Die Himmel erzählen die Ehre Gottes, BWV 76

Die Himmel erzählen die Ehre Gottes
BWV 76
Church cantata by J. S. Bach
Thomaskirche, Leipzig
Occasion	Second Sunday after Trinity
Performed	6 June 1723 (1723-06-06): Leipzig
Movements	14 in two parts (7 + 7)
Cantata text	anonymous
Bible text	Psalms 19:1,3
Chorale	by Martin Luther
Vocal	SATB choir and solo
Instrumental	trumpet oboe oboe d'amore bassoon 2 violins viola viola da gamba continuo

Die Himmel erzählen die Ehre Gottes (English: The heavens are telling the glory of God), BWV 76,^{[lower-alpha 1]} is a cantata by Johann Sebastian Bach. He composed the church cantata in Leipzig for the second Sunday after Trinity within the liturgical year and first performed it on 6 June 1723.

Bach composed the cantata at a decisive turning point in his career. Moving from posts in the service of churches and courts to the town of Leipzig on the first Sunday after Trinity, 30 May 1723, he began the project of composing a new cantata for every occasion of the liturgical year. He began his first annual cycle of cantatas ambitiously with Die Elenden sollen essen, BWV 75, in an unusual layout of 14 movements in two symmetrical parts, to be performed before and after the sermon. Die Himmel erzählen die Ehre Gottes has the same structure.

The unknown poet begins his text with a quotation from Psalm 19 and refers to both prescribed readings from the New Testament, the parable of the great banquet as the Gospel, and the First Epistle of John. Bach scored Part I with a trumpet as a symbol of God's Glory. In Part II, performed after the sermon and during communion, he wrote chamber music with oboe d'amore and viola da gamba, dealing with "brotherly devotion". Both parts are closed with a stanza of Martin Luther's hymn Es woll uns Gott genädig sein (1524).

Background

Johann Sebastian Bach had served in several churches as Kantor and organist, and at the courts of Weimar and Köthen, when he applied for the post of Thomaskantor in Leipzig. He was 38 years old and had a reputation as an organist and organ expert.^[1] He had composed church cantatas, notably the funeral cantata Actus tragicus around 1708. In Weimar, he had begun a project to cover all occasions of the liturgical year by providing one cantata a month for four years, including works such as Weinen, Klagen, Sorgen, Zagen, BWV 12, and Nun komm, der Heiden Heiland, BWV 61.

History and words

Bach composed the cantata for the Second Sunday after Trinity and first performed it in a service in the Thomaskirche, Leipzig, on 6 June 1723, a week after he took up position as cantor in Leipzig with Die Elenden sollen essen.^[2]^[3] The cantata is similar in many respects to the earlier work. While BWV 75 was probably begun in Köthen, this cantata may have been composed in Leipzig, according to a manuscript with many corrections.^[4] The two cantatas mark the beginning of Bach's first "annual cycle": he started to compose one cantata for each Sunday and holiday of the liturgical year,^[5] a project described by Christoph Wolff as "an artistic undertaking on the largest scale".^[2]

The Invitation to the Great Banquet, Jan Luyken, Bowyer Bible

The prescribed readings for the Sunday were from the First Epistle of John, "Whoever doesn't love, remains in Death" (1 John 3:13–18), and from the Gospel of Luke, the parable of the great banquet (Luke 14:16–24). The unknown poet was likely the same as for the first cantata for Leipzig, also in 14 movements, also arranged in two symmetrical parts to be performed before and after the sermon.^[4]^[6] Again the cantata begins with words from a Psalm, Psalms 19:1,3 (verses 2 and 4 in the Luther Bible), "The heavens declare the glory of God, and the firmament shows His handiwork. There is no speech or language, where their voice is not heard", connecting the Gospel to the Old Testament.^[3] The poet first expands in movements 2 and 3 the thought of the Universe praising God's creation. In the following two movements he deplores, following the Gospel, that nonetheless people did not follow the invitation of God, therefore he had to invite "von allen Straßen" (from all streets) and bless those, as movement 6 says. Part I closes with the first stanza of Martin Luther's chorale Es woll uns Gott genädig sein (1524),^[7] a paraphrase of Psalm 67. Part I was to be performed before the sermon, Part II after the sermon and during communion.^[8] Part II talks about the duties of those who follow God's invitation, to pass the love of Christ in order to achieve heaven on earth, a thought also expressed in the Epistle reading. The third stanza of Luther's chorale closes the work.^[3]

John Eliot Gardiner, 2007

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage with the Monteverdi Choir in 2000, evaluated the work, connected to Bach's first cantata for Leipzig:

this cantata is clearly more than just a sequel to the previous Sunday's Die Elenden sollen essen... together they form a diptych revealing a thematic continuity extended over two weeks, with plentiful cross-referencing between the two set Gospels and Epistles beyond the obvious parallels between the injunction to give charitably to the hungry (BWV 75) and of brotherly love manifested in action (BWV 76).^[8]

He described the works as featuring "a characteristically Lutheran interpretation" of the First Epistle of John. He also noted the depth of metaphorical uses of "eating and drinking", highlighting "the rich man's table, from which Lazarus tried to gather fallen crumbs (BWV 75), standing in opposition to the "great supper" and God's invitation through Christ to the banquet of eternal life (BWV 76)". Summarising both pieces, Gardiner wrote:

evidently a lot of thought and pre-planning had gone on while Bach was still in Köthen, as well as discussions with his unknown librettist and possibly with representatives of the Leipzig clergy, before he could set the style, tone and narrative shaping of these two impressive works.^[8]

Scoring and structure

The cantata is structured in two parts of seven movements each, to be performed before and after the sermon. It is scored for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), two oboes (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va), viola da gamba (Vg) and basso continuo (Bc). The two parts of seven movements each are composed as the same arrangement of alternating recitatives and arias with a concluding chorale, only Part II is opened by a sinfonia instead of a chorus.^[3] The duration is given as 35 minutes.^[9]

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

Movements of *Die Himmel erzählen die Ehre Gottes*, BWV 76 - Part 1
No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Die Himmel erzählen die Ehre Gottes	Psalms 19:1,3	Chorus	SATB	Tr 2Ob	2Vl Va	C major	3/4
2	So lässt sich Gott nicht unbezeuget!	anon.	Recitative	T		2Vl Va
3	Hört, ihr Völker, Gottes Stimme	anon.	Aria	S		Vl solo	G major
4	Wer aber hört	anon.	Recitative	B
5	Fahr hin, abgöttische Zunft!	anon.	Aria	B	Tr	2Vl Va	C major
6	Du hast uns, Herr, von allen Straßen	anon.	Recitative	A
7	Es woll uns Gott genädig sein	Luther	Chorale	SATB	Tr	2Vl Va	E minor

Movements of *Die Himmel erzählen die Ehre Gottes*, BWV 76 - Part II
No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
8			Sinfonia		Oa	Vg
9	Gott segne noch die treue Schar	anon.	Recitative	B		2Vl Va Vg
10	Hasse nur, hasse mich recht	anon.	Aria	T		Vg	A minor	3/4
11	Ich fühle schon im Geist	anon.	Recitative	A		Vg
12	Liebt, ihr Christen, in der Tat!	anon.	Aria	A	Oa	Vg	E minor	9/8
13	So soll die Christenheit	anon.	Recitative	T
14	Es danke, Gott, und lobe dich	Luther	Chorale	SATB	Tr	2Vl Va	E minor

Music

Similar to the opening chorus of BWV 75, Bach sets the psalm in two sections, comparable to a prelude and fugue on a large scale.^[6] An instrumental concerto unites the complete "prelude", the trumpet "calls" to tell the glory of God.^[5] The fugue in C major^[6] is a permutation fugue, which develops the subject twice, starting with the voices, up to a triumphal entrance of the trumpet, similar in development to the first chorus of Wir danken dir, Gott, wir danken dir, BWV 29, composed much later and used twice in the Mass in B minor.^[3] Joseph Haydn later set the same words, also in C major, in his oratorio The Creation.^[6]

In the first recitative the strings accompany the voice, most keenly in motifs in the arioso middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters".^[6]^[8] Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels".^[5] The last recitative leads in an arioso to the chorale. In the chorale,^[10] Bach has the violin play an obbligato part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow. The continuo plays ostinato a motif which is derived from the first line of the chorale.^[5]

Whereas Part I begins with a trumpet announcing ("erzählen") God's glory, Part II starts on an intimate chamber music scale with oboe d'amore and viola da gamba, concentrating on "brotherly devotion" (brüderliche Treue).^[8] A sinfonia in E minor^[6] for these two instruments is reminiscent both of Bach's compositions for the court in Köthen and of a French overture, marked "adagio", then "vivace". Bach used the music of this movement later in his organ trio, BWV 528.^[3] Gardiner calls the movement "in effect a sonata da chiesa". The tenor aria illustrates the "masochistic" "Hate me, then, hate me with all your might, o hostile race!"^[11] by a first dissonant entry on an ostinato bass line full of chromatic, leaps and interrupting rests.^[5]^[8] Oboe d'amore and viola da gamba return to accompany the last aria, and "the sombre qualities of both voice and instruments create a feeling of peace and introspection". The music of the closing chorale is identical to that of Part I.^[5]

Selected recordings

The sortable listing is taken from the selection provided by Aryeh Oron on the Bach-Cantatas website.^[12] The type of choir and orchestra is roughly shown as a large group by red background, and as an ensemble with period instruments in historically informed performance by green background.

Recordings of *Die Himmel erzählen die Ehre Gottes*, BWV 76
Title	Conductor / Choir / Orchestra	Soloists	Label	Year	Choir type	Orch. type
J. S. Bach: Cantata No. 76	Scherchen, HermannHermann Scherchen Wiener Akademie-Kammerchor Orchestra of the Vienna State Opera	Magda László Hilde Rössel-Majdan Petre Munteanu Richard Standen	Westminster	1952 (1952)	Chamber	Opera
Les Grandes Cantates de J.S. Bach Vol. 1	Werner, FritzFritz Werner Heinrich-Schütz-Chor Heilbronn Pforzheim Chamber Orchestra	Ingeborg Reichelt Hertha Töpper Helmut Krebs Franz Kelch	Erato	1959 (1959)		Chamber
Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity	Richter, KarlKarl Richter Münchener Bach-Chor Münchener Bach-Orchester	Edith Mathis Anna Reynolds Peter Schreier Kurt Moll	Archiv Produktion	1975 (1975)	Bach	Bach
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 20	Harnoncourt, NikolausNikolaus Harnoncourt Tölzer Knabenchor Concentus Musicus Wien	soloist of the Tölzer Knabenchor Paul Esswood Kurt Equiluz Ruud van der Meer	Teldec	1976 (1976)	Boys	Period
Die Bach Kantate Vol. 18	Rilling, HelmuthHelmuth Rilling Gächinger Kantorei Bach-Collegium Stuttgart	Arleen Augér Helen Watts Adalbert Kraus Siegmund Nimsgern	Hänssler	1978 (1978)		Chamber
J. S. Bach: Complete Cantatas Vol. 6	Koopman, TonTon Koopman Amsterdam Baroque Orchestra & Choir	Ruth Ziesak Elisabeth von Magnus Paul Agnew Klaus Mertens	Antoine Marchand	1997 (1997)		Period
J. S. Bach: Cantatas Vol. 9 – (Cantatas from Leipzig 1725)	Suzuki, MasaakiMasaaki Suzuki Bach Collegium Japan	Midori Suzuki Robin Blaze Gerd Türk Peter Kooy	BIS	1998 (1998)		Period
Bach Edition Vol. 20 – Cantatas Vol. 11	Leusink, Pieter JanPieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium	Marjon Strijk Sytse Buwalda Knut Schoch Bas Ramselaar	Brilliant Classics	2000 (2000)	Boys	Period
Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity	Gardiner, John EliotJohn Eliot Gardiner Monteverdi Choir English Baroque Soloists	Lisa Larsson Daniel Taylor James Gilchrist Stephen Varcoe	Soli Deo Gloria	2000 (2000)		Period

Notes

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

References

↑ "Johann Sebastian Bach". Carus-Verlag. Retrieved 15 March 2013.
1 2 Wolff, Christoph (1991). Bach: Essays on his Life and Music.
1 2 3 4 5 6 Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 337–340. ISBN 3-423-04080-7.
1 2 Traupman-Carr, Carol (2006). "Cantata 76, Die Himmel erzählen die Ehre Gottes". The Bach Choir of Bethlehem. Retrieved 28 June 2011.
1 2 3 4 5 6 Mincham, Julian (2010). "Chapter 3 BWV 76 Die Himmel erzählen die Ehre Gottes". jsbachcantatas.com. Retrieved 28 June 2011.
1 2 3 4 5 6 Hofmann, Klaus (1998). "BWV 76: Die Himmel erzählen die Ehre Gottes / (The heavens declare the Glory of God)" (PDF). bach-cantatas.com. p. 4. Retrieved 3 July 2012.
↑ "Es woll uns Gott genädig sein / Text and Translation of Chorale". bach-cantatas.com. 2008. Retrieved 29 June 2011.
1 2 3 4 5 6 Gardiner, John Eliot (2010). "Cantatas for the Second Sunday after Trinity / Basilique Saint-Denis, Paris" (PDF). bach-cantatas.com. p. 5. Retrieved 29 June 2011.
↑ Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press.
↑ "Chorale Melodies used in Bach's Vocal Works / Es woll (or wolle/wollt) uns Gott genädig sein". bach-cantatas.com. 2006. Retrieved 29 June 2011.
↑ Dellal, Pamela. "BWV 76 – "Die Himmel erzählen die Ehre Gottes"". Emmanuel Music. Retrieved 31 May 2014.
↑ Oron, Aryeh. "Cantata BWV 76 Die Himmel erzählen die Ehre Gottes". bach-cantatas.com. Retrieved 10 June 2015.

Sources

Church cantatas by Johann Sebastian Bach

Before Leipzig	Early: BWV 4 131 71 106 196 150 143 Weimar: BWV 61 70a 186a 132 174a 63 152 155 18 54 80a 182 31 12 172 165 21 185 199 161 162 163 Köthen: BWV Anh. 5

First cycle (1723–24)	Between Trinity and Advent: BWV 75 76 24 167 147 186 136 105 46 179 69a 77 25 138 95 148 48 109 89 60 90 70 From Advent to Trinity: BWV 40 64 190 153 65 154 73 81 83 144 181 22 23 66 134 67 104 166 86 37 44 59 184

Second cycle (& chorale cantatas)	Chorale cantatas between Trinity and Easter: BWV 20 2 7 135 10 93 107 178 94 101 113 33 78 99 8 130 114 96 5 180 38 115 139 26 116 62 91 121 133 122 41 123 124 3 111 92 125 126 127 1 Continuation of the second cycle: BWV 6 42 85 103 108 87 128 183 74 68 175 176 Later additions to the chorale cantata cycle: BWV 80 137 129 58 112 140 177 9 14 Other late chorale cantatas: BWV 117 192 100 97

Third cycle	After Trinity 1725: BWV 168 164 79 Liturgical year 1725–26: BWV 110 57 151 28 16 32 13 72 146 43 39 88 170 187 45 102 35 17 19 27 47 169 56 49 98 55 52 1727: BWV 82 84 34 173

Later and other	Picander cycle: BWV 149 188 197a 171 156 159 145 174 Late parodies: BWV 36 30 191 200 1083 Council election: BWV 119 193 Anh. 3 29 120 69 Wedding: BWV 34a 195 120a 197 Funeral: 157 244a Other: 194 190a 120b 51 158 50 248/VIa Doubtful: 53 142 189 217 220 221 223 224

Bach cantata List of Bach cantatas Discography: Monteverdi Choir/Koopman/Teldec

Cantatas by Johann Sebastian Bach by BWV number

1 2 3 4 5 6 7 8 9 10 11 (oratorio) 12 13 14 15^** 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 30a 31 32 33 34 34a 35 36 36a 36b 36c 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 (53)^* 54 55 56 57 58 59 60 61 62 63 64 65 66 66a 67 68 69 69a 70 71 72 73 74 75 76 77 78 79 80 80a 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 (motet) 119 120 120a 120b 121 122 123 124 125 126 127 128 129 130 131 (131a)^* 132 133 134 134a 135 136 137 138 139 140 ~~141~~^** (142)^* 143 144 145 146 147 147a 148 149 150 151 152 153 154 155 156 157 158 159 ~~160~~^** 161 162 163 164 165 166 167 168 169 170 171 172 173 173a 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 (189)^* 190 190a 191 192 193 193a 194 195 196 197 197a 198 199 200 201 202 203 204 205 205a 206 207 207a 208 208a 209 210 210a 211 212 213 214 215 216 216a (217)^* ~~218~~^ ~~219~~^ (220)^* (221)^* ~~222~~^** 223 224 244a 248a 249a 249b 1040 1045 1083 1127 Anh. 3 Anh. 5 Anh. 9 Anh. 11 Anh. 18 — ^(Doubtful) ^*~~Spurious~~

Lists: Compositions Cantatas ; Church cantatas: Chorale cantatas Early Weimar 1st cycle 2nd cycle 3rd cycle Picander cycle Late ; Secular cantatas

Authority control	WorldCat Identities VIAF: 180720112 BNF: cb13923538b (data)

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