Erhalt uns, Herr, Bei deinem Wort

Erhalt uns, Herr, bei deinem Wort (Sustain us, Lord with your word), BWV , is a cantata by Johann Sebastian Bach for use in a Lutheran service.
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As usual, there is no diminution of quality or inventiveness. So to sum up: In any case, the chorale melody seems to have had a chequered history; Boyd p identifies it as an unusual hybrid, Luther providing the first section upon which the cantata is predicated and Walther the remainder.

Additionally, it has also been suggested that the longer and shorter versions originated from two different hymns by Luther.


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The theme of this work is derived from a fervent plea for protection from our enemies, thus providing the composer with opportunities for depicting a number of striking images. The first verse calls for the Lord to sustain us and repel our enemies, but not just in a general sense; the murderous Turk and Pope are grouped together as salient examples! This is not a subject about which we can be mealy-mouthed as the immense energy of the music makes clear.

The ritornello is martial and sturdy due to the trumpet summons and the insistence of the single A minor chord over the first three bars. This is relatively unusual for Bach who generally likes to get his progression of harmonies under way as soon as possible. Once the harmonic tread gets under way, trumpet and oboes, shortly to be reinforced by the violins, declaim lines of semi-quavers suggestive of the enemies swirling around us. It is amazing just how much of the text Bach manages to invoke in musical terms in only twelve bars of instrumental writing.

It is a vibrant theme well worth repeating, and so it begins and ends the movement as well as separating chorale entries. We have often seen how Bach manipulates the vocal lines of his fantasias in order to emphasise and illuminate aspects of the text; simply turn back one chapter to C for clear examples.

Erhalt uns, Herr, bei deinem Wort, BWV - Wikipedia

In the setting of these verses Bach is frequently as much concerned with graphic portrayal as with musical cohesion. The first line of this stanza is a call for the Lord to maintain and protect us, and so caught up with this entreaty are the lower voices that they continue unabated into the second chorale phrase beginning bar By this time they have built up a good head of steam, appropriate for the anger expressed at the violating enemies line two.

The lower voices play as much part in carrying forward the momentum of the music as the instrumental ensemble; this is not a case of providing mere accompaniment! The writing under the third phrase is direct and relatively unadorned. And this final line, wrought with busy descending sequences and an aggressive semi-quaver bass, suggests both the raging of the enemies and their ultimate downfall.

The ultimate word, however, is Thron—-throne. Held on a single chord in all four vocal parts, this leaves us with a pervasive image of the might and enduring quality of the power and seat of the Lord.


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Technically this is possible because the first three bars of the ritornello now sounding against this chord have no change of harmony bars Was Bach preparing for this moment even as he formulated the very opening bars? It is accompanied by two oboes and continuo, a telling combination.

The stanza is really in two parts, the first a further entreaty to God to convey his strength to us, and the second from bar 33 a plea to fill our churches with joy because of the scattering of our enemies. Think, for a moment about the complexity of ideas suggested in this one verse: The artistic problems of conveying all this and still maintaining a satisfactory sense of musical structure are formidable.

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The first descending motive in the continuo is immediately taken up by the oboes bar 1 and subsequently the tenor, thus encapsulating the sense of the opening words—-send down! Notice the one high note standing out of the melodic line on the word oben—-above—- indicating heaven —-bars 8 and Tenor entry from bar 7. But any doubts about our attitude towards Him are quickly dispelled by the phrase Herr der Herren, starker Gott—King of Kings, mighty God!

Three times we hear it from bar 17 , perhaps suggestive of the Holy Trinity and each time it is repeated a tone higher.

Its insistence is compelling, its message unmistakable. The middle section of the aria from bar 33 deals with the second part of the stanza, filling the church with joy and scattering the enemies. This section contains two melismas of astonishing length and complexity, the first on erfreuen—-delight or joy, and the second on zerstreuen—-to scatter.

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It would be difficult to imagine a better musical representation, particularly of this latter action. The first section returns but not as da capo; it is substantially rewritten. Translated by Richard D. Evang, Martin; Seibt, Ilsabe, eds. Liederkunde zum Evangelischen Gesangbuch in German.

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Chapter 39 Bwv 126

Retrieved 2 February Johanne Chrysostomo edition. Martin Luther bibliography Book: Martin Luther Luther rose Theologia Germanica. Retrieved from " https: Views Read Edit View history. Languages Deutsch Norsk Norsk nynorsk Edit links.

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This page was last edited on 28 July , at By using this site, you agree to the Terms of Use and Privacy Policy. Hymn by Martin Luther. Six stanzas in the Magdeburg hymnal, 19th century.