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Ich steh mit einem Fuß im Grabe, BWV 156

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Ich steh mit einem Fuß im Grabe (I am standing with one foot in the grave), BWV 156, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the third Sunday after Epiphany and first performed it on 23 January 1729.

History and text

BWV 156 was the fourth and last of the cantatas Bach wrote for the third Sunday after Epiphany. The prescribed readings for the day were Romans 12, verses 17–21, and Matthew 8, verses 1–13. The cantata incorporates two chorale tunes: Machs mit mir, Gott, nach deiner Güt by Johann Herman Schein (1628) and Herr, wie du willt, so schicks mit mir by Kaspar Bieneman (1582). The librettist was Picander.

The sinfonia was likely derived from an earlier oboe concerto and was later adapted as part of Bach's F-minor harpsichord concerto.

Scoring and structure

The work is scored for three vocal soloists (alto, tenor, and ), four-part choir, oboe, two violins, viola, and basso continuo.

It has six movements:

  1. Sinfonia
  2. Chorale (soprano) and aria (tenor): Ich steh mit einem Fuß im Grabe
  3. Recitative (bass): Mein Angst und Not
  4. Aria (alto): Herr, was du willt, soll mir gefallen
  5. Recitative (bass): Und willst du, dass ich nicht soll kranken
  6. Chorale: Herr, wie du willt, so schicks mit mir

Music

The opening sinfonia is scored for oboe, strings, and continuo. It is in F major and common time. Compared to the later version for harpsichord, the melody is straightforward and unembellished, and is harmonically conceived to prepare the second movement.

The second movement is a combined tenor aria and soprano chorale with obbligato strings. Unusually, it begins with a syncopated continuo line under unison strings. The movement also features sequences and harmonic contrasts.

Both bass recitatives are secco and in minor mode. The first, the third movement of the cantata, is characterized by a disjunct melodic line and a concluding arioso line. The second, the fifth movement, is comparatively "lighter in mood and spirit". It anticipates the melody of the final chorale setting.

The alto aria is accompanied by oboe and violin in parallel thirds and sixths. The movement includes several instances of word painting. Formally, the movement is an altered da capo aria. It has a "generally sunny affect...only momentarily disturbed by more charged harmonies".

The final movement is a four-part setting of the chorale in C major. The phrase lengths are varied to provide a "hint of timelessness".

Recordings

  • American Bach Soloists, Jeffrey Thomas. J.S. Bach: Cantatas Volume II. Koch International Classics, 1992.
  • Amsterdam Baroque Orchestra & Choir, Ton Koopman. J.S. Bach: Complete Cantatas Vol. 20. Antoine Marchand, 2003.
  • Bach Collegium Japan, Masaaki Suzuki. J.S. Bach: Cantatas Vol. 49. BIS, 2010.
  • Figuralchor der Gedächtniskirche Stuttgart / Bach-Collegium Stuttgart, Helmuth Rilling. Die Bach Kantate. Hänssler, 1973.
  • Holland Boys Choir / Netherlands Bach Collegium, Pieter Jan Leusink. Bach Edition Vol. 11. Brilliant Classics, 1999.
  • Monteverdi Choir / English Baroque Soloists, John Eliot Gardiner. J.S. Bach: Cantatas for the 3rd Sunday of Epiphany. Archiv Produktion, 2000.

References

  1. ^ Traupman-Carr, Carol (2005). "Cantata 156, Ich steh mit einem Fuß im Grabe". Bach Choir of Bethlehem. Retrieved 14 December 2012.
  2. "Cantata BWV 156". bach-cantatas. Retrieved 4 June 2013.
  3. "BWV 156". University of Alberta. Retrieved 4 June 2013.
  4. ^ Mincham, Julian. "Chapter 40 BWV 156". jsbachcantatas. Retrieved 4 June 2013.
  5. ^ "BWV 156". Emmanuel Music. Retrieved 4 June 2013.
  6. "Cantata No. 156". Allmusic. Retrieved 4 June 2013.

Sources

The first source is the score.

Several databases provide additional information on each of the Bach cantatas:

Cantatas by Johann Sebastian Bach by BWV number
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