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Mit Fried und Freud ich fahr dahin
BWV 125
Chorale cantata by J. S. Bach
Painting that shows three figures on a dark background: to the left the bright face of an old man with a gray beard looking up while holding a baby, presented in the centre on a white pillow, while the mother to the right, covered by a dark cloak, shows only the face in profile and her hands raised in prayer
Simeon's Song of Praise by Aert de Gelder, around 1700–1710
OccasionPurification
Chorale"Mit Fried und Freud ich fahr dahin"
by Martin Luther
Performed2 February 1725 (1725-02-02): Leipzig
Movements6
Vocal
  • SATB choir
  • solo: alto, tenor and bass
Instrumental
  • horn
  • flauto traverso
  • oboe
  • oboe d'amore
  • 2 violins
  • viola
  • continuo

Mit Fried und Freud ich fahr dahin (With peace and joy I depart),[1] BWV 125,[a] is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1725 for the Feast of the purification of Mary and first performed it on 2 February 1725. The text is based on Martin Luther's hymn "Mit Fried und Freud ich fahr dahin" in four stanzas, published in 1524. The gospel for the feast day, the presentation of Jesus at the Temple, includes Simeon's canticle Nunc dimittis, which Luther paraphrased in his hymn.

The work forms part of Bach's chorale cantata cycle, written to provide Sundays and feast days of the liturgical year with cantatas based on a related Lutheran hymn. The relation of the hymn to the liturgical occasion is unusually close in this instance because the text which Luther paraphrased is part of the prescribed readings for the feast day. Bach had used single stanzas of the hymn in his early funeral cantata [[[Gottes Zeit ist die allerbeste Zeit, BWV 106|Gottes Zeit ist die allerbeste Zeit, BWV 106]]] Error: {{Lang}}: text has italic markup (help), and other cantatas of his first Leipzig cycle.

In the format of the chorale cantata cycle, an unknown librettist retained the first and the last of Luther's four stanzas, while he paraphrased the second stanza for an aria, then included its original text in a recitative, and derived text for two more movements from the third stanza. Bach structured the cantata in six movements, framing four movements for soloists by a chorale fantasia and a closing chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of a horn to support the chorale tune, flauto traverso, oboe, oboe d'amore, strings and basso continuo. The opening chorus has been compared to the opening movement of Bach's St Matthew Passion. The third movement combines the lines from the second stanza of the hymn with commentary in the librettist's words, which Bach sets differently, with the hymn tune in the quotations and recitative for the additions, but unified by a continuous "motif of joy" in the accompaniment.

Background

Chorale cantata cycle

Main article: Chorale cantata cycle

Bach wrote the chorale cantata in his second year as Thomaskantor, director of church music, in Leipzig. He was responsible for the music at four churches, and the training and education of boys singing in the Thomanerchor. Bach took office in 1723 in the middle of the liturgical year, and began his first cantata cycle, a project to compose a cantata for every occasion of the liturgical year for which concerted music was requested. When the first cycle was completed a year later, he set out to compose another cycle with the restriction that each cantata was a chorale cantata, based exclusively on a Lutheran hymn. The cycle became known as the his chorale cantata cycle.[2][3]

Lutheran hymns

Portrait of Luther by the painter Lucas Cranach the Elder, showing the face in detail, while hair, jacket and a barett are black and frame it
Martin Luther, portrait by Lucas Cranach, 1528

The Protestant reformer Martin Luther had emphasised the importance of singing hymns in church services and at home, and had himself written many hymns, including "Mit Fried und Freud ich fahr dahin". Hymns were important for Lutheran worship, and the choice of hymns for the series of chorale cantatas was probably made by the minister, according to the prescribed readings and his intentions for sermons.[3] Bach had written an early chorale cantata on a hymn by Luther, [[[Christ lag in Todes Banden, BWV 4|Christ lag in Todes Banden, BWV 4]]] Error: {{Lang}}: text has italic markup (help), probably in 1707.[4] He used nine of Luther's hymns as the basis of cantatas during the chorale cantata cycle:

  • [[[Ach Gott, vom Himmel sieh darein, BWV 2|Ach Gott, vom Himmel sieh darein, BWV 2]]] Error: {{Lang}}: text has italic markup (help), for the second Sunday after Trinity, 18 June 1724[5]
  • [[[Christ unser Herr zum Jordan kam, BWV 7|Christ unser Herr zum Jordan kam, BWV 7]]] Error: {{Lang}}: text has italic markup (help), for St. John's Day, 24 June 1724[6]
  • [[[Meine Seel erhebt den Herren, BWV 10|Meine Seel erhebt den Herren, BWV 10]]] Error: {{Lang}}: text has italic markup (help), for Visitation, 2 July 1724[7]
  • [[[Aus tiefer Not schrei ich zu dir, BWV 38|Aus tiefer Not schrei ich zu dir, BWV 38]]] Error: {{Lang}}: text has italic markup (help), for the 21st Sunday after Trinity, 29 October 1724[8]
  • [[[Nun komm, der Heiden Heiland, BWV 62|Nun komm, der Heiden Heiland, BWV 62]]] Error: {{Lang}}: text has italic markup (help), for the first Sunday in Advent, 3 December 1724[9]
  • [[[Gelobet seist du, Jesu Christ, BWV 91|Gelobet seist du, Jesu Christ, BWV 91]]] Error: {{Lang}}: text has italic markup (help), for Christmas Day, 25 December 1724[10]
  • [[[Christum wir sollen loben schon, BWV 121|Christum wir sollen loben schon, BWV 121]]] Error: {{Lang}}: text has italic markup (help), for the second day of Christmas, 26 December 1724[11]
  • Mit Fried und Freud ich fahr dahin, BWV 125, for Purification, 2 February 1725
  • [[[Erhalt uns, Herr, bei deinem Wort, BWV 126|Erhalt uns, Herr, bei deinem Wort, BWV 126]]] Error: {{Lang}}: text has italic markup (help), for Sexagesima, 4 February 1725[12]

Bach used Luther's hymn "Ein feste Burg ist unser Gott" early for a cantata for Advent and reworked it much later as a cantata for Reformation Day, [[[Ein feste Burg ist unser Gott, BWV 80|Ein feste Burg ist unser Gott, BWV 80]]] Error: {{Lang}}: text has italic markup (help).[13]

In 1735 Bach composed [[[Wär Gott nicht mit uns diese Zeit, BWV 14|Wär Gott nicht mit uns diese Zeit, BWV 14]]] Error: {{Lang}}: text has italic markup (help) for the fourth Sunday after Epiphany.[14]

Bach's chorale cantata format

Main article: Chorale cantata (Bach)

Bach used a specific format for most of the chorale cantatas for this cycle. He deviated from the strophic hymn text and tune in all stanzas (per omnes versus) which he had employed in Christ lag in Todes Banden. Instead, he retained text and melody only in the outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were reworded by a poet as the basis for recitatives and arias, often with music independent of the hymn tune.[3] Andreas Stübel (1653–1725), a former headmaster of the Thomasschule, may have been the poet.[3]

Text

Readings

Main articles: Presentation of Jesus at the Temple and Nunc dimittis
a page of Gregorian chant notation for Nunc dimittis
Nunc dimittis, Gregorian chant

When Bach worked in Leipzig, three Marian feasts were observed and celebrated with concerted music: Annunciation (25 March), Visitation (2 July) and Purification (2 February).[15] The prescribed readings for the feast of Purification (German: Mariae Reinigung),[16] were from the book of Malachi, "the Lord will come to his temple" (Malachi 3:1–4), and from the Gospel of Luke, the purification of Mary and the presentation of Jesus at the Temple, including Simeon's canticle Nunc dimittis (Luke 2:22–32).[2] The canticle, one of only three in the New Testament, along with the Magnificat and the Benedictus, has often been set to music, traditionally sung in the daily evening service compline,[17] from Gregorian chant to music of the 21st century such as Arvo Pärt's 2001 Nunc dimittis.

Hymn and words

Main article: Mit Fried und Freud ich fahr dahin

Luther's four stanza hymn paraphrases Simeon's canticle "With peace and joy I depart in God's will".[18] He phrased each verse of the canticle in one stanza. The first expresses accepting death in peace (Luke 2:29), the second gives as a reason the meeting with the Saviour (Luke 2:30), the third is focused on his coming for all people (Luke 2:31), the fourth sees the coming as a light for the heathen and glory for Israel (Luke 2:31). The lines are of different length, meter 8.4.8.4.7.7, stressing single statements.[19]

The tune first appeared in 1524 in Johann Walter's choral hymnal Eyn geystlich Gesangk Buchleyn.[20] Luther wrote an interpretation:

"As [Simeon] means, Praise and thanks be to God that I have lived to see this day, I will now gladly die, now my death will be delightful, because God has fulfilled what He called me to do. Why will you so gladly die, dear Simeon? 'For my eyes have seen your Salvation.'" (Als wolt er [Simeon] sagen / Gott sey lob und danck / daß ich diesen Tag erlebet habe / ich will nun gerne sterben / nun soll mir der Tod lieblich seyn / denn es ist erfüllet / das mir verheissen war. Warum wiltu aber so gerne sterben / lieber Simeon? 'Denn meine Augen haben deinen Heyland gesehen.')[21]

Bach had used the hymn before, first in the early funeral cantata [[[Gottes Zeit ist die allerbeste Zeit, BWV 106|Gottes Zeit ist die allerbeste Zeit, BWV 106]]] Error: {{Lang}}: text has italic markup (help) (Actus tragicus), the alto singing the first stanza, juxtaposed to a bass arioso, "Heute wirst du mit mir im Paradies sein".[22] Bach had used the hymn twice in his first Leipzig cantata cycle, in his cantata for the 16th Sunday after Trinity of 1723, [[[Christus, der ist mein Leben, BWV 95|Christus, der ist mein Leben, BWV 95]]] Error: {{Lang}}: text has italic markup (help), where he used the first stanza, along with the first stanza of the funeral hymn "Christus, der ist mein Leben" in the opening movement for tenor, and also in the cantata for Purification of 1724, [[[Erfreute Zeit im neuen Bunde, BWV 83|Erfreute Zeit im neuen Bunde, BWV 83]]] Error: {{Lang}}: text has italic markup (help), which he closed by the fourth and final stanza, "Es ist das Heil und selig Licht".[20][23]

An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in four movements. The second movement takes Luther's stanza as a starting point and takes Simeon's view as an example on how to look at one's own death. Movement 3 comments the embedded complete text of Luther's second stanza in recitative. The Bach scholar Klaus Hofmann notes that the librettist had the liberty to add his comments because Luther's hymn is rather short.[24] The allusion to "light for the heathen" from the gospel and the hymn is seen related to "He that believeth and is baptized shall be saved" (Mark 16:16). Movements 4 and 5 are derived from the third stanza, 4 relates to Paul's teaching about God's grace, "Whom God hath set forth to be a propitiation through faith in his blood, to declare his righteousness for the remission of sins that are past, through the forbearance of God" (Romans 3:25), thus declaring the Lutheran teaching of justification "by grace alone through faith alone because of Christ alone" even more clearly than Luther's song.[25]

Bach led the first performance of the cantata with the Thomanerchor on 2 February 1725, in the morning service in the Nikolaikirche and in the esper service in the Thomaskirche, as it was customary in Leipzig on high holidays.[26] Bach performed it at least one more time after 1735.[27]

Music

Structure and scoring

Bach structured the cantata in six movements, with chorale movements framing the alternating arias and recitatives, an opening chorale fantasia and a closing chorale. In movement 3, he expands a stanza from the hymn by recitative. He scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: horn to support the chorale tune sung by the soprano in the outer movements, flauto traverso (Ft), oboe (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va), and basso continuo (Bc).[28][29] The title page of the original parts reads: "Festo Purificat: Mari[ae] / Mit Fried und Freud ich fahr dahin etc. / â / 4 Voc: / Travers: / Hautbois d' Amour / 2 Violini / Viola / con / Continuo / di / Sign: / JS. Bach".[30] The duration has been given as 24 minutes.[31]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.[29] The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).[32] The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Movements of Mit Fried und Freud ich fahr dahin, BWV 125
No. Title Text Type Vocal Winds Strings Key Time
1 Mit Fried und Freud ich fahr dahin Luther Chorale fantasia SATB Co Ft Ob 2Vl Va E minor 12/8
2 Ich will auch mit gebrochnen Augen anon. Aria A Ft Oa B minor 3/4
3
  • O Wunder, daß ein Herz
  • Das macht Christus, wahr' Gottes Sohn
  • anon.
  • Luther
 Recitative e chorale B 2Vl Va common time
4 Ein unbegreiflich Licht anon. Aria (Duetto) T B 2Vl G major common time
5 O unerschöpfter Schatz der Güte anon. Recitative A common time
6 Er ist das Heil und selig Licht Luther Chorale SATB Co Ft Ob 2Vl Va E minor common time

Movements

1

File:Bach Mit Fried und Freud ich fahr dahin, BWV 125-01.ogg
Audio sample of the first few seconds
two pages from a historic hymnal from 1548, on the left page an illustration of the Presentation of Jesus at the Temple with a header, on the right page the sheet music of the tune with the text of the first stanza under the notes and also below
The first stanza of the chorale in the hymnal Babstsches Gesangbuch of 1545, with an illustration of the Presentation at the temple

The opening chorus, "Mit Fried und Freud ich fahr dahin in Gottes Willen" (With peace and joy I depart in God's will),[1] begins with a concertante ritornello, in which the flute and the oboe play opposed to the strings. A motif in triplets has first a leap of a fifth, related to the first interval of the chorale tune.[16][20] The fifth and the triplet motion dominate the entire movement.[24]

Mit Fried und Freud ich fahr dahin
In Gottes Willen,
Getrost ist mir mein Herz und Sinn,
Sanft und stille.
Wie Gott mir verheißen hat:
Der Tod ist mein Schlaf worden.

The soprano sings the cantus firmus in long notes.[33] Hofmann notes that the Dorian mode within the instrumental concerto in E minor adds a "slightly archaic flavour".[24] The lower voices participate in the instrumental motifs for lines 1, 2, 3 and 5, but lines 4 and 6 are treated differently. In accordance to the text, "sanft und stille" (calm and quiet) and "der Tod ist mein Schlaf worden" (death has become my sleep), they are performed softly (piano), in homophony, chromatic, and modulating to distant keys.[34] The Bach scholar Alfred Dürr notes the movement's "extremely dense, highly expressive texture"[34] with motifs independent from the hymn tune but derived from its beginning.[34] The musicologist Richard D. P. Jones observes that the movement foreshadows Kommt, ihr Töchter, helft mir klagen, the opening chorus of Bach's St Matthew Passion, in key, 12/8 meter and "much else".[35]

2

File:Bach Mit Fried und Freud ich fahr dahin, BWV 125-02.ogg
The alto aria begins

The alto aria, "Ich will auch mit gebrochnen Augen" (Even with broken eyes),[1] is a Sarabande with slow dotted rhythms.[35] The vocal line is accompanied by the flute and oboe d'amore, on a foundation of repeated notes in the continuo, marked "legato".[25] The phrase "gebrochne Augen" (broken eyes) is pictured by a broken vocal line, flute and oboe d'amore play dotted rhythm to the "almost trembling declamation" of the voice.[33] Hofmann notes the movement's "emotions of grief and lamentation",[24] while Dürr writes: "Rich suspension appoggiaturas, and other ornaments reveal that an expressive interpretation of this movement lay particularly close to the composer's heart."[34]

3

The bass recitative "Herr, du siehst statt guter Werke" (Lord, you see, instead of good works).[1] includes the complete text of the second stanza of the chorale, "Das macht Christus, wahr' Gottes Sohn" (Christ, God's true son, does this).[1]

Das macht Christus, wahr' Gottes Sohn,
Der treue Heiland,
Den du mich, Herr, hast sehen lan,
Und machst bekannt
Daß er sei das Leben und Heil,
Im Tod und auch im Sterben.

The elements recitative and chorale are distinguished, the free text rendered as "rhythmically free diction of recitative",[24] the chorale as arioso, but unified by a motif in the strings, called "Freudenmotiv" by Dürr, which "always indicates an underlying mood of happiness".[24][36] The chorale tune is unadorned but for the last line, "im Tod und auch im Sterben" (in death and also in dying), where the music is extended by two measures and coloured in chromatic and rich ornamentation, and the strings cease to play the constant motif and accompany in "tranquil notes".[34]

4

The tenor and bass duet "Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden" (An unfathomable light fills the entire orb of the earth),[1] is focused on the light mentioned by Simeon, expressed in a joyful mood.[1] The Hofmann notes: "The playful character is shown by the extended, circling coloratura on the word "Kreis" ("circle" or "orb"), and the baroque sound effect of statement and response unfolds to the words "Es schallet kräftig fort und fort" (Powerfully there rings out time after time.)"[16] Jones comments that the trio sonata of two violins and continuo which accomapnies the voices "in its vigour and fluency perhaps represents the powerful, continuous sound to which the text refers."[35]

5

The alto expresses in a secco recitative "O unerschöpfter Schatz der Güte" (O uncreated hoard of goodness),[1] which Hofmann calls a "concise theological analysis".[24]

6

The closing chorale, "Er ist das Heil und selig Licht" (He is the salvation and the blessed light),[1] is a four-part setting of the hymn tune.[37]

Er ist das Heil und selig Licht
Für die Heiden,
Zu erleuchten, die dich kennen nicht,
Und zu weiden.
Er ist deins Volks Israel
Der Preis, Ehr, Freud, und Wonne.

The horn, the flute (an octave higher), the oboe and the first violin all reinforce the soprano part, the second violin the alto, and the viola the tenor.[29]

Evaluation

Jones summarizes in his book The Creative Development of Johann Sebastian Bach: "The exceptionally high quality of the music may reflect Bach's response to the divine authority of the Nunc dimittis, mediated by the revered founder of the Lutheran Church."[35]

Manuscripts and publication

The autograph score is lost. Its last documented owner was Christian Friedrich Prenzel.[26] The original parts are kept in the Bach-Archiv Leipzig. They were copied from the lost autograph score by four scribes, three of them known by name, including the composer.[38] A set of three duplicate parts is kept in the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz as D-B Mus. ms. Bach St 384, Faszikel 1. They were copied by five scribes, of which three are known by name: Christian Gottlob Meißner, Wilhelm Friedemann Bach and Johann Kuhnau. The set has a title page and parts for violin 1 and II, and continuo. [39]

The score for the first movement was first published by Diabelli around 1835 with a Latin text, Da pacem nobis Domine. The cantata was originally published in 1878 as No. 4 in volume 26 of the Bach-Gesellschaft Ausgabe (BGA), edited by Alfred Dörffel.[26] The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1994, edited by Uwe Wolf, with the critical commentary published the same year.[27]

A critical edition was published by Breitkopf, edited by Eva-Maria Hodel,[40] another by Carus edited by Wolfram Enßlin in 2008, also providing a singable English version.[41]

Selected recordings

The selection is taken from the listing on the Bach-Cantatas website.[42] Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".

Recordings of Mit Fried und Freud ich fahr dahin, BWV 125
Title Conductor / Choir / Orchestra Soloists Label Year Orch. type
Die Bach Kantate Vol. 25 Helmuth Rilling
Figuralchor der Gedächtniskirche Stuttgart
Bach-Collegium Stuttgart
Hänssler 1973 (1973)
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 7 Nikolaus Harnoncourt
Tölzer Knabenchor
Concentus Musicus Wien
Teldec 1982 (1982) Period
J. S. Bach: "Mit Fried und Freud" Philippe Herreweghe
Collegium Vocale Gent
Harmonia Mundi France 1998 (1998) Period
Bach Edition Vol. 14 – Cantatas Vol. 7 Pieter Jan Leusink
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 2000 (2000) Period
J. S. Bach: Cantatas for the Feast of Purification of Mary John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Archiv Produktion 2000 (2000) Period
J. S. Bach: Complete Cantatas Vol. 14 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 2001 (2001) Period
J. S. Bach: Cantatas Vol. 32 – BWV 111, 123, 124, 125 Masaaki Suzuki
Bach Collegium Japan
BIS 2005 (2005) Period

Notes

  1. ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References

  1. ^ a b c d e f g h i Dellal 2012.
  2. ^ a b Dürr 1971, p. 540.
  3. ^ a b c d Hofmann 2006, p. 5.
  4. ^ Dürr & Jones 2006, p. 262.
  5. ^ Dürr & Jones 2006, p. 402.
  6. ^ Dürr 1971, p. 561.
  7. ^ Dürr & Jones 2006, p. 676.
  8. ^ Dürr & Jones 2006, p. 601.
  9. ^ Dürr & Jones 2006, p. 75.
  10. ^ Dürr & Jones 2006, p. 94.
  11. ^ Dürr & Jones 2006, p. 110.
  12. ^ Dürr & Jones 2006, p. 237.
  13. ^ Dürr & Jones 2006, p. 707.
  14. ^ Dürr & Jones 2006, p. 217.
  15. ^ Dürr & Jones 2006, p. 24.
  16. ^ a b c Hofmann 2006, p. 8.
  17. ^ Church of England 2016.
  18. ^ Browne 2008.
  19. ^ Hymnary 2016.
  20. ^ a b c Braatz & Oron 2005.
  21. ^ Tatlow 2000.
  22. ^ Hale 2016.
  23. ^ Dürr & Jones 2006, p. 654.
  24. ^ a b c d e f g Hofmann 2006, p. 9.
  25. ^ a b Dürr 1971, p. 541.
  26. ^ a b c Enßlin 2008, p. 4.
  27. ^ a b Bach digital 2016.
  28. ^ Dürr 1971, p. 539.
  29. ^ a b c Bischof 2010.
  30. ^ Grob 2014.
  31. ^ Dürr & Jones 2006, p. 657.
  32. ^ Dürr & Jones 2006, p. 675.
  33. ^ a b Wolff 2001.
  34. ^ a b c d e Dürr & Jones 2006, p. 660.
  35. ^ a b c d Jones 2013, p. 155.
  36. ^ Melamed 2010.
  37. ^ Dürr 1971, p. 542.
  38. ^ D-LEb Thomana 125, Faszikel 1 2016.
  39. ^ D-B Mus. ms. Bach St 384, Faszikel 1 2016.
  40. ^ Breitkopf 2016.
  41. ^ Carus 2016.
  42. ^ Oron 2015.

Bibliography

General

  • Mit Fried und Freud ich fahr dahin, BWV 125: Scores at the International Music Score Library Project
  • "Mit Fried und Freud fahr ich dahin BWV 125; BC A 168 / Chorale cantata (Purification of the Virgin Mary (2 February))". Bach digital website, managed by Bach Archive, SLUB, SBB and Leipzig University. 2016. Retrieved 30 November 2016.
  • "Leipzig, Bach-Archiv Leipzig / D-LEb Thomana 125, Faszikel 1". Bach digital website. 2016. Retrieved 30 November 2016.
  • "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz / D-B Mus. ms. Bach St 384, Faszikel 1". Bach digital website. 2016. Retrieved 30 November 2016.

Books

Online sources

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