Bach Cantatas, Vol. 2 - F. Werner (Erato 10-CD)

Jesu, der du meine Seele, BWV 78, written for the Fourteenth Sunday after Trinity ( 10 September)
1724, is a "modified" chorale cantata. Thus the first and last verse are played unchanged at the
beginning and end, whereas verses two to eleven are condensed and transformed into madrigalesque
poetry. Thanks to its richness of form and its power of expression, it is one of the best known Bach
cantatas. The formal and tonal framework (G minor) is achieved by the choral movements, which
contrast with each other. The opening chorus is an enormous passacaglia above a chromatically
descending motif frequently used by Bach as a symbol of suffering and pain. Into this is built the
chorale, played line by line by the slide trumpet and first flute and expanded on by the chorus in
motet style. Contrasting with this is the markedly uncomplicated concluding chorus, which
renounces all development of text details and stands for the consolidated faith of the congregation
despite all the weaknesses of the individual. The solo numbers mediate between these two extremes.
In this connection the arias represent the ever-increasing consolation to be found in faith, while the
two recitatives paint a picture of the sinfulness of man and the inseparability of terror and consolation
in the redeeming sacrifice of the Saviour to a musically drastic degree which is unusual even for Bach.
Compared with this, the arias are almost elegant: the duet, with the "weak but diligent steps" of the
continuo and the succeeding syrnbolism of the imitative voice entries, the tenor aria with its
integration of differentiated text interpretation in the singing part and sustained joldrl tone in the
flute figures, and finally the bass aria with its optimistic concertanteslyle. Within itself the sequence of
arias becomes more intense: from the continuo by way of the flute aria to the aria with concertante
oboe and tutti strings.
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Jauchzet Gott in allen Landen, BWV 51 was intended by Bach for the Fifteenth Sunday after Trinity
"per ogni tempo". Its use at other times must have been planned from the outset, for the text (by an
unknown author) bears practically no relation to the Gospel reading for that Sunday whatsoever.
On the other hand, from the point of view of style, form and scoring, it fits well into a series of post-
Trinity cantatas ofthe 1726 annual cycle and closes a gap resulting from the Fifteenth Sunday after
Trinity falling on the same day as the Feast of the Archangel Michael in 1726.
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