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Sehet, wir gehn hinauf gen Jerusalem, BWV 159

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Sehet, wir gehn hinauf gen Jerusalem (Behold, let us go up to Jerusalem), BWV 159, is a church cantata by Johann Sebastian Bach. Bach composed the cantata in Leipzig for the Sunday Estomihi, the Sunday before Ash Wednesday, and probably first performed it on 27 February 1729.

History and words

Bach wrote the cantata in Leipzig for Estomihi and probably first performed it on 27 February 1729. The Sunday, also called Quinquagesimae, is the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed. In 1723 Bach had composed two cantatas for the Sunday, Du wahrer Gott und Davids Sohn, BWV 23, and Jesus nahm zu sich die Zwölfe, BWV 22, audition pieces to apply for the post of Thomaskantor in Leipzig.[1] In 1729 the cantata was the last one performed on a Sunday before the St Matthew Passion on Good Friday of that year. The prescribed readings for the day are 1 Corinthians 13Template:Bibleverse with invalid book:1–13, and Luke 18Template:Bibleverse with invalid book:31–43, Healing the blind near Jericho. The gospel includes Jesus announcing his suffering in Jerusalem. Whereas Bach's former cantatas also considered the healing, this work concentrates on the view of the Passion. The text was written by Picander, who also wrote the text for the St Matthew Passion, and was published in his Jahrgang of 1728, therefore a first performance in 1729 seems likely. The poet concentrates on the announcement of suffering, which is regarded as tremendous (movement 1), as an example to follow (2), as a reason to say farewell to earthly pleasures (3), finally as a reason to give thanks (4, 5).[2] In movement 2 the poet comments the recitative by stanza 6 of Paul Gerhardt's chorale O Haupt voll Blut und Wunden, which appears in the St Matthew Passion in this and four other stanzas. The beginning of movement 4, Es ist vollbracht (It is finished or It is fulfilled, John 19Template:Bibleverse with invalid book:30), appears literally in the Gospel of John as one of the Sayings of Jesus on the cross, and is foreshadowed in the Sunday's gospel verse Luke 18Template:Bibleverse with invalid book:31.[1] Bach's St John Passion contains an alto aria on these words, as a summary immediately after the death of Jesus.[3] The closing chorale is the last of 33 stanzas of Paul Stockmann's Jesu Leiden, Pein und Tod (1633).[2]

Scoring and structure

The cantata is scored for alto, tenor, and bass soloists, a four-part choir only for the chorale, oboe, two violins, viola and basso continuo including bassoon. The chorale in movement 2 can be sung by a soprano soloist or the choir soprano.[2]

1. Arioso e recitativo (bass, alto): Sehet, wir gehn hinauf gen Jerusalem – Komm, schaue doch, mein Sinn
2. Aria e chorale (alto, soprano, oboe): Ich folge dir nach – Ich will hier bei dir stehen
3. Recitativo (tenor): Nun will ich mich, mein Jesu
4. Aria (bass, oboe): Es ist vollbracht
5. Chorale: Jesu, deine Passion ist mir lauter Freude

Music

Movement 1 is a dialogue of Jesus and the Soul. The soul is sung by the alto, Jesus by the bass as the Vox Christi (voice of Christ). Bach achieves dramatic contrast, setting the words of Jesus as an arioso, accompanied by the continuo, the Soul's answers as a recitativo accompagnato, accompanied by the strings. The instrumentation is opposite to the treatment in the St Matthew Passion, where the words of Jesus are accompanied by the "halo" of a string quartet. The word "Sehet" (literally: see!) is expressed in a long melisma, the move toward Jerusalem in an upward scale. The text is repeated several times, accenting different words to present different aspects of its meaning. In movement 2, the expressive melodic lines of the alto are commented by the chorale on the melody of Befiehl du deine Wege. The cantata culminates in movement 4, the Vox Christi reflecting the completion of the Passion, Es ist vollbracht. The oboe introduces a meditative motifs which the bass picks up, both resting on sustained strings.[4] The middle section illustrates the words "Nun will ich eilen" ("Now I will hasten") in runs of the voice, oboe and violin.[5] A quasi da capo resumes the first motif on the words "Welt, gute Nacht" ("World, good night"). The closing chorale is a four-part setting.[2]

Recordings

References

  1. ^ a b David Vernier. "Jesu, Deine Passion - Bach: Cantatas Bwv 22, 23, 127 & 159 / Herreweghe, Mields, White, Et Al". arkivmusic.com. Retrieved 1 March 2011.
  2. ^ a b c d Alfred Dürr. 1971. "Die Kantaten von Johann Sebastian Bach", Bärenreiter (in German)
  3. ^ David Smith. "Bach Cantata BWV 159 "Sehet! Wir gehn hinauf gen Jerusalem"". lectionarycentral.com. Retrieved 1 March 2011.
  4. ^ Erik Eriksson (2011). "Cantata No. 159, "Sehet, wir gehn hinauf gen Jerusalem," BWV 159". Allmusic. Retrieved 1 March 2011.
  5. ^ Julian Mincham (2010). "Chapter 41 BWV 159 Sehet! wir gehn hinauf gen Jerusalem". jsbachcantatas.com. Retrieved 19 February 2011.
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