Nun danket alle Gott, BWV 192

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Nun danket alle Gott
BWV 192
Chorale cantata by J. S. Bach
Martin Rinckart.jpg
Martin Rinckart, author of the text
Occasion Trinity Sunday
Chorale" Nun danket alle Gott "
Performed4 June 1730 (1730-06-04): Leipzig
Movements5
Vocal
  • SATB choir
  • solo: soprano and bass
Instrumental

Nun danket alle Gott (Now thank ye all our God), BWV 192, is a church cantata for Trinity Sunday composed by Johann Sebastian Bach in Leipzig in 1730. It is an incomplete cantata, because its tenor part is missing. It is a chorale cantata, setting the unmodified three stanzas of Martin Rinckart's "Nun danket alle Gott" ("Now Thank We All Our God"). It has been regarded as an expansion of Bach's chorale cantata cycle.

Contents

History and text

Bach composed Nun danket alle Gott as a chorale cantata for Trinity, setting the unmodified text of the three stanzas of Martin Rinckart's hymn of thanksgiving "Nun danket alle Gott". [1] [2] It was first performed on 4 June 1730. [1] [3] Alfred Dürr assumed that it could have been written for a wedding. [4] It has also been regarded as a cantata for Reformation Day. [5]

The cantata is not always seen as included in Bach's chorale cantata cycle. [2] [6] The original score is held by the Staatsbibliothek zu Berlin. [1] The tenor part was lost [1] and has been reconstructed by several scholars; e.g., Günter Raphael [7] and Alfred Dürr. [3]

Scoring and structure

The cantata is scored for soprano and bass soloists, a four-part choir, two flutes, two oboes, two violins, viola, and basso continuo. [1] [5]

The work has three movements: [4]

  1. Chorus: Nun danket alle Gott
  2. Duet aria (soprano and bass): Der ewig reiche Gott
  3. Chorus: Lob, Ehr und Preis sei Gott

Music

The cantata begins with a chorale fantasia. [4] Unusually, the ritornello is not immediately followed by the chorale melody, but by a three-part or even four-part imitative preparation. The first phrase of the chorale melody appears in the soprano over further imitation in the lower voices and by staccato chords in the accompaniment. [4] [8] The other lines of the chorale are handled similarly. [4]

The duet aria is introduced by a ritornello "with a double hiatus suggestive of modesty or diffidence". The movement is structurally like a da capo aria but lacks a contrasting middle section. [8]

Unusually, the work ends not with a closing chorale, but with another chorale fantasia [4] with a "rollicking gigue melody". Again, the soprano carries the chorale melody. [8] As in the first movement, the lower voices sing imitative lines. [4]

Recordings

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References

  1. 1 2 3 4 5 "Nun danket alle Gott BWV 192; BC A 188 / Chorale cantata (Trinity Sunday)". Bach Digital . Retrieved 27 May 2018.
  2. 1 2 Zedler, G (2011). Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung (in German). Books on Demand. p. 37. ISBN   9783842357259.
  3. 1 2 "Cantata BWV 192 Nun danket alle Gott". Bach Cantatas Website. Retrieved 14 December 2012.
  4. 1 2 3 4 5 6 7 Dürr, Alfred; Jones, Richard D. P. (2005). "Nun danket alle Gott". The Cantatas of J.S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. pp. 780–787. ISBN   978-0-19-816707-5.
  5. 1 2 "BWV 192". University of Alberta. Retrieved 5 June 2013.
  6. ↑ Dörffel, Alfred (1878). "Introduction". Bach-Gesellschaft Ausgabe Volume 27: Thematisches Verzeichniss der Kirchencantaten No. 1–120 (in German). Breitkopf & Härtel. p. VII.
  7. ↑ Smith, Craig. "BWV 192". Emmanuel Music. Retrieved 9 September 2022.
  8. 1 2 3 Mincham, Julian. "Chapter 53 BWV 192". jsbachcantatas. Retrieved 5 June 2013.
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