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Ml 48106 18 BEDFORD ROW. LONDON WCIR 4EJ. ENGLAND 7921231 EDER, TERRY EDWARD A CONDUCTOR'S GUIDE TO THE PERFORMANCE OF CANTATA NO. 2 1 , "ICH HATTE VIEL BEKUHNERNIS BY JOHANN SEBASTIAN BACH. THE UNIVERSITY OF OKLAHOMA, D .M .A ., 1979 Univeisi^ , M opnlms international 300 n . z e e b r o a o . a n n a r b o r , mi « b ic e THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR'S GUIDE TO THE PERFORMANCE OF CANTATA NO. 21, ICR HATTE VIEL BEKUMMERNIS, BY JOHANN SEBASTIAN BACH A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS BY TERRY EDWARD EDER Norman, Oklahoma 1979 A CONDUCTOR’S GUIDE TO THE PERFORMANCE OF CANTATA NO. 21, ICH HATTE VIEL BEKÜMMERNIS, BY JOHANN SEBASTIAN BACH -APPROVED Ernest Trumble, Chairman I, I urns James Faulconer Melvin Platt Irvin Wagner ACKNOWLEDGEMENTS Grateful acknowledgement is made to those who have been of such valuable assistance to the writer in the completion of this project: Very special thanks to Dr. B. R. Henson, former Professor of Music at the University of Oklahoma, now at Sam Houston State Univer­ sity in Huntsville, Texas, who provided the inspiration for the pro­ ject and served as major professor during its initial stages; To Professor Ernest Trumble, who assumed the position of major professor and has given most generously of his time and expertise; To the other members of the committee. Professors Legh Burns, James Faulconer, Melvin Platt, and Irvin Wagner, who offered helpful comments and made meaningful corrections in the final draft of the document; Finally, to an extemely supportive family that has been helpful in every way, especially to my wife, Merrilyn, who has been a constant source of inspiration and encouragement. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION................................................. 1 II. HISTORICAL BACKGROUND ...................................... 7 The Manuscripts .......................................... 16 Performance History and Dating of Cantata 21 ............. 25 Comparison of the Manuscript Sources with the Bach-Gesellschaft Edition............................ 33 III. COMPILATION OF BAROQUE PERFORMANCE PR A C T I C E ................ 47 Size, Composition, and Sonority of Performance Forces .................................... 49 Accompaniment ............................................ 55 Ornamentation ............................................ 67 T e m p o ..................................................... 75 Dynamics ................................................. 82 Phrasing and Articulation ................................ 89 IV. STRUCTURAL/THEORETICAL ANALYSIS OF CANTATA 2 1 .............. 98 Movement 1 - Sinfonia ...................................... 100 Movement 2 - Ch o r u s .........................................104 Movement 3 - Ar i a ...........................................Ill Movement 4 - Recitative .................................... 116 Movement 5 - Ar i a ...........................................119 Movement 6 - Ch o r u s .........................................124 Movement 7 - Recitative .................................... 131 Movement 8 - Du e t ...........................................134 Movement 9 - Ch o r u s .........................................139 Movement 10 - Aria .........................................144 Movement 11 - Chorus .......................................147 V. CONDUCTING ANALYSIS OF CANTATA 2 1 .............................158 General Performance Considerations ..................... 159 Specific Performance Considerations ..................... 163 Movement 1 - Sinfonia ...................................... 163 Movement 2 - Ch o r u s .........................................170 IV Movement 3 - A r i a ..................................... 178 Movement 4 - Recitative ............................... 183 Movement 5 - A r i a ..................................... 187 Movement 6 - C h o r u s ................................... 194 Movement 7 - Recitative ............................... 201 Movement 8 - D u e t ..................................... 204 Movement 9 - C h o r u s ................................... 208 Movement 10 - A r i a ..................................... 213 Movement 11 - Chorus ................................... 216 VI. SUMMARY AND CONCLUSION ........................ 224 BIBLIOGRAPHY .............................................. 228 LIST OF TABLES TABLE 1. Sunnnary of Manuscript Part-Set ............................ 18 2. Movement 3— Text Analysis ................................... 113 3. Movement 5— Text An a l y s i s ...................................... 120 4. Movement 6— Comparison of Imitative Sections ................ 129 5. Movement 8— Text Analysis ................................... 135 6. Movement 9— Text Analysis ...................................... 141 7. Movement 9— Contrast Between the Two Main Sections .... 143 8. Movement 10— Text Analysis ................................... 145 9. Movement 11— Distribution of the Forces in the Developmental Section .................................... 154 Vi LIST OF FIGURES FIGURE 1. Order of Movements in Part I .............................. 98 2. Order of Movements in Part II ............................ 99 3. Sinfonia— Major Formal Divisions .......................... 101 4. Sinfonia— Subdivision of Section 1 ......................... 102 5. Sinfonia— Subdivision of Section 2 ......................... 103 6. Sinfonia— Closing Section ................................ 104 7. Movement 2— Major Formal Divisions ....................... 106 8. Movement 2— Subdivision of Section 1 ........................ 107 9. Movement 2— Subdivision of Section 2 ........................ 110 10. Movement 3— Major Formal Divisions ..................... 113 11. Movement 3— Comparison of Ritornello Material with Text Statements ...................................... 116 12. Movement 5— Major Formal Divisions ....................... 121 13. Typical Form of Grand Da Capo A r i a ......................... 121 14. Movement 5— Subdivision of Section A ........................123 15. Movement 5— Subdivision of Section B ........................ 123 16. Movement 6— Major Formal Divisions ....................... 126 17. Movement 6— Subject Entries (measures 10-28) 127 18. Movement 6— Invertible Counterpoint in the Final Part of Section 2 130 19. Movement 7— Major Formal Divisions .......................... 132 vii FIGURE 20. Movement 8— Major Formal Divisions .......................... 136 21. Movement 8— Subdivision of Section A ........................ 137 22. Movement 8— Subdivision of Section B ........................ 138 23. Movement 8— Subdivision of Section A' ...................... 138 24. Movement 9— Major Formal Divisions .......................... 141 25. Movement 10— Major Formal Divisions ........................ 145 26. Movement 10— Subdivision of Section A ...................... 146 27. Movement 11— Texture of Exposition I ........................ 152 28. Movement 11— Texture of Exposition II ...................... 153 29. Arrangement of Chorus and Orchestra ..................... 161 30. Sinfonia— Conducting Pattern, Measure 15 168 31. Sinfonia— Conducting Pattern, Measure 1 6 .................... 168 32. Sinfonia— Conducting Pattern, Measure 19 .................... 169 33. Sinfonia— Conducting Pattern, Measure 2 0 .................... 170 34. Movement 3— Conducting Pattern, Measure 1 8 .................. 182 35. Movement 3— Conducting Pattern, Measure 2 2 .................. 183 V l l l LIST OF EXAMPLES EXAMPLE 1.

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