Tilge, Höchster, meine Sünden, BWV 1083

Last updated
Tilge, Höchster, meine Sünden
BWV 1083
Psalm cantata by J. S. Bach
EnglishCancel, Highest, my sins
Relatedbased on Pergolesi's 1736 Stabat Mater
Bible textparaphrase of Psalm 51
Performed1740s
Published1962 (1962)
Movements14
Vocal
Instrumental
  • 2 solo violins
  • 2 violins
  • viola
  • violone
  • cello
  • continuo

Tilge, Höchster, meine Sünden (Cancel, Highest, my sins, or: Lord, annul all my transgressions [1] ), BWV 1083, is a sacred vocal composition by Johann Sebastian Bach. It is an arrangement that Bach made in the 1740s of Pergolesi's Stabat Mater from 1736, slightly expanding the orchestral material. He used a German paraphrase of Psalm 51 as text for his composition. While Bach named the work a Motetto in the autograph, it is rather a psalm cantata, scored for soprano and alto voices, strings and basso continuo. Some of the 14 movements have become traditionally sung by a two-part choir. The work was first published by Hänssler in 1962, and in a critical edition, based on Bach's performance material found only later, by Carus-Verlag in 1989. The work is interesting to scholars as an example how Bach edited music from a different tradition. [2]

Contents

History and text

Tilge, Höchster, meine Sünden is a musical parody of the Stabat Mater which Pergolesi had composed in 1736. [3] This setting was successful from the beginning, performed all over Europe and arranged frequently, for example by Johann Adam Hiller as a Passion cantata in 1774 to a translation of the original text by Klopstock. [2]

Bach used a different text, a German paraphrase of the penitential Psalm 51 by an unknown author. [3] [4] [5] The incipit translates as "Cancel, Highest, my sins". [6] Bach wrote his version in the 1740s, slightly expanding the orchestral material. He named it a Motetto (motet) in the header of his manuscript. [7] [8] It is a psalm cantata without assignment to a specific liturgical occasion. [3]

Bach's version was made c. 1745/1747. A first performance in 1746–1747 in Leipzig has been assumed. [6] Bach's performance of Tilge, Höchster, meine Sünden, before Pergolesi's work was printed for the first time in 1748, is the earliest demonstrable performance of this music by Pergolesi in Germany. [9]

Structure

Bach structured the 20 stanzas of the poetry in 14 movements: [10]

  1. Tilge, Höchster, meine Sünden (Lord, annul all my transgressions – stanza 1)
  2. Ist mein Herz in Missetaten (When my heart is filled with evil – stanza 2)
  3. Missetaten, die mich drücken (My transgressions still are weighing – stanza 3)
  4. Dich erzürnt mein Tun und Lassen (You despise my deeds and acting – stanza 4)
  5. Wer wird seine Schuld verneinen (Who denies his guilt and sinning – stanzas 5, 6)
  6. Siehe! ich bin in Sünd empfangen (See, we are in sin conceiving – stanza 7)
  7. Sieh, du willst die Wahrheit haben (Yes, you want a truthful freedom – stanza 8)
  8. Wasche mich doch rein von Sünden (Wash me, make me pure from sinning – stanza 9)
  9. Lass mich Freud und Wonne spüren (Let your joy and bliss surround me – stanza 10)
  10. Schaue nicht auf meine Sünden (Do not look on my transgressions – stanzas 11 to 15)
  11. Öffne Lippen, Mund und Seele (Open lips and mouth and spirit – stanza 16)
  12. Denn du willst kein Opfer haben (For you want no off'ring given – stanzas 17, 18)
  13. Lass dein Zion blühend dauern (Let your Zion blossom ever – stanzas 19, 20)
  14. Amen.

Scoring and music

The performance material of Bach's version has parts for voices and instruments, indicated as for Soprano, Alto, Violino Primo, Violino Primo Ripieno, Violino Secondo, Violino Secondo Ripieno, Viola, Violon, Cembalo, Organo. [11] It means soprano and alto voices, two concertante violin parts, two ripieno violin parts, viola, violone, cello using the same music as the violone, and figured parts for both harpsichord and organ. [3] [11] It is unclear if harpsichord or organ would be used depending on a performance place, or both together as was also common practise at the time. [11]

Bach wrote ornamentation and melismas for the voices to express the German text better. The moods and "conceptual traits" [2] of the two texts are similar, but Bach moved Pergolesi's two movement preceding the Amen to an earlier position, having to abandon the key sequence in the process. [2]

Bach's orchestration is richer than Pergolesi's original. Where in Pergolesi's version the viola often plays in unison with the continuo, Bach increases the independence of this instrument, thus creating the four-part harmony typical of his own style. [12] [13]

While most vocal movements are accompanied only by solo instruments (violins, viola and cello), Bach uses all instruments for the movements set in counterpoint, Nos. 9 and 14. This justifies to have a choir sing these movements. Editor Hellmann noted that the opening movement and No 6. might be performed in the same style. [11]

In the Amen fugue, Bach first uses Pergolesi's setting in F minor, but repeats it for a conclusion in F major. [12]

Movements

The following table provides for the 14 movements the beginning of the text, the voices involved (S = soprano, A = alto), the marking, key and tempo, following the Carus score: [10]

No.TextVoicesMarkingKeyTempo
1Tilge, Höchster, meine SündenS ALargoF minor Commontime.svg
2Ist mein Herz in MissetatenSAndanteC minor3
8
3Missetaten, die mich drückenS ALarghettoG minor Commontime.svg
4Dich erzürnt mein Tun und LassenAAndanteE-flat major2
4
5Wer wird seine Schuld verneinenS ALargoC minor Commontime.svg
6Siehe! ich bin in Sünd empfangenS AC minor6
8
7Sieh, du willst die Wahrheit habenSF minor Commontime.svg
8Wasche mich doch rein von SündenAC minor3
8
9Lass mich Freud und Wonne spürenS AAllabreveG minor Allabreve.svg
10Schaue nicht auf meine SündenS AAndanteE-flat major Commontime.svg
11Öffne Lippen, Mund und SeeleAAdagio spirituosoG minor Commontime.svg
12Denn du willst kein Opfer habenS ALargoF minor Commontime.svg
13Lass dein Zion blühend dauernS AAllegro (Vivace)B-flat major Commontime.svg
14Amen.S AAllabreveF minor Allabreve.svg

Publication

A short score in Bach's autograph is held by the Berlin State Library. [2] A set of parts for voices and instruments, missing a title page, was later found in the same library, [14] written by Johann Christoph Altnickol, with some amendments by Bach. [11]

The composition was forgotten, and probably first mentioned in a letter by organist Karl Straube to Hans-Georg Gadamer in 1946. Critical research followed 15 years later. [2] As only a short manuscript was known then, it was assumed that Bach performed the work from the Pergolesi's original material, and a first publication by Hänssler in 1962 was based on this premise. [2] However, Bach's performance material was found by Alfred Dürr a few years later, and a critical edition based on it was published by Carus-Verlag in 1989, edited by Diethard Hellmann. [15] [16] It was revised in 2017. [16]

Recordings

Recordings of Tilge, Höchster, meine Sünden include: [6]

Related Research Articles

<span class="mw-page-title-main">Giovanni Battista Pergolesi</span> Italian composer, violinist and organist (1710–1736)

Giovanni Battista Draghi, usually referred to as Giovanni Battista Pergolesi, was an Italian Baroque composer, violinist, and organist, leading exponent of the Baroque; he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school.

<i>Meine Seel erhebt den Herren</i>, BWV 10 Church cantata by Johann Sebastian Bach

In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren, BWV 10, as part of his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle, the title translates as "My soul magnifies the Lord". Also known as Bach's German Magnificat, the work follows his chorale cantata format.

<i>Jesu, der du meine Seele</i>, BWV 78

Jesu, der du meine Seele, BWV 78 is a church cantata of Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 14th Sunday after Trinity and first performed it on 10 September 1724. It is based on the hymn by Johann Rist.

<i>Ich hatte viel Bekümmernis</i>, BWV 21 Church cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis, BWV 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as e per ogni tempo, indicating that due to its general theme, the cantata is suited for any occasion.

<i>Herr, gehe nicht ins Gericht mit deinem Knecht</i>, BWV 105

Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. The musicologist Alfred Dürr has described the cantata as one of "the most sublime descriptions of the soul in baroque and Christian art".

<i>Allein zu dir, Herr Jesu Christ</i>, BWV 33

Johann Sebastian Bach composed the church cantata Allein zu dir, Herr Jesu Christ, BWV 33, in Leipzig in 1724 for the thirteenth Sunday after Trinity and first performed it on 3 September 1724. The chorale cantata is based on the hymn "Allein zu dir, Herr Jesu Christ" by Konrad Hubert (1540).

<i>Aus tiefer Not schrei ich zu dir</i>, BWV 38 Church cantata by Johann Sebastian Bach

Aus tiefer Not schrei ich zu dir, BWV 38, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724.

O ewiges Feuer, o Ursprung der Liebe, BWV 34.2 is an incomplete wedding cantata composed by Johann Sebastian Bach, of which only the complete libretto and some parts have survived.

<i>Lobe den Herrn, meine Seele</i>, BWV 69

Lobe den Herrn, meine Seele, BWV 69, also BWV 69.2, is a cantata by Johann Sebastian Bach.

<i>Warum betrübst du dich, mein Herz</i>, BWV 138

Johann Sebastian Bach composed the church cantata Warum betrübst du dich, mein Herz, BWV 138, in Leipzig for the 15th Sunday after Trinity and first performed it on 5 September 1723. The text by an unknown author includes three stanzas from the hymn of the same name. Its text and melody were formerly attributed to Hans Sachs, but were written by an unknown hymn writer. The cantata has seven movements and is scored for SATB soloists and choir, two oboes d'amore, two violins, viola and basso continuo. The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the Gratias of his Missa in G major.

<span class="mw-page-title-main">Diethard Hellmann</span>

Diethard Hellmann was a German Kantor, composer and academic teacher, first in Leipzig at the Friedenskirche and the Musikhochschule, then from 1955 in Mainz at the Christuskirche and the Peter Cornelius Conservatory, finally in Munich where he was president of the Musikhochschule München from 1981 to 1988. He was known for a weekly Bach cantata in Mainz, broadcast by SWR.

In allen meinen Taten, BWV 97, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1734 for an unspecified occasion. The text consists of the unchanged words of the hymn by Paul Fleming (1642).

Lobe den Herrn, meine Seele, BWV 143, is an early cantata by Johann Sebastian Bach. He appears to have composed the cantata for New Year's Day, probably when he was in his 20s, but whether it was first performed in Mühlhausen or Weimar is not known: the date of composition is unclear. Bach's authorship has been doubted because the cantata has several unusual features; one of these is the scoring, it is the only Bach cantata to combine three corni da caccia with timpani.

Dem Gerechten muß das Licht, BWV 195, is a church cantata by Johann Sebastian Bach for a wedding. He composed it in Leipzig, possibly in 1727, but only the incomplete scores of later performances from the 1740s survived. It uses two verses from Psalm 97 for the opening movement, and the first stanza auf Paul Gerhardt's hymn "Nun danket all und bringet Ehr" for the closing chorale. The librettist of the other movements is unknown.

Bekennen will ich seinen Namen, BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He probably led the first performance around 1742.

<span class="mw-page-title-main">Stabat Mater (Pergolesi)</span> Classical music

Stabat Mater (P.77) is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo.

<i>St John Passion</i> structure Sacred oratorio by Johann Sebastian Bach

The structure of the St John Passion, BWV 245, a sacred oratorio by Johann Sebastian Bach first performed in Leipzig on Good Friday 1724, is "carefully designed with a great deal of musico-theological intent". Some main aspects of the structure are shown in tables below.

<span class="mw-page-title-main">Jesu, meine Freude</span> 1653 sacred song composed by Johann Crüger with lyrics by Johann Franck

"Jesu, meine Freude" is a hymn in German, written by Johann Franck in 1650, with a melody, Zahn No. 8032, by Johann Crüger. The song first appeared in Crüger's hymnal Praxis pietatis melica in 1653. The text addresses Jesus as joy and support, versus enemies and the vanity of existence. The poetry is bar form, with irregular lines from 5 to 8 syllables. The melody repeats the first line as the last, framing each of the six stanzas.

References

  1. ↑ Hellmann 1989, p. 11.
  2. 1 2 3 4 5 6 7 Hellmann 1989, p. 7.
  3. 1 2 3 4 Tilge, Höchster, meine Sünden BWV 1083 at Bach Digital
  4. ↑ Lyrics of Tilge, Höchster, meine Sünden at Bach Digital
  5. ↑ "Tilge, Höchster, meine Sünden" at The LiederNet Archive
  6. 1 2 3 Tilge, Höchester, meine Sünden at Bach Cantatas Website
  7. ↑ "D-B Mus.ms. 30199, Fascicle 14". Bach Digital . Leipzig: Bach Archive; et al. 2020-01-31.
  8. ↑ Platen 1961, p. 35.
  9. ↑ Jürgen Heidrich. Protestantische Kirchenmusikanschauung in der zweiten Hälfte des 18. Jahrhunderts: Studien zur Ideengeschichte "wahrer" Kirchenmusik, p. 65. Vandenhoeck & Ruprecht, 2001 ISBN   978-3-525-27906-9
  10. 1 2 Hellmann 1989, p. 11–12.
  11. 1 2 3 4 5 Hellmann 1989, p. 8.
  12. 1 2 Hellmann 1989, p. 9.
  13. ↑ Clemens Romijn. Liner notes for Tilge, Höchster, meine Sünden BWV 1083 (after Pergolesi's Stabat Mater). Brilliant Classics, 2000. (2014 reissue: J. S. Bach Complete Edition. "Liner notes" p. 54)
  14. ↑ Hellmann 1989, p. 7—8.
  15. ↑ Carus 2023.
  16. 1 2 Hellmann 1989, p. 10.

Sources

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.