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Cantata BWV 34
O ewiges Feuer, o Ursprung der Liebe [I]
Cantata BWV 34a
O ewiges Feuer, o Ursprung der Liebe [II]
Provenance |
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Thomas Braatz wrote (June 14, 2003):
BWV 34/34a - Provenance:
The Autograph Score (BWV 34):
The autograph score was inherited by W.F. Bach, later appeared among the manuscripts in the possession of Princess Anna Amalia of Prussia, who later presented it to the Joachimsthaler Gymnasium of Berlin. In 1914 the score came to the BB. (Staatsbibliothek Berlin.)
After 1750, W.F. Bach (probably for his own performances of this work {Halle?}) wrote out the sections to be repeated and added the instrumental parts that were playing in unison.
The title on top of the 1st page reads:
Festo Penticostes. [sic] Concerto à 4 Voci. 3 Trombe, Tamburi, 2 Oboe, 2 Violini, Viola e Continuo.
Set of Original Parts:
These parts, which are for BWV 34a, are also located in the BB. No further information about their provenance is given, nor is there a detailed description of the contents of this set. On a separate cover (much later provenance), S. W. Dehn wrote:
C.P.
“O ewiges Feuer, o Ursprung der Liebe”
Cantate von Joh. Seb. Bach
Trauungscantate
Canto Violino 1.
Alto
Tenore Viola
Basso. Continuo.
A footnote on ‘C.P.’ indicates just a guess: “Collection Pölchau”?
The existing original parts for 34a were copied by 5 different copyists, among which J.S. Bach possibly copied the bass part from ms. 35 of mvt. 7 to the end and W. F. copied the same mvt. from the beginning through ms. 34.
Parody:
The original form of the sacred parody of BWV 34 is only preserved in fragmentary fashion and possibly had its 1st performance as a wedding cantata (BWV 34a) on March 6, 1726. From this cantata, Bach selected mvt. 1, 4, and 5 and transformed them into the Pentecost Cantata BWV 34. Based upon the original parts for BWV 34a, it is possible to ascertain that mvts. 1 & 5 were used almost as is in BWV 34. Mvt. 4 of the Wedding Cantata BWV 34a was substantially revised by shortening it from 76 to 72 ms.: beginning with the latter part of ms. 48 and extending through ms. 52 are condensed to 3 to 4 quarter notes of ms. 48 of BWV 34. Also, the 1st violin part (of BWV 34a) in ms. 45-47 is given to the 2nd violin, and in ms. 53 the 1st violin part is given to 1st flute part. It is even possible to see how the recitatives of BWV 34 are dependent upon their originals in BWV 34a. This is particularly true of the beginning of the 1st recitative (mvt. 2) in both versions. [I have trouble seeing much, if any, relationship between the recitatives of both versions. The words and music appear to be quite different in each version.]
Text Comparison:
The following listing will note:
1) mvts. with an ‘*’ are the original mvts. from 34a
2) changes between 34a and 34 are indicated with an ‘/’
3) an even earlier version of some parts of 34a are indicated with “{ }” and the changed version of BWV 34a, as we know it today, follows it immediately
1.* O ewiges Feuer, o Ursprung der Liebe,
Entzünde der Herzen [geweihten Altar./und weihe sie ein.]
Laß himmlische Flammen durchdringen und wallen,
[Ach laß doch auf dieses vereinigte Paar/Wir wünschen, o Höchster, dein Tempel zu sein,]
[Die Funken der edelsten Regungen fallen./Ach, laß dir die Seelen im Glauben gefallen!]
2. Wie, daß der Liebe hohe Kraft
In derer Menschen Seelen
Ein Himmelreich auf Erden schafft?
Was ziehet dich, o höchstes Wesen!
Der Liebe Wirkung zu erwählen?
Ein Herz zur Wohnung auszulesen?
3. „Siehe, also wird gesegnet der Mann, der den Herren fürchtet.“
Wo dringt der Geist mit Glaubensaugen hin?
Wo suchet er des Segens Quellen,
Die treuer Seelen Ehestand
Als ein gesegnetes, gelobtes Land
Vermögen darzustellen?
“Der Herr wird dich segnen aus Zion,“
Was aber hat dein Gott dir zugedacht,
Dir, dessen Fleiß in Gottes Hause wacht?
Was wird der Dienst der heilgen Hütten
Auf dich vor Segen schütten?
“Daß du sehest das Glück Jerusalem dein Leben lang,“
Weil Zion Wohl zuerst dein Herze rührt,
Wird sich auch irdisches Vergnügen
Nach deines Herzens Wunsche fügen,
Da Gott ein auserwähltes Kind dir zugeführt,
Daß du in ungezählten Jahren
Verneutes Wohlsein mögst erfahren.
“Und sehest deiner Kinder Kinder.“
So rufen wir zur Segensstunde
Von Herzen mit vereintem Munde:
4.* „Friede über Israel!“
[Eilt zu denen heilgen Stufen, / Dankt den höchsten Wunderhänden,]
[Eilt, der Höchste neigt sein Ohr. / Dankt, Gott hat an euch gedacht!]
[Unser Wünschen dringt hervor, / Ja, sein Segen wirkt mit Macht,]
Friede über Israel,
Friede über euch [zu rufen. / zu senden.]
Post Copulationem
5.* Wohl euch, ihr auserwählten [Schafe, / Seelen,]
[Die ein getreuer Jacob liebt. / Die Gott zur Wohnung ausersehn!]
[Sein Lohn wird dort am größten werden, / Wer kann ein größer Heil erwählen?]
[Den ihm der Herr bereits auf Erden / Wer kann des Segens Menge zählen?]
[Durch seiner Rahel Anmut gibt. / Und dieses ist vom Herrn geschehn.]
6. Das ist vor dich, o ehrenwürdger Mann,
Die edelste Belohnung,
So dich vergnügen kann.
Gott, der von Ewigkeit die Liebe selber hieß
Und durch ein tugendhaftes Kind dein Herze rühren ließ,
Erfülle nun mit Segen deine Wohnung,
Daß sie wie Obed Edoms sei,
Und lege Kraft dem Segensworte bei.
7. Gib, höchster Gott, auch hier dem Worte Kraft,
Das so[nst] (1st time- 2nd time: only ‚so’) viel Heil bei deinem Volke schafft:
“Der Herr segne dich und behüte dich.“
{Ein Danklied soll zu deinem Throne dringen
Und ihm davor ein freudig Opfer bringen:}
Es müsse ja auf den zurücke fallen,
Der solches läßt an heilger Stätte schallen:
“Der Herr erleuchte sein Angesicht über dich und sei dir gnädig,“
{Er zeichnet dich in seine Vaterhand,
Die dir soviel vom Segen zugewandt.}
Sein Dienst, so stets am Heiligtume baut,
Macht, daß der Herr mit Gnaden auf ihn schaut.
“Der Herr erhebe sein Angesicht über dich und gebe dir Friede.“
{Es stammt dein Heil aus Gottes Herz und Namen,
So sei beglückt durch sein gesegnet Amen.}
Der Herr, von dem die keuschen Flammen kamen,
Erhalte sie und spreche kräftig amen. |
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Thomas Braatz wrote (February 23, 2008):
BWV 34 & BWV 34a
Date of composition and/or first performance:
BWV 34a First half of 1726 (possibly April 29 or May 7 – these are dates on which a full bridal mass was performed in the Thomaskirche in Leipzig –Dürr also had earlier suggested March 6, 1726 – no specific reason cited in this instance however.)
The only original set of parts (Staatsbibliothek Berlin: Mus. ms. Bach St 73)
An incomplete set of 7 individual parts:
Existing parts:
1. Soprano
2. Alto
3. Tenore
4. Baßo
5. Violino 1
6. Viola 1
7. Continuo (not transposed)
Five different copyists are involved in the preparation of these parts. One of these is W.F. Bach.
Missing parts:
8. Tromba 1
9. Tromba 2
10. Tromba 3
11. Timpani
12. Oboe 1
13. Oboe 2
14. Violino 2
15. Continuo 2
16. Organo (transposed with figured bass)
17. Doublets for the Violino and Oboe parts
Normally there are 3 continuo parts. Since the Organo or transposed continuo part is the only part or source that usually contains the figured bass that J.S. Bach adds after it has been copied is missing, there is no other source for Bach’s figured bass intentions. His autograph scores do not, as a rule, contain any figured bass.
BWV 34 after 1740 between 1740 and 1745 (Dürr); possible performance on either May 29, 1746 or May 21, 1747 in Halle by W.F. Bach for whom J.S. Bach may have revised BWV 34a and with whom he may have helped in the preparation of the new score and materials (Wolff & Küster) There is no definite information that this version was ever performed in Leipzig in the first half of the 1740s before Bach modified and gave the score to W.F. Bach. Indeed tversion may have been completed in a hurry to help W.F. Bach as he assumed his new position in Halle only a few weeks before the 1746 date given above. A more interesting scenario is presented for the 1747 date in that two weeks earlier both father and son traveled together to Potsdam to appear before the king and it is probable that W.F. Bach may have requested one of his father's cantatas that he could use for the first day of Pentecost in Halle.
Only the original score survives (Staatsbibliothek Berlin: Am. B. 39), but it is not entirely autograph. Certain parts were completed by W.F. Bach.
The timpani ‘rolls’ in BWV 34 are marked with ‘tr’ and although a wavy line following this marking does not continue for the entire length of the note, it is understood that a long ‘roll’ for the duration of the note was intended.
Here are the instances where ‘rolls’ on the timpani occur in Bach’s works (according to Ulrich Prinz, J.S. Bachs Instrumentarium, Stuttgart, 2005, pp. 107-108):
BWV 19/7 m 35
BWV 34/1 mm. 3-5, 9-11, 33-35, 45-47
BWV 43/1 mm. 80-84, 124-129
BWV 191/1 mm. 157-158, 165 This is a parody of BWV 232 v.1 “Et in terra”:
BWV 232 version 1 “Et in terra” mm. 57-58, 65
BWV 205/1 mm. 22-24, 34-36, 41-45, 72-74, 79-82
BWV 205/11 mm. 1-5, 25-30, 37-41, 66-67, 110-114, 118-123, 150-155, 170-177, 194-199
BWV 248/1 mm. 5-9, 39-43, 95-99 Parody of BWV 214/1
BWV 214/1 mm. 5-9, 39-43-95-99
BWV 1068 Ouverture mm. 1-3, 4-5, 18-19, 21, 78-80, 85-87, 107-109, 118ff.
BWV 1068 Gigue mm. 1-2, 25-26, 49-50
BWV 1069 Gavotte mm. 28-29 |
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