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Doctor of Musical Arts A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2012 by Jung Jin Baek B.M., Presbyterian College & Theological Seminary, 2001 M.M., University of Cincinnati, 2008 Committee Members: Earl Rivers, D.M.A. (Chair) Matthew Peattie, Ph.D. Brett L. Scott, D.M.A. ABSTRACT Johann Sebastian Bach’s cantatas occupy a significant portion of his output. This document focuses on his four cantatas written for the Quinquagesima Sunday in Leipzig. The first two cantatas (BWV 22 and BWV 23), which were audition pieces for the cantor position in Leipzig (1723), were performed again in the following year as part of his first cantata cycle. The other two surviving cantatas for this Sunday (BWV 127 and BWV 159) are found in his second (1724–25) and fourth (1728–29) cantata cycles. Not only for his audition, but also for the special context of the Quinquagesima Sunday, (the last major religious musical event in Leipzig before the Passion at the Good Friday Vespers), Bach carefully constructed these cantatas to display his considerable musical ability, his attention to text expression, and his knowledge of liturgical and theological issues for the preparation of the Lenten season. This document will provide a conductor’s guide to preparing and conducting these cantatas and examine how Bach achieves his goals of musical and liturgical function within the Lutheran tradition. i Copyright © 2012 by Jung Jin Baek All rights reserved ii ACKNOWLEDGEMENTS My first thanks should be given to my God, who has led me to reach this point of completion of my DMA Document to close one of the chapters of the journey of my musical life. I would like to express my thanks to my teacher and advisor, Dr. Earl Rivers, who brought me to CCM for my study of MM and DMA degrees, and for his wisdom, knowledge, and care that have inspired me through this long process. Dr. Brett L. Scott and Dr. Matthew Peattie, serving as committee members, have been a great help, not only for this document but also all through my CCM years. I am also thankful for the occasional classes and lessons when he was my advisor for my doctoral lecture recital with Professor Emeritus Dr. Elmer Thomas, who challenged my colleagues and me with his overwhelming musicianship. Remembering those years in this foreign land, I am thankful for all the opportunities to meet and learn from great musicians and teachers Mr. Mark Gibson, Ms. Annunziata Tomaro for my orchestral cognate study, and Dr. Richard Sparks, Dr. Dale Warland, and the late Mr. Richard Westenburg, visiting choral faculty in my first year at CCM. My musical experiences outside of the UC campus were also unbelievably rewarding with the Vocal Arts Ensemble of Cincinnati and its collaborations with Donald Nally, and the Cincinnati Chamber Orchestra; Faburden, the professional evensong choir of Cincinnati’s Christ Church Cathedral and its Director Mr. Charles Hogan; the Choir of men and boys of Christ Church Cathedral in Lexington and its Director Mr. Erich Balling; the Kentucky Bach Choir and Mr. Marlon Hurst, the Artistic Director; and Mr. Simon Carrington at the Yale Summer School, Norfolk Festival. I would like to give special thanks to Ellis Anderson for his proofreading. As an international student whose first language is not English, writing a scholarly document was very challenging, and it could not have been possible without his help. My family and their prayers have always been with me, and this accomplishment could not have been possible without their sincere support. My ultimate gratitude is for Shi-Ae, my wife, great friend, counselor, and angel, for her love, patience, and prayer. iii CONTENTS ABSTRACT ………………………………………………………………………………… i ACKNOWLEDGEMENTS ………………………………………………………………… iii CONTENTS ………………………………………………………………………………… iv INDEX OF MUSICAL FIGURES ………………………………………………………….. v INDEX OF MUSICAL EXAMPLES ………………………………………………………. v CHAPTERS I. Introduction A. Overview of the church cantatas of J. S. Bach Historical and liturgical origin …………………………………….………. 1 Bach and cantata ……………………………………………………..……. 3 B. Overview and historical information of Bach’s Quinquagesima cantatas Audition process of Leipzig cantorate and BWV 22, 23 ……….…..……... 7 Brief overview of Bach’s cantata cycles ………………………..……......... 9 II. Conductor’s Guide with Examination approached by Three Different Dimensions ……..15 A. BWV 22 ……………………………………………………………………….. 18 Musical expression ……………………………………………… 18 Textual expression ………………………………………………. 19 Liturgical and theological understanding ……………………….. 23 B. BWV 23 ………………………………………………………………………...26 Musical expression ……………………………………………….. 26 Textual expression ………………………………………………... 28 Liturgical and theological understanding ………………………... 30 C. BWV 127 ……………………………………………………………………….36 Musical expression ……………………………………………….. 36 Textual expression ………………………………………………... 39 Liturgical and theological understanding ………………………… 46 D. BWV 159 ……………………………………………………………………….53 Musical expression ……………………………………………….. 54 Textual expression ………………………………………………... 56 Liturgical and theological understanding ………………………… 63 III. Performance Practice A. Survey of trends in performances led by Bach experts ………...………………66 IV. Conclusion ………………………………………………………………………………71 APPENDIX A. Gospel Reading …………………………………………………………………73 B. Text Translation: BWV 22, 23, 127, and 159 …………………………………..75 C. Paul Eber’s Poem ……………………………………………………………….80 D. Leipzig Town Reports about Bach’s Audition …………………………………82 SELECTED BIBLIOGRAPHY …………………………………………………….……….83 iv INDEX OF MUSICAL FIGURES Table 1.1: Order of the Mass at Leipzig’s main churches ……….…….…………………….. 4 Table 2.1: Musical plan for BWV 22 and BWV 23 ……………….….……………………. 17 Table 2.2: Chiastic design for movement 3 in BWV 23 ……………..…………………….. 27 Table 2.3: Musical plan for BWV 127 …………………………..…………………………. 37 Table 2.4: Formal design of BWV 127/4 ………………………..…………………………. 38 Table 2.5: Musical plan for BWV 159 ………………………..………………………….… 54 INDEX OF MUSICAL EXAMPLES Example 2.1: BWV 22/1, mm. 25–27 (B) ………………….……………………………. 19 Example 2.2: BWV 22/3, mm. 1–3 (B) ………………………………….………………. 20 Example 2.3: BWV 22/3, mm. 24–26 ……………………………………………………… 20 Example 2.4: BWV 22/4, mm. 61–64 ….…………………………………………………... 21 Example 2.5: BWV 22/4, mm. 100–8 (T) ………………………………………………….. 21 Example 2.6: BWV 22/2, mm. 67–72 (A) …………………………………………………. 22 Example 2.7: BWV 22/3, m. 13 ……………………………………………………………. 22 Example 2.8: BWV 22/1, mm. 42–49 (SATB) …………………………………………….. 23 Example 2.9: BWV 22/5, mm. 1–6 ………………………………………………………… 25 Example 2.10: BWV 23/3, mm. 9–17 (S) ………………………………………………….. 28 Example 2.11: BWV 23/2, m. 1 ……………………………………………………………. 29 Example 2.12: BWV 23/3, mm. 117–119 (TB) ……………………………………………. 29 Example 2.13: BWV 23/1, m. 22 & 47 (SA) ………………….…………………………… 30 Example 2.14: BWV 23/1, mm. 15–16 …………………………………………………….. 31 Example 2.15: BWV 23/1, mm. 39–40 (SA) ………………………………………………. 32 Example 2.16: German Agnus Dei, Christe, du Lamm Gottes ……………………………... 33 Example 2.17: BWV 23/2, mm. 1–4 ……………………………………………………….. 33 Example 2.18: BWV 23/3, mm. 1–6 (BC) …………………………………………………. 34 Example 2.19: BWV 23/4, mm. 5–6 (SATB) ……………………………………………… 34 Example 2.20: BWV 127/4, mm. 1–2 ……………………………………………………… 38 Example 2.21: BWV 127/5 (S) Chorale, Herr Jesu Christ, wahr’ Mensch und Gott ……… 39 Example 2.22: BWV 127/2, m. 6 (T) ………………………………………………………. 40 Example 2.23: BWV 127/2, m. 13 (T) ……………………………………………………... 40 Example 2.24: BWV 127/3, mm. 9–10 (S) ………………………………………………… 40 Example 2.25: BWV 127/1, m. 36 (Ob, B, BC) …………………………………………… 41 Example 2.26: BWV 127/1, mm. 56–58 …………………………………………………… 41 Example 2.27: BWV 127/2, mm. 10–11 (T) ……………………………………………….. 42 Example 2.28: BWV 127/3, mm. 33–35 (S) ……………………………………………….. 42 Example 2.29: BWV 127/3, mm. 30–31 …………………………………………………… 43 Example 2.30: BWV 127/4, mm. 26–31 …………………………………………………… 44 Example 2.31: BWV 127/5, mm. 7–8 & 11–12 (SATB) ………………………...………… 45 Example 2.32: BWV 127/4, mm.13–19 (B, BC) …………………………………………... 46 Example 2.33: BWV 127/4, mm. 32–35 (B, BC) ………………………………………….. 46 v Example 2.34: BWV 127/1: m. 1 (Ob) ……………………………......................................48 Example 2.35: BWV 127/1: mm. 1–5 (Vn I) ………………………………………………. 48 Example 2.36: BWV 127/1, mm. 46–49 (Strings, Sop.) …………………………………… 49 Example 2.37: BWV 127/1, mm. 6–8 (BC) ………………………………………………... 49 Example 2.38: BWV 127/4, mm. 44–46 (B) ……………………………………………….. 52 Example 2.39: BWV 244/27, mm. 65–74 (ATB) ………………………………………...... 52 Example 2.40: BWV 159/1, mm. 6–9 ……………………………………………………… 56 Example 2.41: BWV 159/1, mm. 10–11 (A) ………………………………………………. 57 Example 2.42: BWV 159/2: mm. 12–16 (A) …...………………………………………….. 57 Example 2.43: BWV 159/1, mm. 19–21 …………………………………………………… 58 Example 2.44: BWV 159/1, mm. 23 & 32 ………..………………………………………... 58 Example 2.45: BWV 159/2, mm. 19–21 …...………………………………………………. 59 Example 2.46: BWV 159/2, mm. 77–79 (A) ………………………………………………. 59 Example 2.47: BWV 159/3, mm. 4–6 (T) …………………………………………….……. 60 Example 2.48: BWV 159/4: mm. 1–3 (Ob) & 9–11 (B) …..…………………………….…. 60 Example 2.49: BWV 159/4, mm. 11–12 (B) ……………………………………………….. 61 Example 2.50: BWV 159/4, mm. 13–17 …………………………………………………… 61 Example 2.51: BWV 159/4, mm. 34–36 …………………………………………………… 62 Example 2.52: BWV 159/4, mm. 39–41 …………………………………………………… 62 Example 2.53: BWV 159/4, mm. 54–57 …………………………………………………… 63 vi CHAPTER I: INTRODUCTION
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