Thus the first and the last verse are played unchanged at the beginning and end, whereas verses 2 to 11 are condensed and transformed into madrigalesque poetry. “ Jesu, der du meine Seele ( BWV 78), written for the 14 th Sunday after Trinity (September 10) 1724, is a ‘modified’ chorale cantata.
Then comes the bass aria, with a mood of serenity and confidence. It is the thought of the passion that the bass takes up, with the opening words of his intensely dramatic accompanied recitative, ‘Die Wunden, Nägel, Kron und Grab’ (The wounds, the nails, the crown and grave). This must undoubtedly have been followed by a sermon, which may have closed with a reference to the passion. The heartrending tenor recitative, depicting the sinner in deepest penitence, opens up still another realm of emotion, and the tenor aria that follows, adorned by a flute obbligato, provides a consoling answer.
The ability to move from the complexities and emotional depth of the opening fantasia to the idyllic feeling and transparent texture of this duet typifies the genius of the Leipzig cantatas. The second movement, a duet for soprano and alto, is melodically one of the most enchanting movements written by Bach.
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The movement starts with alternating orchestral and choral passages, and reaches a climax in which the full resources of orchestra and chorus are called upon, while the most complicated strands of melody are set in into motion.” This recurring theme gives the movement the form of a chaconne. Bach has used this theme in his early Capriccio on the Departure of a Beloved Brother, and he also based the Crucifixus of the B minor Mass ( BWV 232) on it. Along with the chorale, its basic material is provided by a poignant theme four bars in length, chromatically descending by a fourth. The Cantata BWV 78 opens with a magnificent chorale-fantasia. Yet the listener, as the great Bach biographer Phillip Spitta, write, ‘will feel that not a moment has past during which he has not been hearing the chorale, either in its material form or in its inner spirit.
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The invention is often so free that only occasional phrase will seem to come from the original chorale melody. The arias are concerted movements in between each interpret a different stanza of the hymn, and embody variations of and counter-melodies to the chorale. The two pillars are the first movement, always a great chorale-fantasia, and the last movement, which presents the chorale in its unadorned setting. The essence of this form is that the entire chorale becomes the basis of the cantata. It was at Leipzig that Bach, between 17, developed and perfected the form of the ‘Chorale Cantata’. The Cantata BWV 78, Jesu, der du meine Seele, is a product of Bach’s Leipzig period, having been written for the 14 th Sunday after Trinity. In some way these notes are complementary, because they look at the cantata from different angles.
Bennett, and on Teldec (Harnoncourt) written by Ludwig Finscher. As a background to the review of the recordings of this magnificent cantata I shall use this time the linear notes to the recordings on Vanguard Classics (Prohaska) written by S.W. The main theme of the cantata is consolation and that is something all of us need now. It includes one of the marvellous opening choruses in the form of a fantasia, one of the best duets Bach has ever written, two recitatives which seems to be taken directly from a passion, two wonderful arias, variety of moods, and more surprises and delights. In connection with last week’s horrible events, I believe that many members of the BCML would find comfort in this cantata, both its text and its music. This is the week of Cantata BWV 78 according to Peter Bloemendaal, the seventh one in his proposed list of cantatas for discussion.
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