BWV 117

After the miraculous fecundity of the first few years in Leipzig, Bach’s output slowed considerably. The astounding intellectuality and textual specificity of the early Leipzig years are replaced, in the later years, by a more abstracted quality. Bach in this period (1730) began to set verbatim chorale verses. Thus, our cantata, even though it contains choruses, arias, and even recitatives, follows literally the nine verses of “Sei Lob und Ehr.” The work begins with a ravishing and refulgent chorus. The wonderful tune, that plays canonically against itself, is enriched by a bouncy and detailed bass line. The actual chorale parts are simply and clearly declaimed. The second verse is set as a bass recitative. The final phrase, which is common to all nine verses, is set as an arioso. The melancholy tenor aria with two oboes d’amore brightens in the last phrase. The fourth verse is a simple four-voice chorale. The alto recitative is accompanied by the strings, and followed by a continuo arioso. The violin obbligato energizes the lively bass aria. The alto aria with flute and strings is a warm and comforting setting of the eighth verse. The four-voice chorale that ends the work is identical to the fourth verse.

©Craig Smith