Album_booklet - eClassical

PART VI
Herr, wenn die stolzen Feinde schnauben
(Lord, when the proud enemies snort with rage)
E p i p hany ( 6r h.Iarwarl- )
Written for 6th January, rhe Feast of rhe Epiphany, rhis
section was premidred at the Thomaskirche in the moming
and at the Nikolaikirche in rhe aftemoon. The theme
is the visit of the Wise Men from the east, following the
star (Matthew 2: 7-12). Of the eleven pieces. if we re-
move the Gospel text recitatives and the chorales, the
rcmarnlng seven are believed to be anangements of the
movements of the lost canrata BWV 248/VIa ( 1734). D
major makes its appearance a third time, and the trumpets
and timpani roo return. The orchestration calls for 3
trumpets. timpani,2 oboes,2 oboes d'amore, strings and
continuo.
No.5,l: Chorus (D major, 3/8)
Matching the opening choruses of Parts I and 3, this
movement too has a dance rhythm in triple time. En_
thusiastically, it asks for the power of the Lord as help in
the struggle. The brilliant rejoicing of the first half of rhe
oratollo retums herc.
No.55: R€citative (Evangelist. Herod)
Herod (the bass) summons the Wise Men, and sends
ihem to Bethlehem.
No.56: Recitative (Soprano)
The soprano, hearing Herod's words: 'I too will go to
worship him', says rhat the Lord sees through all deceit.
No.57; Aria (Soprano, Lar3o e stdccato, Amajo\ 311)
In the soprano aria which follows the recitative, the
peculiar effecr of 3/4 with a shifted accent exprcsses the
strength of the hand of the Lord. The altemation of strong
and weak produces an echo effect.
No. 58: Recitative (Evangelist)
The Wise Men depafi, following the star and, aniving at
their destination, they joyfully worship the child.
No.59; Chorale (G majo\414)
Verse I of Paul Gerhardt's nativity chorale I(h steh an
deiner Krippen hier (l stand here at tb, .radle.1656) is
sung. The content declares that we. too, stand by the
manBer and give praise.
No. 60r Recitatiye (Evangelist)
Following the waming they receive in a dream, the Wise
Men avoid Herod and retum home by a different roure.
No.61: Recitative (Tenor)
The continuo plays a figure evocarive of the walking feet
of the Wise Men: the tenor compares Jesus to a bridegroom,
and begins to tell of thoughts of love. This sort
of subject has been entrusted to the alto up to pan 5 but,
possibly due to the unavailability of the singer for Bach,s
first perfomance, here it is the tenor who takes the aria.
The dynanics and tempo are meticulously set out in the
accompmiment.
No. 62: Aria (Tenor, Vivat e, B mlno\ 214)
This ada has the same instrumentation as No.61. Triumphant,
the faithful now stand strong against the enemy.
No.63: Recitative (Soprano, Alto, Tenor Bass)
This is a four-voice recitative. The four soloists draw us
toward the last movement with imitative entries.
No.64: Chorale (D major. ,l/4)
Following a splendid introducrion, verse 4 of Georg
Wemer's Ihr Chisten auserkoren (You chosen Christians,
16.18) is sung with vigour. Taking the melody of a
Passion chorale, this chomle, which declres the victory
of Christ, reminds us thar the meaning of the narivity is
fulfilled in the Passion.
@ Tadashi Isoyama 1999