Meine Seele wartet from Aus der Tiefe, Cantata 131 by J.S. Bach
This week's chorale is unusual--it's not a four-part homophonic setting.
Rather, it is a creative illustration of the concept of cantus firmus,
a preëxisting tune used as a structural element in a newly-written composition.
The piece is Bach Cantata 131: Aus der Tiefe, a 1707 setting of Martin Luther's translation of Psalm 130. The work is structured in five movements: Movements 1, 3 and 5 are scored for the tutti ensemble (choir, oboe, strings and continuo); movements 2 and 4 are soloistic, scored for tenor, oboe and continuo (movement 2), and bass and continuo (movement 4).
Each of the two soloistic movements uses the chorale 'Herr Jesu Christ, du höchstes Gut' as a cantus firmus. In the second movement, the chorale is sung by the sopranos of the choir, while in the fourth movement, the altos carry the tune. In each case, the soloist, singing the psalm text, provides the essential continuity; periodically, it is joined by the chorale tune, a haunting commentary.
Our focus today is on movement 4. The tenor sings the bare psalm verse: 'From one morning-watch to the next, my soul waits for the Lord', while the altos' ghostly chorale verse serves as a gloss and expansion upon the protagonist's inner state as he/she waits: 'I am an anxious sinner rankled by conscience, who would so gladly be washed and purified'. The continuo supports and frames this dialog.
Bach used the same tune as a cantus firmus in another movement, from Cantata 21: Ich hatte viel Bekümmerniß. Definitely worth a listen. Soprano, alto and bass begin the movement, while the tenor enters a little later with our chorale tune.
You will all be altos for this chorale (men can choose their octave). As usual, I am attaching score with text/translation; a recording; and Andrea's pronunciation recording. I have omitted midi files because we're all singing the unison cantus firmus, which should be fairly easy to learn.
This week's chorale is unusual--it's not a four-part homophonic setting.
Rather, it is a creative illustration of the concept of cantus firmus,
a preëxisting tune used as a structural element in a newly-written composition.
The piece is Bach Cantata 131: Aus der Tiefe, a 1707 setting of Martin Luther's translation of Psalm 130. The work is structured in five movements: Movements 1, 3 and 5 are scored for the tutti ensemble (choir, oboe, strings and continuo); movements 2 and 4 are soloistic, scored for tenor, oboe and continuo (movement 2), and bass and continuo (movement 4).
Each of the two soloistic movements uses the chorale 'Herr Jesu Christ, du höchstes Gut' as a cantus firmus. In the second movement, the chorale is sung by the sopranos of the choir, while in the fourth movement, the altos carry the tune. In each case, the soloist, singing the psalm text, provides the essential continuity; periodically, it is joined by the chorale tune, a haunting commentary.
Our focus today is on movement 4. The tenor sings the bare psalm verse: 'From one morning-watch to the next, my soul waits for the Lord', while the altos' ghostly chorale verse serves as a gloss and expansion upon the protagonist's inner state as he/she waits: 'I am an anxious sinner rankled by conscience, who would so gladly be washed and purified'. The continuo supports and frames this dialog.
Bach used the same tune as a cantus firmus in another movement, from Cantata 21: Ich hatte viel Bekümmerniß. Definitely worth a listen. Soprano, alto and bass begin the movement, while the tenor enters a little later with our chorale tune.
You will all be altos for this chorale (men can choose their octave). As usual, I am attaching score with text/translation; a recording; and Andrea's pronunciation recording. I have omitted midi files because we're all singing the unison cantus firmus, which should be fairly easy to learn.