the sopranos participate in all but two of these introductory fragments.
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The following summation lists the entries of the soprano chorale phrases which should make the structure easier to follow. The text uses the metaphor of the house built upon sand—-when we trust in God our foundations are solid and we shall be wholly supported by Him. The first bar of each chorale phrase proper is harmonized in largely unembellished block chords, creating the impression of solidarity and permanence.
The lower voices thence become more dispersive, dissolving into a continuously moving texture of transience and change. It seems that, yet again, Bach has used the simplest of textual images to stimulate his insatiable imagination.
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- Cantata BWV 93 - Details & Discography Part 1: Complete Recordings.
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Is it not unreasonable to assume that the solid chords underpinning the chorale represent the sturdy, standing edifice and the constant movement of the violins and oboes the shifting sands. It is conjecture only; but it is so often the case with Bach that we find clear textual images embedded within, and sometimes wholly conditioning the construction of the musical rhythms, melodies, structures and textures that encompass them. This hypothesis is strengthened by the observation that in the last two of the six phrases there is less discursiveness in the lower voices as the text affirms divine solidarity—-he who trusts in God has not built upon sand.
The second movement is an excellent example of the hybrid recitative which Bach develops throughout this cycle see also C 2, chapter 3. The tenor intersperses embellished chorale lines with more rhythmically free recitative. This technique seems to have particularly interested Bach at this time and we will be coming across numerous examples in the following cantatas. It is often used particularly as a device for obtaining variety when setting long tracts of text.
Bach Cantata Translations
Bach sets each line to an increasingly ornate version of the chorale phrases bar , , and Their oratorical, somewhat obsessed nature is underlined by the persistent, even relentless quality of the quaver continuo line that buttresses them. The text of the separating bars of recitative expands upon, or attempts to answer, the questions proffered e.
Bars Responding recitative: The chorale phrases become increasingly distorted, an aural equivalent of the visual experience of looking at oneself through the old fairground deforming mirrors. The continuo quavers, however, do not allow us to lose touch with them.
Chapter 7 Bwv 93
The distortions of the chorale suggest the twisted and perverted thinking of the misguided but the final four lines of text depart from both the perverse presentation of the chorale and any further expressions of doubt. Direct secco recitative now conveys the text of Christian truth; the true believer bears his cross with divine composure simply because he has undergone the experiences of sorrow and distress. For musical cohesion Bach completes the movement with a brief reiteration of the quaver bass which had previously underpinned the chorale phrases.
Some critics, and Albert Schweitzer in particular, have not always been kind to Bach in their comments on these recitative experiments. But it is also true that they have not always understood what he was attempting to do.