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Johann Sebastian BachWEINEN KLAGEN SORGEN ZAGEN
CANTATA BWV 12 / BC A 68
Dominica JubilateConcerto à 9
(Chorton)
!"#$%&'($)*$+,#,"!)
PREFACE
Two original sources for BWV 12 / BC A 68 survive: an autograph score D-B Mus. ms. Bach P 44,
Faszikel 7; and an incomplete set of performance parts D-B Mus. ms. Bach St 109, Faszikel 1, in vari-ous hands, including Bach himself. This cantata was first performed in 1714 in Weimar, and then a second time in 1724 in Leipzig.
The cover page of the autograph score designates the work as a "Concerto a 9. / 5 stromenti. 4 voci." The first page of the score is titled "Concerto a 1 Oboe, 2 Violini, 2 Viole, Fagotto, è 4 voci coll'Organo".
Like other cantatas written during Bach’s tenure as Konzertmeister in Weimar, this work was intended for performance in Chorton pitch (a' = 465Hz). The original set of parts only includes the four vocal parts in Chorton, a transposed vocal part for the tenor aria for performance in Kammerton, and a transposed, unfigured continuo part for performance in Kammerton. Since there are no extant oboe, string, or organ parts, we can only assume the following: for the first performance in Weimar Bach used instruments and voices at Chorton→f, with the exception of the oboe at Kammerton→g. The tromba part would have called for the usage of a trumpet in Chorton→C with a whole tone crook . The term "fagotto" suggests an instrument in Chorton . For 1 2
the second performance in Leipzig Bach would have presumably transposed the string parts up a whole tone in order to perform the work at Kammerton→g, thus maintaining the same effective pitch.
The present edition preserves the original pitch intended by Bach, comprising two sets of per-formance materials, both score and parts, in Chorton→f and in Kammerton→g. The performance materials also include a combined oboe / tromba part, in which the oboe takes up the choral melody in the tenor aria, and the obbligato part in the concluding choral; and a fully figured con-tinuo part in both pitches.
Sharon Rosnernoteflakes editionsWissembourg 2016
For more information see the critical notes.1
Bruce Haynes (2002), “A history of performing pitch”, pp. 235-236.2
1. SINFONIA
2. [CHOR]3
Weinen, Klagen,Sorgen, Zagen,Angst und NotSind der Christen Tränenbrot,Die das Zeichen Jesu tragen.
3. RECITATIVO (ALTO)Wir müssen durch viel Trübsal in das Reich Gottes eingehen.
4. ARIA (ALTO)Kreuz und Kronen sind verbunden,Kampf und Kleinod sind vereint.Christen haben alle StundenIhre Qual und ihren Feind,Doch ihr Trost sind Christi Wunden.
5. ARIA (BASSO)Ich folge Christo nach,Von ihm will ich nicht lassenIm Wohl und Ungemach,
Im Leben und Erblassen.Ich küsse Christi Schmach,Ich will sein Kreuz umfassen.Ich folge Christo nach,Von ihm will ich nicht lassen.
6. ARIA (TENORE)Sei getreu, alle PeinWird doch nur ein Kleines sein.Nach dem RegenBlüht der Segen,Alles Wetter geht vorbei,Sei getreu, sei getreu!
7. CHORALE4
Was Gott tut, das ist wohlgetan,Dabei will ich verbleiben,Es mag mich auf die rauhe BahnNot, Tod und Elend treiben,So wird Gott michGanz väterlichIn seinen Armen halten:Drum lass’ ich ihn nur walten.
Cantata text attributed to Salomo Franck. See Neue Bach-Ausgabe (1989) I/11.2.3
Choral text by Samuel Rodigast, 1674, melody by Severus Gastorius, 1680.4
1
1. SINFONIA
6
5!
6
OBOE
VIOLINO I
VIOLINO II
!
"
VIOLA I
VIOLA II
!
"
CONTINUO
6
Adagio assai
!6
5
6!5
!
"
!
"
3
7"
5
2. [CHOR]
gen,
Za
Wei
Lente
#
## #
#
#
#
#
# #
#
#
Kla
nen,
Sor
gen,
gen,
Wei
Za
gen,
TENORE
#
ALTO#
SOPRANO
!
"
VIOLA II
VIOLA I
!
"VIOLINO II
VIOLINO I
#
#
CONTINUO
!
"BASSO#
8
Sor
gen,
nen,
Kla
Wei
gen,
nen,
Wei
gen,
Kla
Kla
nen,
#
#
#
#
#
#
#
Wei
nen,
Wei
gen,
Wei
nen
gen,
gen,
Wei
Sor
Za
Kla
8
!
"
!
"
!
"
9
#
#
#
Kla
Sor
gen,
nen,
gen,
Za
gen,
Za
Sor
gen,
Kla
Wei
gen,
nen,
gen,
6
Sor
Sor
gen,
Sor
Za
Za
Za
gen,
gen,
gen,
gen,
und
und
und
und
Angst
Angst
Angst
Angst
#
#
gen,
gen,
gen,
gen,
gen,
gen,
gen,
nen,
Wei
Sor
Wei
8
Kla
!
"
!
"
!
"
18
#
nen,
$
Wei
gen,
Sor
Kla
Za
nen,
gen,
nen,
Za
Kla
Kla
gen,
brod,
brod,
brod,
brod,
nen
Thrä
Thrä
nen
nen
nen
Thrä
Angst
Angst
Angst
Angst
Noth
Noth,
Noth,
Noth,
und
und
und
und
Angst
Noth,
Noth,
Noth,
Noth,
Noth
und
und
und
Noth
Noth
sind
sind
sind
26
8
!
"
!
"
!
"
#
#
#
Angst
Angst
Angst
sind
Chri
sten
Thrä
sten
sten
sten
Chri
Chri
Chri
der
der
der
der
7
und
Noth
Noth,
Noth,
und
und
Angst
Angst,
und
der
#
#
#
Noth
Angst
Angst
und
sind
Angst
und
und
Noth,
und
und
Angst
Angst
34
8
!
"
!
"
#
#
!
"
Angst
$
Noth,
Noth,
und
und
Angst
Noth,
Noth,
Angst
Angst
Noth
Chri
Noth
#
#
#
#
#
#
#sind
#
#
sind
sten
der
sind
sind
Chri
sten
der
Thrä
der
41
#
#
#
8
!
"
!
"
#
#
!
"
brod,
der
sten
nen
nen
brod,
brod,
brod,
brod,
nen
nen
Chri
Thrä
Thrä
Chri
Chri
Thrä
nen
Thrä
sten
sten
8
chen
chen
chen
su
tra
Je
Zei
Zei
Zei
su
su
tra
su
Je
tra
Je
Je
die
Un poc'allegro
#
#
#
##
#
#
#
#
#
#
#
#
#
#
#
#
#
#
das
#
die
die
die
das
chen
das
das
Zei
#
#
#
#49
%#
%#
%#
!
"
!
"
!
"
8
tra
Je
Je
tra
Je
Zei
su
Zei
Zei
Zei
chen
chen
chen
chen
gen,
su
su
su
tra
tra
die
!
"
56
8
tra
das
die
die
die
das
das
das
gen,
Je
gen,
gen,
9
JeJe
su
su
Zei
Zei
chenchen
tra
tra
gen,
chen
das
Zei
63
!
"
8
gen,
gen,
das
das
die
die
su
su
tratra
su tra
trasu
Je
das
die
gen,
70!
"
8
gen,
gen,
gen,
Je
Zei
Zei
tra
JeJe
su
chen
chen
chen
Je
die
Zei
das
chen
die das
das
Zei
die
gen,
Zei
Zei
Zei
Zei
gen,
gen,
gen,
das
das
das
das
die
chen
das
das
Zei
78
#
#!
"
8
Je
Je
Je
Je
su
chen
chen
chen
chen
gen,
gen,
gen,
die
Andante
su
tra
su
su
tra
gen,
tra
tra
10
su,
Zei
Je
die
su,
chen,
Zei
su,
Je
das
chen
die
die
chen
das
# #
die
chen
das
Zei
Je
das
Je
su,
Zei
chen
die
Je
JeJe
chen
chen
chen
#
!
"
das
das
das
Zei
Zei
Zei
8
85
gen.
gen.
tra
tra
JeZei
gen.
gen.
Da capo
tra
su
su
susu
tra
3. RECITATIVO
viel
sal,
Trüb
viel
durch
Trüb
sen
müs
viel
durch
CONTINUO
ALTO
!
"VIOLA II
VIOLA I
!
"VIOLINO II
VIOLINO I
wir
sal,
Wir
durch
sen
müs
Reich
in
das
Got
sal
ein
tes
hen.
4
!
"
!
"
ge
durch
viel
sal,
65
Trüb
Trüb
75
11
4. ARIA
#
#
OBOE
#ALTO
CONTINUO
#
# #
4
65
eint,
sind
nod
ver
#
Kreuz
und
Kro
und
sind
ne
7
Kreuz
Kampf
und
Klei
ver
bun
den,
sind
Kro
und
ne
Kro
den,
ver
bun
und
Kampf
nod
Klei
ne
10
eint,
ver
Kreuz
sind
7
sind
nod
Klei
6
ver
eint,
und
Kampf
ver
sind
bun
13
den,
nod
6
Kampf
!56
Klei
und
sind
ver
14
5. ARIA
##
VIOLINO I
VIOLINO II
!
"
#BASSO
CONTINUO
#
willihm
ich
nicht
von
las
!
"
5
ge
Chri
fol
sto
nach,
Ich
fol
Chri
sto
ge
sen,
ich
nach,
sen
!
"
#
9
las
ihm
von
ich
nicht
will
Wohl,
im
!
"
#
13
Wohl
im
und
19
7. CHORALE
&&
&&
&&
&&
&&
&&
will
will
willund
Es
und
willund
Eich
Eich
E
ich
Eich
und
ge than,
he Bahn
Bahnthan,
Bahnthan,
Bahnthan,
hege
hege
hege
Was
Tod
Todbei
bei
Todbei
Todbei
da
Noth,
Noth,
da
Noth,
da
Noth,da
so
so
Was
blei
trei
treiblei
treiblei
treibleiver
lendver
lendver
lendver
lend
ben,
ben,
Es
ben,ben,
ben,ben,
ben,ben,
Was
mich
mich
mich
mich
Gott
Gott
Gott
Gott
ganz
ganz
ganz
ganz
Es
8
BASSO
TENORE
ALTO
SOPRANO
[TROMBA]
so
so
CONTINUO
!
"
wird
wird
wird
wird
auf
dieist
dieist
dieist
das
dieist
michthut,
aufdas
aufdas
aufdas
rau
wohl
rau
wohl
rau
wohl
rau
wohl
mag
magGott
mag mich
Gott
magGott
Es
Was
Gott thut,
michthut,
michthut,
ich
ich
ich
ich
ihn
ihn
ihn
ihn
drum
drum
drum
drum
ten:
ten:
ten:
ten:
lass'
lass'
lass'
lass'
ten.
ten.
ten.
ten.
wal
walwal
wal
nur
nur
nur
nur
lich
lich
lich
lich
ter
sei
sei
sei
sei
in
in
in
in
8
!
"
6
ter
ter
ter
vä
vä
vä
vä
men
men
men
men
hal
hal
hal
hal
nen
nen
nen
nen
Ar
Ar
Ar
Ar
© 2016 noteflakes editions - noteflakes.com
20
CRITICAL NOTESSOURCES5
A. AUTOGRAPH SCORE
Scribe: J. S. Bach, title page: J. S. Bach & C. P. E. Bach Format: 6 leaves, 34 x 20 cm Period of origin: first half of 18th century (ca. 1720-1739) Berlin, Staatsbibliothek zu Berlin - Preußischer Kulturbesitz,D-B Mus. ms. Bach P 44, Faszikel 7
The autograph score shows signs of a hurried preparation, with bass figures prac-tically stopping 3 bars before the end of the opening sinfonia (a few figures are notated though in a few distinct locations in the following movements). An unusual feature of this score is the non-transposing oboe part, whereas in other autograph scores of early Bach cantatas woodwinds would normally be notated in Kammer -ton (a' = 415Hz) or tief-Kammerton (a' = 392Hz).
B. ORIGINAL PARTS
Scribe: S, A, B: J. S. Bach, Anon. Weimar 1;T, B.c.: J. S. Bach, C. G. Meisner, J. C. Lindner Format: 6 leaves, S, A: 34 x 20 cm; T: 34.5 x 21 cm; B: 32 x 20 cm, B.c.: 34.5 x 21.5 cm Period of origin: first half of 18th century (ca. 1720-1739) Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach St 109, Faszikel 1
This original set of parts contains the following:
B5 is a second copy of the tenore part to this aria, transposed up a whole tone to a-minor for use in Kammerton (see the preface) and notated in treble clef, instead of the customary tenor clef. The unusual use of clef raises doubts as to the origi-nality and reliability of this part.
A is clearly the earlier of the two sources, and might well be considered the source used in the preparation of B. The latter, however, contains a substantial number of additional details, mainly slurs and trills.
EDITORIAL POLICYWhile B contains many details missing in A, and is the later source, it is unfortu-nately incomplete. The primary source for the present edition is therefore A. Where B includes additional details, they are incorporated into the edition.
NOTESAbbreviations: Ob = Oboe, Vn = Violino, Va = Viola, S = Soprano, A = Alto, T = Tenore, B = Basso, Bc = Basso continuo. References are given in the following order: Measure / part, sign number within measure / source and remarks. Sign numbering does not include grace notes.
1. SINFONIA
2. [CHOR]While the notated time signature is 3/2, in A Bach employs double bars, separated in the middle using a short vertical separator, implying a 6/2 meter:
However this form of notation is not preserved in B. In order to avoid possible confusion a simple 3/2 time signature for this movement was chosen.
3. RECITATIVO
4. ARIA
5. ARIA
6. ARIA
The tromba part in the autograph score is non-transposing and calls for a trumpet in Kammerton→C. Trumpets in Chorton→C or Kammerton→D were the norm in 17th- and 18th-century Germany, . In order to bring the trumpet down to Kam-merton→C, trumpeters could use a whole-tone crook, which is also supplied by contemporary trumpet makers. This practice is documented by Praetorius in his Syntagma Musicum: de Organographia (1618), and also by Johann Kuhnau in the preface to his cantata Daran erkennen wir, daß wir in ihm verbleiben .6
7. CHORALE
A Includes only the lyrics to the first couplet, “Was Gott thut, das ist wohlgethan, dabei will ich verbleiben”. Also missing from A are the customary fermatas. No colla parte indications are given. B1 and B2 are also missing the fermatas.
B1 Complete soprano part in Chorton (movement 7 in Bach's hand)B2 Complete alto part in Chorton (movements 3-7 in Bach's hand)B3 Complete tenore part in Chorton (movements 1-5 in Bach's hand)B4 Basso part for movements 5-7 in Chorton (mvts. 5-6 in Bach's hand)B5 Tenore part in Kammerton for movement 5B6 Complete non-figured basso continuo part in Kammerton
3 Va I 1-8 A: The 8th notes are slurred in groups of 4 with a lighter ink stroke, instead of pairs as indicated in 1/1-4.
14-16 Bc A: The last three bars of continuo are unfigured.
1 S B1: missing “Lente” indication.33-34 S B1: missing slur.49 S, T A, B1, B3: missing “Un poc’allegro” indication.81 A A: the syllable “-gen” is erroneously placed on 81/1-3, on top
of a dash continuing the melisma.
81 B 3-4 A: erroneous slur connecting the syllables “-gen” and “das”.83 S, T B1, B3: missing “Andante” indication.
3 A 9-10 A: missing slur.4 A 1-2 A: missing slur.4 Bc 1 A: fig. natural 7.5 A 1 A: the trill is placed at the beginning of the slur.6 A 1-2 A: missing slur.7 A: missing fermatas in all parts.
7 A 2-4 A: missing slur.8 A 9-10 A: missing slur.8 Bc 1-2 A: missing tie.9 Bc A: missing trill 9/1, missing natural 9/2.10 Bc 6 B6: Chorton e.11 A, Ob A, B2: a-flat in alto against a-natural in oboe on third beat.14 A 14-15 A: missing slur.16 A 5-7 A: missing slur.17 A 1-2, 3-4 A: missing slurs.17 Bc 1-3, 4-6 A: missing slurs.24 A 10-11 A: missing slur.27 A 5-6 A: missing slur.28 A 4-5 B2: missing slur.29 A A: missing slur on 29/7-8. B2: missing slur on 29/10-11.29 Bc 4 A: fig. non-slashed 4.32 A A: missing appoggiatura on 32/3, missing trill on 32/10.33 A 5 A: missing appoggiatura.34 A A: missing trill 34/1, missing slurs 34/1-2, 34/3-4, 34/16-17.36 A 8-10 B2: missing slur.
18 B 1-2 A: missing slur.
9-32 T, Bc B3, B5, B6: the repeat is written out.9 T 5-6 B5: missing slur.17 T B5: added slur on 17/1-2, missing slurs 17/3-4, 17/5-6, missing
trill 17/5.22 T B5: missing slur 22/1-3 on repeat, missing slur 22/4-6.23 T B5: missing slurs 23/2-3, 23/4-6.24-28 T A: the syllable “Pein” is kept from m. 24 over the melisma
until the first beat of m. 28. The present edition follows the text underlay given in both B3 and B5. Compare with mm. 14-17.
27 T 11-12 B5: missing slur.36 T B3, B5: missing slur 36/1-2. B5: missing slur 36/5-6.39 T B5: added trill 39/3, missing slur 39/3-4.41 T B3, B5: missing slur 41/1-5. B5: missing slur 41/6-7.51 T 8-10 B5: missing slur.54 T 1 A, B5: missing trill.62 T B3, B5: missing slur 62/1-2. A: missing trill 62/2.63 T 3 B5: missing trill.
3 B 2-3 A: missing slur.6 T 3-4, 6-7 B3: missing slurs.7 T 3-4 B3: missing slur.7 B 2-3 A: missing slur.8 S 1 B1: missing trill.8 T 1-2 A: missing slur.9 B 4-5, 6-7 A: missing slurs.
Digital facsimiles of the sources can be consulted at tinyurl.com/bachbwv12.5
For a detailed discussion see Bruce Haynes (2002),“A history of performing pitch”, pp. 25-26, 183, 247.6