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| title = {{lang|de|Widerstehe doch der Sünde}}
| title = {{lang|de|Widerstehe doch der Sünde}}
| bwv = 54
| bwv = 54
| type = [[Bach cantata|solo]] [[List of Bach cantatas by liturgical function|church]] [[List of Bach cantatas|cantata]]
| type = solo [[List of Bach cantatas by liturgical function|church cantata]]
| occasion = {{Plainlist|
| occasion = {{Plainlist|
* [[Oculi]]
* [[Oculi]]
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* 2 [[violin]]s
* 2 [[violin]]s
* 2 [[viola]]s
* 2 [[viola]]s
* [[basso continuo]]
* [[basso continuo|continuo]]
}}
}}
}}
}}
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According to Dürr, Bach probably first performed the cantata on 15 July 1714.<ref name="Dürr" /> Other scholars arrive at different dates.<ref name="Hofmann" /> It is his first extant church cantata for a solo voice, followed a few weeks later by ''{{lang|de|[[Mein Herze schwimmt im Blut, BWV 199|''Mein Herze schwimmt im Blut'', BWV 199]]}}'', for soprano.<ref name="Dürr" />
According to Dürr, Bach probably first performed the cantata on 15 July 1714.<ref name="Dürr" /> Other scholars arrive at different dates.<ref name="Hofmann" /> It is his first extant church cantata for a solo voice, followed a few weeks later by ''{{lang|de|[[Mein Herze schwimmt im Blut, BWV 199|''Mein Herze schwimmt im Blut'', BWV 199]]}}'', for soprano.<ref name="Dürr" />


The cantata is the first of four written for a single [[alto (voice)|alto]] soloist, the others, all written in 1726, being ''{{lang|de|[[Geist und Seele wird verwirret, BWV 35|''Geist und Seele wird verwirret'', BWV 35]]}}'', ''[[Vergnügte Ruh, beliebte Seelenlust, BWV 170|''Vergnügte Ruh, beliebte Seelenlust'', BWV 170]]'' and ''{{lang|de|[[Gott soll allein mein Herze haben, BWV 169|''Gott soll allein mein Herze haben}}'', BWV 169]]'', two of which also have texts by Lehms.<ref name="Dürr" /> In Leipzig at Bach's time, a boy soloist performed the difficult part which is now sung by [[contralto]]s and [[countertenor]]s.<ref name="Mincham" />
The cantata is the first of four written for a single [[alto (voice)|alto]] soloist, the others, all written in 1726, being ''{{lang|de|[[Geist und Seele wird verwirret, BWV 35|''Geist und Seele wird verwirret'', BWV 35]]}}'', [[Vergnügte Ruh, beliebte Seelenlust, BWV 170|''Vergnügte Ruh, beliebte Seelenlust'', BWV 170]] and {{lang|de|[[Gott soll allein mein Herze haben, BWV 169|''Gott soll allein mein Herze haben''}}, BWV 169, two of which also have texts by Lehms.<ref name="Dürr" /> In Leipzig at Bach's time, a boy soloist performed the difficult part which is now sung by [[contralto]]s and [[countertenor]]s.<ref name="Mincham" />


== Scoring and structure ==
== Scoring and structure ==
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== Music ==
== Music ==


The first [[aria]], ''{{lang|de|Widerstehe doch der Sünde}}'', is a [[da capo aria]], which opens with a surprising [[dissonance]] and leaves its key of [[E-flat major]] open until a cadence in measure 8.<ref name="Mincham" /> Dürr describes it as a call to resistance and compares it to the beginning of the [[recitative]] "{{lang|de|Siehe, ich stehe vor der Tür}}", a call to be ready, in the cantata for [[Advent]] ''[[Nun komm, der Heiden Heiland, BWV 61|''Nun komm, der Heiden Heiland'', BWV 61]]'', also composed in 1714.
The first [[aria]], ''{{lang|de|Widerstehe doch der Sünde}}'', is a [[da capo aria]], which opens with a surprising [[dissonance]] and leaves its key of [[E-flat major]] open until a cadence in measure 8.<ref name="Mincham" /> Dürr describes it as a call to resistance and compares it to the beginning of the [[recitative]] "{{lang|de|Siehe, ich stehe vor der Tür}}", a call to be ready, in the cantata for [[Advent]] [[Nun komm, der Heiden Heiland, BWV 61|''Nun komm, der Heiden Heiland'', BWV 61]], also composed in 1714.


The recitative ''{{lang|de|Die Art verruchter Sünden}}'' (The way of vile sins) is secco, accompanied by the continuo. The words "So zeigt sich nur ein leerer Schatten und übertünchtes Grab" (It shows itself as only an empty shadow and a whitewashed grave) are expressed in "pale" harmonies. The final lines are [[arioso]] and illustrate in "{{lang|de|Sie ist als wie ein scharfes Schwert, das uns durch Leib und Seele fährt}}" (It is like a sharp sword, that pierces through body and soul) the movement of the sword by fast runs in the continuo.<ref name="Dürr" />
The recitative ''{{lang|de|Die Art verruchter Sünden}}'' (The way of vile sins) is secco, accompanied by the continuo. The words "So zeigt sich nur ein leerer Schatten und übertünchtes Grab" (It shows itself as only an empty shadow and a whitewashed grave) are expressed in "pale" harmonies. The final lines are [[arioso]] and illustrate in "{{lang|de|Sie ist als wie ein scharfes Schwert, das uns durch Leib und Seele fährt}}" (It is like a sharp sword, that pierces through body and soul) the movement of the sword by fast runs in the continuo.<ref name="Dürr" />
Line 132: Line 132:
The first source is the score.
The first source is the score.
* {{IMSLP2|id=Cantatas, BWV 51-60 (Bach, Johann Sebastian)|cname=Cantatas, BWV 51-60}}
* {{IMSLP2|id=Cantatas, BWV 51-60 (Bach, Johann Sebastian)|cname=Cantatas, BWV 51-60}}
General sources are found for the [[Bach cantata]]s. Several databases provide additional information on each single cantata:
Several databases provide additional information on each cantata:
* [http://www.bach-cantatas.com/BWV54.htm Cantata BWV 54 Widerstehe doch der Sünde] history, scoring, sources for text and music, translations to various languages, discography, discussion, ''bach-cantatas'' website
* [http://www.bach-cantatas.com/BWV54.htm Cantata BWV 54 Widerstehe doch der Sünde] history, scoring, sources for text and music, translations to various languages, discography, discussion, ''bach-cantatas'' website
* [http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv054.htm BWV 54&nbsp;– "Cantata BWV 54 Widerstehe doch der Sünde"] English translation, discussion, [[Emmanuel Music]]
* [http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv054.htm BWV 54&nbsp;– "Cantata BWV 54 Widerstehe doch der Sünde"] English translation, discussion, [[Emmanuel Music]]

Revision as of 04:15, 20 June 2013

Widerstehe doch der Sünde
BWV 54
solo church cantata by J. S. Bach
The Schloßkirche at the Weimar palace
Occasion
Cantata textGeorg Christian Lehms
Performed15 July 1714 (1714-07-15)?: Weimar
Movements3
Vocalsolo alto
Instrumental

Widerstehe doch der Sünde (Just resist sin), BWV 54, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto in Weimar, probably for the seventh Sunday after Trinity and first performed it on 15 July 1714. It is his first extant church cantata for a solo voice.

History and words

The prescribed readings for the Sunday are from the Epistle to the Romans, "the wages of sin is death; but the gift of God is eternal life" (Romans 6:19–23), and from the Gospel of Mark, the feeding of the 4000 (Mark 8:1–9).

The text was written by Georg Christian Lehms for Oculi, the third Sunday in Lent, and published in 1711 in Gottgefälliges Kirchen-Opffer.[1] It concentrates on avoiding sin. The first line of movement 3 quotes 1 John 3:8.[2]

Alfred Dürr has reasons to believe that Bach composed the cantata in Weimar for the Seventh Sunday after Trinity of 1714. On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schloßkirche (palace church), on a monthly schedule.[3] The cantata text relates to the epistle of both Sundays, but shows no connection to either Gospel.[2]

According to Dürr, Bach probably first performed the cantata on 15 July 1714.[2] Other scholars arrive at different dates.[1] It is his first extant church cantata for a solo voice, followed a few weeks later by [[[Mein Herze schwimmt im Blut, BWV 199|Mein Herze schwimmt im Blut, BWV 199]]] Error: {{Lang}}: text has italic markup (help), for soprano.[2]

The cantata is the first of four written for a single alto soloist, the others, all written in 1726, being [[[Geist und Seele wird verwirret, BWV 35|Geist und Seele wird verwirret, BWV 35]]] Error: {{Lang}}: text has italic markup (help), Vergnügte Ruh, beliebte Seelenlust, BWV 170 and {{lang|de|[[Gott soll allein mein Herze haben, BWV 169|Gott soll allein mein Herze haben}}, BWV 169, two of which also have texts by Lehms.[2] In Leipzig at Bach's time, a boy soloist performed the difficult part which is now sung by contraltos and countertenors.[4]

Scoring and structure

The cantata is scored as chamber music for alto, two oboes, two violins, two violas, and basso continuo.[2] A typical performance lasts around twelve minutes.

  1. Aria: Widerstehe doch der Sünde
  2. Recitativo: Die Art verruchter Sünden
  3. Aria: Wer Sünde tut, der ist vom Teufel

Music

The first aria, Widerstehe doch der Sünde, is a da capo aria, which opens with a surprising dissonance and leaves its key of E-flat major open until a cadence in measure 8.[4] Dürr describes it as a call to resistance and compares it to the beginning of the recitative "Siehe, ich stehe vor der Tür", a call to be ready, in the cantata for Advent Nun komm, der Heiden Heiland, BWV 61, also composed in 1714.

The recitative Die Art verruchter Sünden (The way of vile sins) is secco, accompanied by the continuo. The words "So zeigt sich nur ein leerer Schatten und übertünchtes Grab" (It shows itself as only an empty shadow and a whitewashed grave) are expressed in "pale" harmonies. The final lines are arioso and illustrate in "Sie ist als wie ein scharfes Schwert, das uns durch Leib und Seele fährt" (It is like a sharp sword, that pierces through body and soul) the movement of the sword by fast runs in the continuo.[2]

The final aria Wer Sünde tut, der ist vom Teufel (He who sins is of the devil) is again a da capo aria, but shows elements of a four-part fugue for the voice, the violins in unison, the violas in unison and the continuo.[4]

Bach used the first aria again in his St Mark Passion.[1]

Selected recordings

A notable recording of the cantata was performed by Glenn Gould with countertenor Russell Oberlin in 1962, Gould's only recording of a Bach cantata. Gould himself played the continuo part on a "harpsipiano", a grand piano modified to sound more like a harpsichord.

Soloists have included, in chronological order of the 39 recordings listed on the bach-cantatas website, Helen Watts, Maureen Forrester, Paul Esswood, Birgit Finnilä, Jadwiga Rappé, Sytse Buwalda and Daniel Taylor.

References

  1. ^ a b c Hofmann, Klaus (1996). "BWV 54: Widerstehe doch der Sünde (Resist then sin)" (PDF). bach-cantatas.com. p. 5. Retrieved 19 July 2012.
  2. ^ a b c d e f g Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 368–370. ISBN 3-4230-4080-7.
  3. ^ Koster, Jan. "Weimar 1708–1717". let.rug.nl. Retrieved 16 December 2011.
  4. ^ a b c Julian Mincham (2010). "Chapter 66 BWV 54 Widerstehe doch der Sünde". jsbachcantatas.com. Retrieved 20 July 2011.

Sources

The first source is the score.

Several databases provide additional information on each cantata:

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