Schütz' Kleine Geistliche Konzerte are small in scale in reaction to the devastation of the musical communities in the courts of southern Germany due to the Thirty-Years War. Today's concerto is typical, three basses and continuo. Also typical is the wonderful sense of text painting and the sure sense of color within the limited palette that the composer has chosen.

Cantata BWV 8 starts with a chorus of such an exotic color that those who do not know it would never suspect that it is by Bach. Two oboes d'amore weave a duet of melancholy and nostalgic beauty over plucked strings. The chorus entrances are pure and at the same time swinging. There is something of a celestial roller rink about the sound of this gorgeous piece. The continuo continues the pizzicato bells in the bass in the melancholy tenor aria while the solo oboe d'amore and tenor weave in and out. The accompanied recitative with alto is passionate and leads directly into the merry aria for bass, flute and strings. This marvelous dancing aria is one of the most purely happy pieces that Bach ever wrote. The marching harmonization of the opening chorale is from such a different place than the nostalgic opening chorus that it is hard to believe that they are the same tune.

©Craig Smith

Translation for this Cantata