Cantata BWV 24
2011, February 22
JS Bach Cantata BWV 24: Ein ungefärbt Gemüte von deutcher Treu und Gute
(An unstained mind of German truth and goodness)
Fourth Sunday after Trinity June 20 1723
Scoring: Clarino, Oboe/Oboe d'amore I,II, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 6; p 555
Reading: Epistle Romans 8:18-23
Reading: Gospel Luke 6:36-42
Words: Erdmann Neumeister
Sacred Cantatas Vol 2
Conductor: Nikolaus Harnoncourt
Ensemble: Concentus musicus Wien, Wiener Sängerknaben, Chorus Viennensis
Soprano: Solist of Wiener Sängerknaben
Alto: Paul Esswood
Tenor: Kurt Equiluz
Bass: Max van Egmond
Label Teldec 4509-91756-2
Liner Notes: Alfred Dürr, 1973
Bach Edition (out of print)
Conductor: Pieter Jan Leusink
Ensemble: Holland Boys Choir, Netherlands Bach Collegium
Soprano: Ruth Holton
Alto: Sytse Buwalda
Tenor: Marcel Beekman
Bass: Bas Ramsclaar
Label Brilliant Classics 93102/104
Bach Cantatas vol 7
Conductor: Ton Koopman
Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Soprano: Lisa Larsson
Alto: Bogna Bartosz
Tenor: Gerd Türk
Bass: Klaus Mertens
Label: Challenge 72207
Venue: Waalse Church, Amsterdam, Netherlands 09/1997 - 10/1997
Release date: 08/09/2005
Bach Cantatas vol 9
Conductor: Masaaki Suzuki
Ensemble: Bach Collegium Japan
Soprano: Midori Suzuki
Countertenor: Robin Blaze
Tenor: Gerd Türk
Bass: Chiyuki Urano
Label: Bis 931
Release Date: 02/15/1999
Dürr p 418-422
Whittaker vol 1 p 553-558
Green p 57-59
Terry vol 2 p 190
Boyd (Alberto Basso) p 150-151
Bach's first week in Leipzig saw BWV 75, a "double" cantata, the second week saw BWV 76, likewise a cantata in two parts. The third week he presented BWV 21, an earlier cantata from Weimar with eleven sections.
This fourth week BWV 24 forms one half of the musical offering for this Sunday; the other half was the Leipzig version of Cantata BWV 185. Alberto Basso feels that the juxtaposition of these two texts, which differ greatly in structure, was surely not fortuitous; rather it seems to have been done purposely in order to compare two distinct compositional models.
Whittaker is very unhappy with this cantata, the text and the music. I cannot agree with his criticisms.
1 Alto aria: Ein ungefärbt Gemüte
The violins and viola in unison play an obbligato, assimilated to such an extent that strings, alto and continuo blend into a unified trio texture. - Dürr.
2 Tenor recitative: Die Redlichkeit
Starts out with straight declamation, ends with a melodic arioso starting halfway through measure 20.
3 Chorus: Alles nun, das ihr wollet
The centerpiece of the cantata, the entire text is first sung in a free choral setting, and then again as a fugue - a transference to the vocal domain, so to speak, of the instrumental form of prelude and fugue. - Dürr.
Green says the choral writing is very contrapuntal. Bach juxtaposes the chorus as a four-part texture combining passages of homophonic writing, and paired imitation in canon against the orchestra which follows with like textures a measure later. The second half of this chorus is a double fugue which begins with a solo quartet and gradually becomes full choir. He goes on to say that this is one of the two most challenging sections, the complex contrapuntal textures may require particular attention to acheive linear clarity from the ensemble.
Measure 1 to 37 is the prelude section, the fugue starts in measure 37 with voices only, instruments enter at measure 59 and double the voices, except for the clarino which has an independent line.
4 Bass recitative: Die Heuchelei
Once again, opens with strong assertions, then ends with melodic arioso starting at the end of measure 18.
5 Tenor aria: Treu und Wahrheit sei der Grund
Green states that the oboes d'amore have an exposed and sustained duet throughout.
6 Chorale: O Gott, du frommer Gott
The orchestra is independent of the choir, making this the other of the two most challenging sections. - Green
Ton Koopman, The Amsterdam Baroque Orchestra & Choir
Cantata "Ein ungefärbt Gemüte von deutcher Treu und Gute" BWV 24
1. Aria alto
2. Recitativ tenor
4. Recitativ bass Klaus Mertens
5. Aria tenor
Instruments and voices for each part
|1||Alto, violin I,II, and viola in unison, continuo (NBA: organ)|
|2||Tenor, continuo (NBA: organ)|
|3||SATB, clarino, oboe I,II, violin I,II, viola, continuo (NBA: organ)|
|4||Bass recitativ, violin I,II, viola, continuo (NBA: organ)|
|5||Tenor aria, oboe d'amore I,II, continuo (NBA: organ)|
|6||Chorale SATB, oboe I,II, violin I,II, viola, continuo (NBA: organ)|
Biblical references for each part
References for the text: King James Bible, Luther Bible 1545
|3||Matthew 7:12||Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the law and the prophets.|
|3||Matthew 7:12||Alles nun, was ihr wollet, daß euch die Leute tun sollen, das tut ihr ihnen; das ist das Gesetz und die Propheten.|
Emmanuel Notes BWV 24.
Emmanuel Translation BWV 24.
Discussion from Bach Cantatas Website.
Recordings from Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
From Julian Mincham