Bach: Cantata No. 93 “Wer nur den lieben Gott läßt walten” / Nikolaus Harnoncourt
This cantata for the Fifth Sunday after Trinity was first performed on July 9, 1724. It is based on a hymn by Georg Neumark. The first chorus, “Wer nur den lieben Gott läßt walten” is for strings with two oboes and basso continuo. The cantus firmus is sung by a soprano, but each line of the chorale is preceded by a melody in which the following chorale melody is freely transformed. For example, soprano and alto, tenor and bass in combination, and in the last two lines by all voices. This is a new form of chorale fantasy in Bach. The bass recitative takes the form of a “one-person narrative” in which the chorale and recitative change frequently. The chorale omits the fourth and sixth of the six lines. The following tenor aria, “Man halte nur ein wenig stille,” uses only two of the chorale’s stanzas, the rest being new lyrics. The chorale’s original minor key is replaced by a major melody, sung in a binary form with string orchestra accompaniment. In the aria “Er kennt die rechten Freudenstunden,” the soprano and alto sing a melody derived from the chorale in canonical style, with the violins and violas playing cantus firmus in unison. The tenor recitative is also a “one-person narrative” in which the chorale and recitative are frequently interchanged. The soprano aria “Ich will auf den Herren schaun” follows, with the light oboe obbligato intertwining with the soprano voice. It is the only movement that has nothing to do with the chorale and is a refreshing break. The piece concludes with the simple choral “Sing, bet und geh auf Gottes Wegen. #baroque #bach #cantata #片山俊幸
