Cantata No. 91: Gelobet seist du, Jesu Christ, BWV91

Gelobet seist du, Jesu Christ, BWV 91 (Bach, Johann Sebastian) . Anhang: Die frühere Fassung des Duetts und des Chorals (EU) .. Cantatas BWV 1–
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• Cantata No.91: Gelobet seist du, Jesu Christ (Christmas), BWV91
• Emmanuel Music - Bach Cantata BWV 91 - Translation
• Top Selling Choral Titles

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Thus Bach draws a clear distinction between the statements of Christian fact of the Virgin birth , and the blessed implications it has for mankind. Musical form and texture are perfectly moulded in order to deliver these messages with the maximum possible emotional impact. There can be little doubt that Bach was fond of the sound of three oboes and solo voice above the continuo. Other examples can be found in Cs 20, 26 and 68 chapters 2, 25 and Each has its own particular charm and character though it is also interesting to study them as a group.

This tenor aria provides us with yet another opportunity to hear this typically Bachian combination. The text has little in the way of striking images, telling simply of a God who, although so mighty, yet chose a humble manger for his purpose. The one image that Bach might have made a particular point of is that of the illuminating beam of light from Heaven, enclosing us within its radiance.

Structurally, there are several points to note. The first is the motive of three repeated notes, here mainly heard as crotchets in the bass although the oboes also get to touch upon them bars and elsewhere. Another is the dotted rhythm that dominates the entire movement. Power, authority and stature are all suggested by this strong musical idea that has its roots in the French Overture see chapter 2. The opening ritornello is constructed of phrases of different lengths, alternating two and three bar phrases. There are no predictable certainties here!

Thus the movement miraculously conveys a collage of opposing emotions. It is positive— yet still slightly uncertain.

It is assured—but just a little hesitant. It encapsulates perfectly the contradictions of Christ the Son of God, and Christ the humble Child born in a manger. It thus pre-empts the bedrock duet in which Bach continues to explore these notions of paradox, albeit through very different musical means.

The bass recitative has little motivic connection with the movements that surround it, making use of neither the dotted rhythms nor the repeated note idea. It begins, conventionally enough, with a call to Christians to be prepared to meet their creator and warm string chords bathe these words. It is, however, an image that Bach cannot resist. The vocal line strives upwards as the bass descends. The harmonies are tortuous and convoluted. This is one moment when it is dramatically brought to our attention.

In this work we find it is the penultimate movement, a duet for soprano and alto. Whether it be his choruses, arias, ritornello themes or recitatives, he constantly proved himself to be master of his art and superior to his contemporaries. This said though, the author has to admit to a particular affection for the duets.

There are nearly twenty of them in this cycle and they cover a vast range of musical expression that never disappoints. Simply compare those from Cs 78, and 91 in order to appreciate the emotional range they explore. Then look at Cs 10, and 33 so as to make further comparisons. Which appeals to you most? But such comparisons may cajole the reader into re-considering and appreciating the duet genre a little more.

Here Bach has portrayed musically the two paradoxical aspects of Christ, described above. The string ritornello is woven from a repetitive dotted rhythm, making use of the three reiterated notes provided by the chorale. This idea, again with echoes of the French Overture, had already been suggested, subtly, in the tenor aria. After all, as the text makes clear, it is because of Him that we may traverse the heavens and join the angel choir.

There is no variety of instrumental colour here, nor is any required. Authority is not diminished with the march of time, so the combined violins can continue to declaim their theme without inhibition above the solid marching bass. But the singers play no part in expressing this idea, they represent the other aspect of Christ. Not once do they take up the dotted rhythms.

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They are preoccupied with the lowly, pauper aspects of His life and their repeated, dissonant suspensions express its poignancy. But let it not be thought that the singers indulge in a self indulgent outpouring of tragedy. It could not be thus, because God chose this way for his Son and the consequences of His actions have proven to be entirely positive for all believers.

The vocal lines convey something quite different, a most subtle emotion that combines a touch of sadness with an affinity with the privations Christ endured. Impossible to describe precisely in words, nevertheless Bach captures the feeling exactly in his music. Comparisons should be made between this and the second of the two duets in C 4 chapter 42 constructed from a similar apposition of dotted rhythms and contrasting vocal lines, and also in the key of Em. The imagery here is complex and multi-layered.

The rising pitches suggest the achieving of higher things. Here we have the agonizing image of the Crucifixion reversed. Echoes of this momentous event remain, but its higher purpose is also revealed. The chorale returns to the essential message and the celebratory major of the opening chorus. The text is simple and summatory—-God has blessed us and we should be eternally thankful to Him—-have mercy upon us. It is a relatively unprepossessing melody; but we must remain grateful for the superb music it inspired. Both ideas, as we shall see, are ingeniously combined in the duet.