TY - JOUR
AU - Göncz,, Zoltán
AB - Abstract The surviving manuscript score of Bach’s first cantata for New Year’s Day in Leipzig (bwv190) does not contain the first two movements of the composition; only the choral parts and the two violin parts have survived. The parts for the three trumpets, timpani, three oboes, bassoon, viola and continuo are all lost. What is left is so incomplete and the loss of information so dramatic that we might think a performance of the first movement would be out of the question. This article appraises previous scholarly reconstructions of the movement and introduces the author’s own reconstruction, which is published in full in an online appendix. In the process of reconstruction, many insights arise into Bach’s compositional technique for large-scale choral movements and his preferred instrumentation. In the two complete editions of Bach’s music, the first page of Cantata 190 is shown in a rather bizarre incomplete state (illus.1).1 The explanation for this perplexing situation is that the surviving manuscript score of Bach’s cantata for New Year’s Day 1724 does not contain the first two movements of the composition; only the choral parts and the two violin parts are preserved. The parts for the three trumpets, timpani, three oboes, bassoon, viola and continuo are all lost. What is left is so incomplete that we might think a performance of the first movement would be out of the question. Indeed, both Gustav Leonhardt and Nikolaus Harnoncourt omitted bwv190 from their complete recording of the Bach cantatas.2 Yet to date, no fewer than eight editors have attempted to make the fragment performable: Bernhard Todt (1896), Walther Reinhart (1947), Olivier Alain (1971), Diethard Hellmann (1995), Ton Koopman (1997), Soma Dinyés (2002), Levente Gyöngyösi (2011) and Masato Suzuki (2012).3 1 Open in new tabDownload slide Page 1 of the score of bwv190 (BGA) 1 Open in new tabDownload slide Page 1 of the score of bwv190 (BGA) In principle, the possibility of a reconstruction is guaranteed by the form of the movement (a fugue inserted in a concerto structure) and the technique of choral insertion (Choreinbau). The latter technique involved Bach incorporating the vocal parts into the repeat of the introductory orchestral ritornello.4 Thus, even though many of the orchestral parts are lost, one might expect to be able to reconstruct them from the choral parts. Yet this is not an easy task, as we may see from the eight different versions so far available, which often differ from one another to a considerable extent. Moreover, these reconstructions have a peculiar relationship with one another and with the hypothetical original. The author of each reconstruction obviously knew about the previous versions, utilizing, correcting or rejecting certain solutions in them,5 occasionally also perpetuating some erroneous decisions. As a result, the original work appears shrouded in a cloud of uncertainty, as a curious product of collective memory. The present article pursues the ambitious goal of developing a reconstruction in line with what is known of Bach’s compositional methods, as the next step in a process that can never be brought to a definitive conclusion. Themes and motifs The main theme of the ritornello consists of two highly profiled motifs of contrasting character (ex.1). In the extant material this theme is first seen in the vocal parts in bar 25 and the violins in bar 77. Several reconstructors, including Levente Gyöngyösi and Masato Suzuki, regularized bar 2 in line with bar 1, making the theme simple and symmetrical (ex.2). A possible reason for this simplification is to make the melody easier to play on the Baroque trumpet, although similarly complex melodic patterns can be found in other Bach works.6 Furthermore the regularized version of the theme, whether simplified or with added ornamentation, does not appear in the extant material. A theme of similar shape appears in the second movement of the Sonata in G major for viola da gamba and harpsichord bwv1027, where again no simplified version appears (ex.2). It is very likely, then, that the theme as encountered in bar 25 is not the modification of a lost Ur-theme but the Ur-theme itself. Ex.1 Open in new tabDownload slide bwv190/i, main theme of the ritornello (numbers denote individual motifs) Ex.1 Open in new tabDownload slide bwv190/i, main theme of the ritornello (numbers denote individual motifs) Ex.2 Open in new tabDownload slide bwv190/i, different versions of the main theme in reconstructions, with a comparison to bwv1027/ii Ex.2 Open in new tabDownload slide bwv190/i, different versions of the main theme in reconstructions, with a comparison to bwv1027/ii In bars 3–4 of the extant violin parts, the twelve-note repetitive motif (motif 3) appears for the first time (ex.3).7 (It also occurs in a quaver version, first in bar 15.) Bars 7–9 of the violin parts contain a triadic descending figure spanning two octaves (motif 4, ex.4), which also occurs in a one-octave form (violins, bar 22; bass, bar 150). From this figuration, Bach derives the instrumental parts shown in ex.5, evolving in sequences. Motif 5, with ascending broken triads, is used sequentially (Violin 2, bar 9; see ex.6); it later becomes prominent in a cadential passage (bar 59). A motif first occurring in the vocal parts (bar 33) will prove crucial later on; although termed here motif 6, it may be considered an augmented version of motif 3, with a fragment of motif 2 appended at the end (ex.7). Ex.3 Open in new tabDownload slide bwv190/i, motif 3 Ex.3 Open in new tabDownload slide bwv190/i, motif 3 Ex.4 Open in new tabDownload slide bwv190/i, motif 4 Ex.4 Open in new tabDownload slide bwv190/i, motif 4 Ex.5 Open in new tabDownload slide bwv190/i, variations of motif 4 Ex.5 Open in new tabDownload slide bwv190/i, variations of motif 4 Ex.6 Open in new tabDownload slide bwv190/i, motif 5 Ex.6 Open in new tabDownload slide bwv190/i, motif 5 Ex.7 Open in new tabDownload slide bwv190/i, motif 6 Ex.7 Open in new tabDownload slide bwv190/i, motif 6 The fugue theme (ex.8), which evolves from the opening ritornello theme, will be considered below along with its countersubjects, in the course of the analysis of the fugue. The fugue is framed by the first two lines of Luther’s German Te Deum (ex.9). In sum, these themes and motifs form the inventory from which, one may assume, Bach generated the entire movement. Some of these themes appear relatively late in the extant material, but it is certain that they (with the exception of the fugue theme and the Te Deum) were already heard earlier in the piece. Ex.8 Open in new tabDownload slide bwv190/i, fugue theme Ex.8 Open in new tabDownload slide bwv190/i, fugue theme Ex.9 Open in new tabDownload slide bwv190/i, opening lines of the German Te Deum Ex.9 Open in new tabDownload slide bwv190/i, opening lines of the German Te Deum A closer look at the themes and motifs suggests that Bach wove the ancient shofar signals of the synagogal New Year into this New Year cantata. The dotted motif 2 (ex.1) resembles the three quavering notes of shevarim (‘broken’ notes). The repetitive motif 3 (ex.3), which is rather rare in Bach’s work, resembles teru’ah (‘alarm, shouting’), which originally consisted of three times three, or as many as twelve, short repeated notes. The elongated closing note of the Te Deum’s second line, stretched to three full bars (bars 128–30, ex.9), is the teqi’ah gedolah (‘long sound’). The relative length of the motifs as used by Bach corresponds exactly to the traditional rules for these signals. While it cannot be proven whether Bach intended to make such quotations, his interest in the musical events described in the Old Testament is well known, and documented by his annotations on his copy of the Calov Bible. Of course, Bach himself did not attend a synagogue; it is much more likely that he gained his knowledge on this subject from Christian Ludovici, the deputy headteacher (Conrector) of the Thomasschule at this time, who taught Talmudic studies among other subjects at Leipzig University. Illustration 2 summarizes all these themes and motifs as they are found in the extant violin and choral parts. In the first 24 bars (preceding the entrance of the vocal parts), the lack of information is particularly disturbing, since the two violin parts contain only a small part of the original orchestral texture. Yet the materials preserved later in the movement, combined with current knowledge of the general rules of ritornello form, make it possible to deduce the form of the first 24 bars: a ritornello consisting of an initial statement (Vordersatz), a sequential development (Fortspinnung) and a conclusion (Epilog).8 2 Open in new tabDownload slide Themes and motifs in the extant material for bwv190/i. Bar numbers appear on top; grey squares and rectangles denote sounds, white ones denote rests. Formal sections are indicated at the bottom: Seq.↑ = ascending sequence; Seq.↓ = descending sequence. 2 Open in new tabDownload slide Themes and motifs in the extant material for bwv190/i. Bar numbers appear on top; grey squares and rectangles denote sounds, white ones denote rests. Formal sections are indicated at the bottom: Seq.↑ = ascending sequence; Seq.↓ = descending sequence. The antecedent (Vordersatz) of the ritornello The ritornello begins with the antecedent (Vordersatz), its main theme. This can be combined with several of the other motifs of the movement. The extant parts show that the second half of the main theme (motif 2) may be associated with either motif 4 (bars 27–8) or motif 3 (bars 39–40). Yet since original parts survive only for the voices and the violins, it is possible that another part may have played motif 3 while the violins played motif 4, or vice versa. Motifs 2, 3 and 4 fit well together and can sound simultaneously (ex.10). Ex.10 Open in new tabDownload slide bwv190/i, motifs 2, 3 and 4 sounded simultaneously Ex.10 Open in new tabDownload slide bwv190/i, motifs 2, 3 and 4 sounded simultaneously In the extant material, a simultaneous combination of motifs 3 and 4 occurs only in bar 150, where motif 3 sounds in the violins and motif 4 in the bass. Yet at the beginning of the movement, where motif 3 is likewise in the violins, no previous reconstruction has placed motif 4 in the bass, thereby missing an opportunity to use the typically Baroque device of the echo effect, and leaving bar 4 with a somewhat empty feel.9 If, on the other hand, motif 4 is placed in the continuo (following the example of bar 150), the instrumental group is left free to provide the echo, condensing the musical processes and at the same time increasing the continuity and coherence of the passage. See the opening of my reconstruction of bwv190/i, bars 1–8, provided in the Online Appendix. In my view, Bach always combined motifs 3 and 4 in the second half of the main theme (alternating between strings and continuo, as well as timpani for motif 3); in addition, the conclusion of the main theme (motif 2) was heard in echo in either oboes or trumpets. Attentive readers may have noticed that the extant parts offer no precise answer to the question as to what materials may have accompanied the beginning of the main theme (motif 1).10 One could imagine several different patterns for the bass and timpani, but it is best if, starting on the second beat of bar 1, the continuo makes the rhythmical pulsation of the anapaests more continuous by complementing motif 1 with its semiquavers. This rhythmical and melodic configuration would provide an optimal foundation for motif 1 on the second beat of bar 2 as well—which would explain in part why it is unnecessary to simplify the main theme. In terms of the scoring of the opening, it is possible that the oboes or trumpets should play the main theme. (The violins have rests in their surviving parts.) Previous editors are split between the two options approximately 50:50. Yet it seems most likely that Bach originally started with the oboes, for reasons that become clear in the next section with discussion of the ascending sequence in bars 9–14. The rising sequence (Fortspinnung 1) The next section of the ritornello is the ascending, modulating sequence in bars 9–14, repeated in bars 33–6, 45–51 and 136–42, with motif 6 sung by the vocalists (see illus.2). In this section, the first stage in the restoration of the orchestral parts must involve finding a place for motif 6. (Surprisingly, this does not happen in several of the existing reconstructions.) It is not enough, however, simply to insert elements from the choral parts into the orchestra. When motif 6 appears either in the initial orchestral ritornello or in the vocal parts during the ascending sequence, the musical material in these reconstructions becomes oddly asymmetrical; the continuo seems to limp, and filler material may be required in the upper parts. Through their intuition, editors have perceived this imperfection and tried to correct it, yet they have failed to find the real source of the problem. It is very likely that, in Bach’s original score, motif 6 appeared in canon, with a one-bar distance between entries. Since the violins always play the accompaniment during this sequence, they never get to play the part imitating the voices—although, on closer examination, the first violin part does contain the contours of the imitation in 5ths. See bars 9–14 in the Online Appendix. Later appearances of motif 6 were probably never literal repeats because, as the triads got inverted, the intervallic relationship between the upper voices of the proposta and riposta might have changed.11 Previous reconstructions do not attempt to present the complex canonic structure that was probably present in the original, and several completely omit motif 6 from the initial orchestral ritornello. Only Alain, Hellmann and Koopman use this theme in their opening ritornellos, while Dinyés’s score has a variant of it; in each case, the theme is played by the oboes. Alain’s initial ritornello contains only the first element—the repeated notes—of motif 6, imitating it canonically in the trumpet parts. Alain’s intuition told him that Bach had used counterpoint in this passage, yet he employed the technique only in part.12 Regarding the orchestration of bars 9–14, the limited possibilities of Baroque trumpets13 allow only one option: the trumpets begin, and are imitated by the oboes in a canon at the lower 5th.14 Here is the answer to the question of the initial scoring of the movement. Since the oboes and trumpets, in all probability, played in quick alternation just prior to the sequence, one may assert with confidence that the movement started with the entry of the oboes. The descending sequence (Fortspinnung 2) The rising sequence is followed by a descending sequence spanning three bars. It first appears in the opening orchestral ritornello (bars 15–17); later in a passage for voices and orchestra (bars 51–3); then, with a sophisticated modification, in the middle of the fugue (bars 105–07); and during the final statement of the ritornello (bars 142–4). The continuo bass (motif 4c) shows up in the choral parts as early as bars 51–3, and, in the majority of the reconstructions, this motif can be transferred to the orchestral bass in its entirety. Almost without exception, the makers of previous reconstructions bring back motif 2 (later heard in parallel 3rds or 10ths in the vocal parts), giving it to the trumpets. Hellmann, Dinyés and Suzuki even used motif 4d (played by the first violins in bars 51–3) in the oboe part. In my opinion, this sequence, too, could originally have been more exciting and more complex. The canonic processes that started in the rising sequence can find continuation here; the entries of the repetitive motif 3a are more frequent than before, staggered by a single crotchet instead of a full bar. These canonic motifs, consisting of repeated notes, follow the contours of motif 4b in the first violins (ex.11). Ex.11 Open in new tabDownload slide bwv190/i, entries of motif 3a, following the contours of motif 4b Ex.11 Open in new tabDownload slide bwv190/i, entries of motif 3a, following the contours of motif 4b The exciting rhythmic shapes, caused by the canonically staggered entrances,15 are not the only source of the greater tension in this passage: the harmonies are also significantly more saturated due to the steady stream of 7th chords. Of course, motif 2 also had to appear in the orchestral ritornello, but it probably did so not simply in parallel 3rds or 10ths (as in the choral parts later on) but rather in a fuller sound, involving parallel triads. See the descending sequence (bars 15–17) in the Online Appendix. Here it is useful to recall the extent to which opening instrumental ritornellos in Bach’s cantatas may form a single unified whole. They may seem more unified than later, choral appearances of the same musical material. In other words, if single components (themes, motifs, antecedents, sequences, etc.) start feeling more integrated as the orchestra is restored, this might be an indication that we are getting closer to Bach’s original solution. That is what happens in my reconstruction of the initial ritornello (oboes, bar 15) at the linkage of the ascending and descending sequences: the very end of motif 6 (i.e. the dotted rhythm from motif 2), which is the last to enter in the ascending sequence, elides into the second set of motifs in the descending sequence (see Online Appendix, bar 15). Closing sections (Epilog) The reconstructed ritornello has two closing sections that take the function of an Epilog. The first (bars 18–21) continues to generate canons, weaving ever-denser canonic textures from ever-shorter motivic fragments. The surviving evidence does not make this clear until the material is repeated, now with choral participation, in bars 54–7. Most of the previous reconstructions use these choral parts as the basis for the orchestral parts in the ritornello, including all the unisons. It would be worthwhile, however, to avoid the unisons (except at the cadence), for the sake of a clearer timbre, and a more economical, transparent sound that throws the imitative textures into sharper relief.16 At this juncture, fragments of motif 1 are piled up, staggered, per arsin et thesin, at crotchet and even quaver distances (see Online Appendix, bars 18–21). The second Epilog (bars 21–5) features motifs 3 and 4, plus (as can be deduced from the repeats in bars 58–61 and 148–51) motifs 5 and 6 as well. Bar 21 is particularly noteworthy because it is the first of several moments where reconstruction along the lines shown above is impossible. The violin part and the vocal parts have rests here, except for the last crotchet of the previous cadence. The reconstructors have resorted to pure guesswork regarding this terra incognita, and have come up with widely divergent solutions. Todt, Reinhart, Hellmann and Koopman repeat the cadence from the previous bar; Alain, Dinyés and Gyöngyösi use motif 4 (in the oboes and the bassoon, respectively); Suzuki introduces motif 1 in the trumpet. What could the original have looked like? Seeing that motif 4 (which descends an octave in every bar) appears in the octave above middle C in bar 22 and in the lower octave in bar 23, there is good reason to suppose that this process began in bar 21, with the motif in the octave above c′′—spanning a wide register in the space of three bars. The logic of orchestration makes it very likely that motif 4 was played in bar 21 by the trumpets in D major, and in bar 57 by the oboes in A major.17 See the use of descending motif 4 in the Online Appendix (bars 21–3, 57–9). At the end of the piece, this motion is taken over by the vocal parts as well, indicating that the staggered entrances of motif 4 may have had a strategically important formal function.18 Dinyés’s version is the only one to use motif 6, or a variant of it, in the trumpets for the second Epilog; the extant material contains this theme in bars 58–9, from where it could be restored. While Reinhart, Alain and Gyöngyösi alluded to the ascending triadic fanfare of motif 5, only Hellmann and Dinyés employed it in its exact form.19 Another feature absent from all the previous reconstructions may be inferred if the cantata is considered from a broader perspective. In the last movement of bwv41 (Jesu, nun sei gepreiset), written for New Year’s Day 1725, Bach repeatedly brought back the trumpet signal from that work’s opening. This gesture linking the beginning and the end of a composition has obvious symbolic meaning, alluding to the end of the old year and the beginning of the new. Moreover, as Eric Chafe has explained in great detail, the linkage of the beginning and the end is an allusion to Jesus Christ (‘I am the Alpha and the Omega, the first and the last, the beginning and the end’, Revelation 22.13).20 The cadences in the closing chorale of bwv190 are likewise made festive by trumpets and kettledrums.21 Emblematic melodies (circulatio)22 similar to this seven-note signal appear either at the beginning or at the end of movements in bwv149 and 31—always in the context of ‘Alpha and Omega’ or ‘beginning and end’ (ex.12).23 There is good reason to suppose that this same motif originally featured in the first movement of bwv190 as well, possibly at the very beginning, the very end, or perhaps the beginning of the final statement of the ritornello for choir and orchestra (bars 131–2).24 In my opinion, Bach probably used this ‘Omega motif’ at the close of the orchestral ritornello and then at the very end of the movement (see Online Appendix, bars 24–5). Ex.12 Open in new tabDownload slide Emblematic motifs in the closing chorales of bwv190 and 149, and at the beginning of bwv31/ii Ex.12 Open in new tabDownload slide Emblematic motifs in the closing chorales of bwv190 and 149, and at the beginning of bwv31/ii My reconstruction of the ritornello shows how Bach could have achieved a continuous increase in tension by the careful use of a wide array of compositional means and techniques. The relationship of the two statements of the Vordersatz is clarified by changes in timbre (oboe → trumpet, continuo → high strings). In the ascending sequence (Fortspinnung 1), the sound spectrum widens by reaching the brilliant heights of notes higher than d′′′ and by using canonic imitation. In the descending sequence (Fortspinnung 2), dissonances and continuous motion in semiquavers are introduced. In the second Epilog, the entire tessitura is filled by a motion proceeding from top to bottom and then opening up, fan-like, from the middle, while using the entire orchestra to reunite the quasi-totality of Bach’s motivic material. See illustration 3 (below) for an overview of the themes and motifs used in the reconstruction. 3 Open in new tabDownload slide Themes and motifs in the author’s reconstruction of bwv190/i. 3 Open in new tabDownload slide Themes and motifs in the author’s reconstruction of bwv190/i. The modulatory section Following the first choral section (bars 33–61), the next challenge encountered in a reconstruction is the modulatory section (bars 61–79). The extant parts provide little unambiguous information for this section. There are no indications of what may have sounded in bars 61–2. Todt fills these bars with somewhat amorphous material; Reinhart employs motif 1, with so many modifications that it is barely recognizable; Alain uses motif 4. Hellmann and Dinyés, at last, use the main theme here, while Koopman has recourse to motif 6. Gyöngyösi uses the main theme without motif 2; Suzuki likewise brings in the main theme, adding a part a parallel 3rd higher. In the extant parts, the voices enter with the main theme in bar 63 (following two bars’ rest) in constantly modulating three-bar units that repeat every four bars. In bar 69, the violins join in playing the main theme in G major: the first violin a 3rd higher than the usual Vordersatz melody, the second violin in mirror inversion.25 Starting in bar 77 the main theme is in D major in the first violin, imitated by the second violin at the unison, later in inverted form (ex.13). In bar 71 the end of the main theme is truncated with a shortened version of motif 2 in the violin parts. This abridgement suits the modulatory strategy of the vocal parts, which always start modulating on the third crotchet after their entry; the unchanged motif 2, if retained in another voice, would cause problems on the third crotchet. Ex.13 Open in new tabDownload slide bwv190/i, violin parts in the modulatory section (bars 69–71, 77–80); ‘!’ indicates pitches discussed in note 25 Ex.13 Open in new tabDownload slide bwv190/i, violin parts in the modulatory section (bars 69–71, 77–80); ‘!’ indicates pitches discussed in note 25 From the extant parts, the following consistent Bachian logic may be deduced: the main theme is sounded by one of the instrumental groups; after two bars, the vocal parts enter, modulating to a new key; after another two bars, another instrumental group confirms the new key, which is then changed again by the vocal parts. Only Hellmann, Dinyés and Suzuki have followed this logic in their reconstructions. Guidance on Bach’s possible intentions regarding instrumentation can be found in the biblical text. Here, the choir sings Psalm 150.4, repeating it twice: ‘Lobet ihn mit Pauken und Reigen, lobet ihn mit Saiten und Pfeifen!’ (Praise him with timbrel and dancing, praise him with the strings and pipe!).26 It is hardly a coincidence that the violins are always heard whenever the psalm mentions ‘strings’ (in the third and fifth instrumental entries). Yet how closely do the makers of previous reconstructions follow the suggestions for orchestration offered by the psalm? Hellmann and Dinyés use the timpani whenever the text calls for it (entries 2 and 4), while Suzuki does so only at the second entry. Hellmann and Suzuki both use ‘strings and pipes’ in accordance with the words (for entries 3 and 5), where both the oboes and the trumpets count, of course, as ‘pipes’. (As is well known, the municipal musicians (Stadtpfeifer) in German towns played trumpet, sackbut and shawm among other instruments.) The appearance of the inverted motif 2 in the violins (bar 71) indicates the presence of an additional instrumental group, besides the strings, in the third entry (bar 69, see ex.13). Indeed, the alternating triads of motif 2 are easily inverted in all three voices, resulting in a six-part texture (ex.14). One may suspect that the first half of the main theme (motif 1) was likewise subject to inversion, a procedure realized in exemplary fashion by Hellmann and Dinyés. The realization is less consistent in Suzuki, who also offends by adding a parallel octave. Ex.14 Open in new tabDownload slide bwv190/i, motif 2 inverted (reconstruction) Ex.14 Open in new tabDownload slide bwv190/i, motif 2 inverted (reconstruction) As mentioned before, the main theme appears in a different form every two bars, now in the orchestra, now in the vocal parts, with, in all likelihood, different motivic contexts. The successive instrumental entrances announce and confirm a succession of keys; intensification was probably achieved through orchestration, an expansion of the soundspace, and denser textures produced by various contrapuntal techniques such as inversion and canonic imitation. The listener cannot predict the direction of the modulations, particularly as Bach makes some deliberately misleading modulatory moves within a short space of time. The G major in bar 71 is continued by a secondary dominant 7th in third inversion on the last quaver, a harmony that would usually resolve to a 6th-chord in D major but leads instead to a dominant 7th in A major (first inversion) (ex.15).The unpredictability causes feelings of excitement, surprise and increasing tension among listeners; the frequent use of motif 3, with its repeated notes, contributes to this effect by increasing rhythmic fluidity and destabilizing the harmony.27 See the modulatory section (bars 61–79) in the Online Appendix. Ex.15 Open in new tabDownload slide bwv190/i, beginning and cancellation of a conventional modulation (bars 71–3) Ex.15 Open in new tabDownload slide bwv190/i, beginning and cancellation of a conventional modulation (bars 71–3) Because the timpani probably played an important role in the modulatory and stable sections (and not only because they are mentioned in the psalm), it is worth noting that Bach used this overtone-rich and well-blending instrument in a wide range of harmonic contexts. Timpani in D may sound not only with D major chords, but also with G major chords (as in bwv50, bar 31), or with the dominant 7th of A major with an E bass (first or third inversion) (see bwv50, bars 33–4). Timpani in A, of course, can sound not only with A major but also with F! minor chords (see bwv50, bars 34–5). The Te Deum At the end of the concertante section, the first line of Luther’s German Te Deum appears. As Masaaki Suzuki noted,28 it is hard to reconstruct the harmonic process in bars 82–3. The difficulty lies less in the chord sequences than in the ethos, or Affekt, that Bach had in mind. All the completions, with the exception of the inspired solutions of Koopman and Gyöngyösi, tend to place the Te Deum melody in a victorious, Handelian orchestral context, even though this was probably not the original meaning. Klaus Hofmann emphasizes the archaic character of this melody,29 drawing attention to one of the salient characteristics of this section. Bach probably did not intend simply to evoke a festive celebration but rather a process of relaxation or metamorphosis that leads to the fugue’s opening. The first minor-mode passage in the cantata may allude to the minor modes in the Passions, the time of the Passion, and more broadly to time itself (calculated, according to tradition, from the day of the circumcision of Christ, 1724 years before the cantata’s performance). The archaic character of the Ambrosian melody is apparent in the harmonization of the cantata’s second movement, and even more so in the arrangement in bwv328, which responds to the ancient modal melody with minor triads and an absence of melodic adornment (ex.16). Ex.16 Open in new tabDownload slide German Te Deum, opening, in bwv328 and bwv190/ii. Ex.16 Open in new tabDownload slide German Te Deum, opening, in bwv328 and bwv190/ii. In the preface to his edition, Hellmann suggests that motif 2, which appears in the violins, is insufficient here; one must use other materials (motifs 3 and 4) as well, to produce a ‘more convincing motivic elaboration’.30 In my opinion, Bach probably intended motif 2 to play the principal role here; he may even have reduced the motion of the continuo to a pedal point, emphasizing motif 2, which passes to a different group of instruments, with different harmonies, in every bar. See the first line of the Te Deum in the Online Appendix, bars 79–85. Later in the movement, the second line of the Te Deum appears at the end of the fugue, although here the effect is completely different. Motif 2 appears at the end of the fugue as well (in Violin 2, bars 125–7); stylistic, structural and harmonic considerations likewise suggest a pedal point here. Yet at the end of the fugue these musical means serve not to calm down the processes but, on the contrary, to increase the grandiosity of the movement and prepare the final apotheosis (see Online Appendix, bars 123–31). The fugue As is typical in Bach’s vocal movements, he here writes a permutation fugue. Its theme is derived from the main theme of the ritornello, which is also related to countersubject B (ex.17). The basic material of the choral fugue is present in the vocal parts, although makers of previous reconstructions have had to address questions such as: (1) whether the orchestra doubles the choral parts, and if so, which instruments should do the doubling; (2) whether the orchestra plays the fugue theme independently from the vocal parts, and if so, which instruments should be involved; and (3) whether there were additional instrumental parts (besides the violins) independent of the vocal material? Ex.17 Open in new tabDownload slide bwv190/i, connections between the main ritornello theme and the fugue Ex.17 Open in new tabDownload slide bwv190/i, connections between the main ritornello theme and the fugue The extant parts suggest the fugue took the following form (illus.2, bars 87–128). In the exposition, the theme appeared from the lowest to upper voice in three-bar segments, with countersubjects A and B, and also with the descending figures of the violins (see ex.18). Following an episode, another thematic section begins, reversing the order of entries (now from soprano to bass) while the two earlier countersubjects are replaced by two new ones (C and D, see ex.18). The fugue theme is then heard in Violin 2 (bar 123), along with the Te Deum theme, leading to the abridged restatement of the ritornello. Ex.18 Open in new tabDownload slide bwv190/i, countersubjects of the fugue theme Ex.18 Open in new tabDownload slide bwv190/i, countersubjects of the fugue theme This brief overview of the fugue shows which sections are incomplete. Since the violins do not double the vocal parts in the exposition, one may suppose that the violas, too, had an independent part that must be reconstructed. From bar 99, after the exposition, the violins take over the soprano and alto parts; it is thus very likely that the violas joined the tenors, with the instruments doubling the voices until bar 107. At that point, though, a new thematic section begins; since, for the next three bars, only a single fugue theme is present, one must determine what counterpoint should be used. In bar 120, the vocal parts and the orchestra again part company, giving the reconstructor a lot to do—not to mention the end of the fugue (bars 128–9), where the violins have rests while the vocal parts hold a single note. All these questions require a more detailed discussion. At the beginning of the fugue (bar 87), several reconstructions place a separate (often somewhat motoric) continuo part under the bass entry. Yet the extant violin parts suggest that Bach may have opted for a gradual transition instead. Rhythmic continuity is assured by the constant descending motion of the strings, alluding to motif 1, a motion that persists through the entire exposition. With every bar, the violin parts move down, in general, by a tone, and at the moment when they would meet the fugue theme which itself is moving upwards (bar 92), they jump up an octave before starting to descend again. These countersubjects behave like slow motion versions of ‘Shepard scales’ and henceforth I describe them as ‘Shepard counterpoints’. (Named after the American psychologist Roger Shepard, ‘Shepard scales’ are psychoacoustic illusions, generated by the perception that scales, descending in parallel octaves, become gradually softer and vanish before reappearing in a high register and getting louder again. The listener perceives the descending motion as continuous, even though the sound spectrum is constant.31) The term is further justified by the fact that these parts are not entirely independent; occasionally, and for the duration of a few notes, they become identical (at the unison or at the octave) with the countersubjects.32 Moving in an opposite direction to the ascending fugue themes, the ‘Shepard counterpoints’ create a background contrast and balancing force in the fugal exposition, enhancing the spatial experience (see Online Appendix, bars 87–99). At this point it is necessary to consider the disposition of the oboe chorus in the cantata. In the preface to his reconstruction, Hellmann criticized Reinhart for using an oboe d’amore for the third oboe part, on the basis that: (1) the combination of two oboes and an oboe d’amore is less typical for Bach than two oboes and an oboe da caccia (Taille) for the third oboe part;33 (2) the last movement is scored for three oboes;34 and (3) the title-page of bwv190 specifically mentions three oboes.35 Yet Hellmann’s third oboe part, in bars 37, 54, 104 and 122, contains c!′—a pitch that could not be played on instruments of the time. While it is true that the combination of two oboes and an oboe d’amore is not typical in Bach’s works, it may still be found occasionally, for instance in the grandiose fugue of bwv50 (Nun ist das Heil).36bwv31 (Der Himmel lacht) has three oboes and an oboe da caccia (Taille); yet because of its range (a–d′′), the third oboe part can be performed only on an oboe d’amore. In addition, it seems that the obbligato instrument in bwv190/v should be the oboe d’amore.37 If an oboe d’amore is not used in the opening movement, the choral tenor can be doubled only by the viola, not by the third oboe. This happens in several of the reconstructions: the viola takes over the tenor part in bar 90, obviating the need to reconstruct an independent viola part. Yet during the exposition, the violins play their own independent counterpoint. Therefore, the real question is whether the ‘Shepard counterpoints’ should appear in the violas. If they do, this would require an oboe d’amore to participate, because otherwise the violas are not free from their obligation to double the vocal parts. In my opinion, Bach thought in terms of timbral blocks and mutually complementary timbral profiles in the fugue just as he did in the concerto section: he conceived parts with distinctive timbres, with divergent placements in space (in terms of high and low in the sound spectrum, and also the possible physical placement of instruments in an ensemble). Making the high strings independent has the advantage of unifying and balancing the sound profiles as the vocal material is supported by the homogeneous sound of the bassoons and oboes (as in Dinyés’s reconstruction); thus the ‘Shepard counterpoints’ in the strings form a more striking acoustical background, in terms of motion and timbre. As is often the case in choral permutation fugues, the thematic entries continue in the orchestra after all the choral entries have occurred. Due to the strict permutational structure, the entries occur every three bars, canon-like, without codettas and always with simultaneous countersubjects. Therefore, it is relatively easy to supply the missing orchestral entries. Almost every reconstruction contains the theme from bar 99, immediately following the exposition, usually assigned to the first trumpet.38 What counterpoint may have been added to the theme when it first appears in the second thematic section (bar 108)? Most reconstructions use countersubject C, always in the continuo. Yet if the lowest voice does not fall silent at this point (and if the sound thins out only in the middle), the spatial feeling created by a motion descending from top to bottom is lost or greatly diminished. For this reason, it is preferable to place countersubject C above the fugue theme, in the trumpet part. The fact that the trumpet is capable of playing this countersubject in the given key (F! minor) makes it even more likely that this was the composer’s intention. The episode before the section containing motif 2 (bars 105–07) deserves special attention. This is a variant of the three-bar descending sequence (bars 15–17). While the chain of repetitions of motif 2 remained unchanged in the violin and soprano,39 all the other voices were altered using the motivic vocabulary of the fugue. Given that this sequence was previously harmonized with 7th chords in the extant parts, one may suspect the presence of the same chords at this point as well. The tenor part, which on several occasions ventures below the bass, likewise points to a high level of dissonance in this section (bars 106–07). This voice-crossing does not cause accented 6-4 chords since the continuo, being an octave lower than the choir bass, will restore the triads to root position. This massive and sonically static texture can sustain a series of high-tension dissonances in the upper registers. Reconstructing the instrumental parts of this section, and the trumpet part in particular, will not only affect the sound and the harmonies but will also create a dramaturgical context for the new appearance of the new countersubject (C) of the second thematic section (see Online Appendix, bars 105–11). Bach probably planned some extra thematic entries at the end of the second thematic section, just as he had done at the end of the exposition. Each of the reconstructions includes the fugue theme in bar 120; Reinhart, Alain, Hellmann40 and Dinyés place it in the continuo while Koopman, Gyöngyösi and Suzuki give it to the trumpet.41 There is a thematic entry in bar 125 that only Masato Suzuki had detected (and assigned to the first oboe). This entry does not conform to the usual three-bar spacing but instead appears as a stretto, which was unusual in permutation fugues. A further indication that this entry was planned by Bach may be found in the first violin’s countersubject C in bars 126–7. In addition to this entry in Trumpet 2 in bar 125, it is possible that fugal entries occur in Trumpets 1 and 3 in bars 126–7, further increasing the contrapuntal tension and, above all, the saturation and brilliance of the sound. Only the start of these themes will appear owing to the end of the Te Deum melody in the voices (see Online Appendix, bars 125–8). See illustration 3 for an overview of the thematic structure of the whole movement, including the fugue, as reconstructed by the author. Attentive readers may have noticed the important role of spatiality in this cantata, especially in the fugue. The fugal entries from bottom to top, or vice versa, and the acoustical illusions of the ‘Shepard counterpoints’ all emphasize this spatiality. Yet this list hardly exhausts the musical processes related to high and low dimensions in the fugue, as shown by some additional phenomena in the extant parts. Each of the fugal entries at the beginning of the second thematic section is a 5th lower than the preceding one (c!′′–f !′ –b–e). The entrances lead logically from bar 108 to the A of bar 120, which anchors the sound as a dominant pedal until the restatement of the ritornello. Every harmony appearing above this pedal becomes more emphatic, tension-laden and grandiose because of it (see Online Appendix, bars 108–28). While the reconstructed continuo line reaches the harmonic foundations and makes them continuous through its dominant pedal, the first trumpet elevates the fugue theme to two octaves above middle C (bar 120). In bar 123, Bach’s Violin 1 part continues in a most irregular way, jumping down an octave and crossing under the second violins—performing another ‘Shepard leap’, as it were. We may assume that it was, once again, through the trumpets that the writing returned to the upper tessitura as the entries followed each other in ever-closer succession. But what could have happened in bar 128, the moment of apotheosis and thanksgiving, when the Lord is being directly addressed? Here the surviving choral parts have nothing but a long-held octave A, and the violin parts have rests. In his 1896 completion Todt placed here the main theme of the ritornello as a pre-reprise of sorts and in A major. This decision was followed by subsequent makers of reconstructions, with the exception of Koopman, Dinyés and Gyöngyösi, who shaped the reprise as a true recapitulation both from a tonal and a thematic point of view. In my reconstruction, all harmonic motion ceases in bars 128–31. A single A major chord sounds almost throughout, with radiant trumpets at the top, and the pure octave of the choral cantus firmus in the middle. Then the anchoring pedal note of the continuo is released, jumping up to the heights of the vocal parts with a ‘Shepard leap’ spanning two octaves, similar to the earlier leap of the first violin, but in the opposite direction. Time seems to stand still (to become space?) as the spatial relationships are transformed: the transcendent ‘Shepard counterpoints’ challenge our traditional experience of the three dimensions, ‘above’ becomes ‘below’ and vice versa, forming a kind of anti-gravitational sound environment in a process of auditory transcendence (see Online Appendix, bars 128–31). Conclusion Paradoxically, the grandiose and celebratory nature of the opening movement of bwv190 was responsible for the fragmentary transmission of the composition. In 1730 Bach selected this cantata for performance for the 200th anniversary of the Presentation of the Augsburg Confession, with the text partially changed (bwv190a). For this purpose, he removed the first two movements from his original score, and these fascicles were thereafter lost. Even as a fragment, the opening movement made a powerful impression on commentators. Diethard Hellmann has written: ‘Even though this work survived only in fragmentary form, it soon became generally recognized as one of Bach’s most splendid and important cantatas’.42 Klaus Hofmann’s opinion is equally enthusiastic: ‘One can imagine how surprised and overwhelmed [the congregation] must have been in this cantata, and in particular by its opening chorus: such grandiose music for the New Year had surely never been heard in Leipzig before’.43 This new reconstruction offers insights into Bach’s compositional methods in his most lavishly scored works, and a further opportunity for the cantata to be performed by modern-day ensembles. Translated by Péter Laki Zoltán Göncz, composer and musicologist, was born in Budapest in 1958. In 1980 he graduated from the Liszt Academy of Music, then subsequently worked as music organizer for the National Philharmonic Concert Agency and for the ensembles of Hungarian Radio. Since 2008 he has taught at John Wesley Theological College, Budapest. Besides his own compositions, he has made a reconstruction of the unfinished Contrapunctus 14 of the Art of Fugue, and has published on aspects of Bach’s contrapuntal writing in journals including Studia Musicologica and Bach: The Journal of the Riemenschneider Bach Institute, as well as in his monograph Bach’s testament. On the philosophical and theological background of the Art of Fugue (Scarecrow Press, 2013). Footnotes 1 Bach Gesellschaft Ausgabe [BGA], vol.xxxvii, Kirchencantaten, vol.xix, ed. Alfred Dörffel (Leipzig, 1891), p.229; J. S. Bach, Neue Ausgabe sämtlicher Werke [NBA], i/4, ed. W. Neumann (Kassel, 1964), p.3. 2 J. S. Bach, Sacred Cantatas, vol.10, dir. Gustav Leonhardt and Nikolaus Harnoncourt (bwv183–88, 192, 194–9), rec. 1988–89, Teldec 4509-91764-2. 3 Published reconstructions include those by Walther Reinhart (J. S. Bach, Kantate in Festo circumcisionis Christi ‘Singet dem Herrn ein neues Lied’ (Zurich, 1947)), Diethard Hellmann (J. S. Bach, Kantate Nr. 190 ‘Singet dem Herrn ein neues Lied’ (Wiesbaden, 1995)); and Masato Suzuki and Masaaki Suzuki (J. S. Bach, Singet dem Herrn ein neues Lied,bwv190 (Leinfelden-Echterdingen, 2012)). Levente Gyöngyösi’s reconstruction was published in Budapest in 2011 and is also available from https://gyongyosilevente.hu. In his recording made on 31 December 2000, Sir John Eliot Gardiner (along with his two keyboard players, Howard Moody and Silas Standage), made several changes to Hellmann’s reconstruction, all of them fortunate decisions in my opinion (Bach Cantatas, vol.16: New York, rec. 2000, Soli Deo Gloria 137). This recording, then, must count as a ninth completion of the movement. 4 A. Dürr, The cantatas of J. S. Bach, rev. and trans. R. D. P. Jones (New York, 2005), p.19. 5 In her preface to Masato Suzuki’s 2012 reconstruction, Kirsten Beißwenger quotes the preface of the Hellmann version (1995), which found fault with the ending in Todt (1896), ‘in many respects incompatible with Bach’s compositional practice’, and also criticized Reinhart’s work (1947). See n.3 above. 6 Examples of progressions between notated d′′ and b′ (sounding e′′–c!′′) occur in the Mass in B minor bwv232, Osanna (bar 5, Trumpet 2; bar 82, Trumpet 2); Et expecto (bar 98, Trumpet 2). In Bach’s parts for trumpets in D, the written b′ (sounding c!′′) is always short and unaccented, as the sound can only be executed in this fashion. 7 It is impossible to know whether the twelve-fold repetition of these notes is a purely musical choice or an allusion to the twelve months of the year, whose changing is marked in this New Year’s Day cantata. 8 Even today, a stereotyped view of the structure of ritornello movements persists, whereas the principle permitted a great diversity of forms. Although Bach favoured a conscious structuring of the form to a greater extent than did his contemporaries, his solutions are nevertheless unique and highly varied. See G. Fazekas, ‘Improvizatív és tervezett zenei forma: Szabályok és stratégiák Vivaldi és J. S. Bach concertóiban’ [Musical form, improvised and planned: rules and strategies in the concertos of Vivaldi and J. S. Bach], Magyar Zene, xlvii/3 (2009), pp.223–38. 9 In those reconstructions that give the opening theme to the trumpets, motif 4 is typically given to the oboes (bars 3–4). Therefore, there is no possibility to sound motif 2 (that is, to repeat the conclusion of the main theme as an echo) in bar 4, since there are no instruments available to play it (the violins, as we know, have rests). 10 The violin accompaniment of the ascending sequence and a slight modification of the Violin 1 theme in bar 70 imply that the continuo always sounds the 3rd of the given chord on the third beat of each bar. On that beat, in other words, there are always first-inversion chords (6 or 6-5). From this viewpoint, the choral entrances in bars 25–6 and 37–8 are particularly noteworthy since the lowest choral parts seem to assume the function of the continuo. 11 Starting in bar 36, the upper voice of the chorus has the octave of the chord; starting in bar 45, it has the 5th. 12 In bars 47–8 of Gyöngyösi’s reconstruction, motif 6 is treated canonically, with the repeated notes of the motif imitated by the trumpets. 13 In the first octave, a trumpet in D could only play the notes of the D major triad; in the second octave, it could play the D major scale plus the notes c′′ and g!′′; in the third octave, c′′′, c!′′′, d′′′, e′′′ and f!′′′ (the 20th partial) are possible. The closing chorale of bwv31, Der Himmel lacht, contains an example of the 20th partial (e′′′ for trumpet in C); I have also consulted a player of Baroque trumpets who thinks that the 20th partial is a borderline case. In bars 9–14 of bwv190/i, the tone colour is already very ‘narrow’; however, as the three trumpets play chords, their overtones accumulate. Violin 1’s ascent to f!′′′ may offer a useful acoustic support to the trumpet. 14 Of course, only the upper voices may realize an exact canon at the 5th. 15 The effects produced by the rhythmic staggering are particularly interesting because of the triple metre. For solutions of a similar nature, see the Sonata in E major for violin and harpsichord, bwv1016, movement 4, bars 16–18, 23–8); or B minor Mass bwv232, exposition of the ‘Cum Sancto Spiritu’ fugue. 16 The surviving parts show that colla parte and even octave doublings are permissible between the chorus and the orchestra (see bars 142–3). Colla parte is a frequent practice in the Bach cantatas in general, but not within the orchestral parts, where parallel unisons, octaves and perfect 5ths are always to be avoided. 17 In bar 57, Gardiner once again alters Hellmann’s version with good intuition, giving motif 4 to the oboes in his 2000 recording (see n.3). 18 In bars 23–4 and 59–60, the continuo part had to be reconstructed from the choral bass of bars 150–51. 19 However, Hellmann’s trumpet parts are widely spaced, unlike the denser voice leading in the violins in bars 59–60. 20 E. Chafe, ‘Anfang und Ende: cyclic recurrence in Bach’s Jesu, nun sei gepreiset, bwv41’, Bach Perspectives 1, ed. R. Stinson (Lincoln, NB, 1995), pp.103–34. 21 bwv41 and bwv190 are linked not only by their liturgical designation (New Year’s Day) but also by some textual correspondences. bwv190 gives great emphasis to Jesus as the union of beginning and end, especially in movement 5: ‘Jesus soll mein alles sein, / Jesus soll mein Anfang bleiben, / Jesus ist mein Freudenschein, / Jesu will ich mich verschreiben. / Jesus hilft mir durch sein Blut, / Jesus macht mein Ende gut’. 22 D. Bartel, Musica poetica. Musical-rhetorical figures in German Baroque music (Lincoln, NB, 1997), pp.216–19. 23 The second movement of bwv31, Der Himmel lacht, begins with a motif almost identical to the trumpet signal in bwv190/vii. In this cantata, too, Jesus appears as ‘Alpha and Omega, the first and the last’: ‘Erwünschter Tag! Sei, Seele, wieder froh! Das A und O, / Der erst und auch der letzte, / Den unsre schwere Schuld in Todeskerker setzte, / Ist nun gerissen aus der Not!’ (movement 3). Practically the same motif is heard at the end of the closing chorale of bwv149 (Man singet mit Freuden vom Sieg), on the word ‘ewiglich’: ‘Herr Jesu Christ, erhöre mich, / Ich will dich preisen ewiglich!’ 24 In Gyöngyösi’s version, the motif of the closing chorale appears in the first trumpet at the beginning of the recapitulation (bars 131–2). 25 In bar 70 of the Violin 1 part, Hellmann and Suzuki emend the notes c′′′–b′′–c′′′ to c′′′–a′′–b′′, considering the original to be an error; they omit this change from their critical commentary. However, Bach may have altered the melody, which moves in parallel 3rds with the main theme, in order to avoid parallel 5ths between violin and continuo. 26 For the best example of how Bach uses the text as a guide to orchestration, see the opening of the secular cantata bwv214 (Tönet, ihr Pauken! Erschallet, Trompeten!), where each instrument sounds at the exact moment when it is named, and the manner of their entries follows the text. On the words ‘Klingende Saiten, erfüllet die Luft!’ (Resonant strings, fill the air!), the strings fill the space with a five-octave cascade of sound. See Dürr, Cantatas of J. S. Bach, p.830, and L. Somfai, Kottakép és műalkotás: Harminc tanulmány Bachtól Bartókig [Notation versus work of art: From Bach to Bartók, thirty studies] (Budapest, 2015), pp.209–12. 27 Note how, in bars 68 and 72, the anapaests become continuous semiquavers in the choral parts. 28 J. S. Bach: Cantatas, Vol.21 (bwv5, 81, 83, 190), Bach Collegium Japan, dir. Masaaki Suzuki, BIS-CD-1311 (2003): booklet, p.12. 29 J. S. Bach: Cantatas, Vol.21, BIS-CD-1311, booklet p.9. 30 ‘Auf diese Weise entsteht eine überzeugende motivische Durchführung’. Hellmann, Joh. Seb. Bach: Kantate Nr. 190, pp.3, 4. 31 ‘Shepard scales’ can also be perceived in ascending scales. Some moments in Bach’s music evoke these processes, for instance the second movement of the Pièce d’orgue (bwv572)—a passage that reappears, almost note for note, in the two episodes of the six-part ricercar of the Musical Offering (bwv1079/v). 32 There are parallel octaves in bar 94 (last two semiquavers) between Violin 2 and the tenor, and in bar 95 (first three quavers, also third crotchet) between Violin 1 and the tenor. Three bars later, the same parallels occur as unisons between the violins and the alto. 33 When writing for three oboes, Bach does indeed use an oboe da caccia as the third instrument (as in bwv6/i; bwv58/i, v; bwv68/i, v; bwv74/i, vi, vii; bwv101/i; bwv122/i, vi; bwv146/i; bwv174/i; bwv186/i). The same instrumental indication also appears in bwv56/i and v; and bwv148/iv. Yet bwv56 disproves Hellmann’s theory, because the second oboe has by (bars 36–7) and several times b and c!′, pitches that can be played only on an oboe d’amore. The same is true of bwv35/i, ii and v; and bwv87/i. Two oboes d’amore with an oboe da caccia are found in bwv80/v; bwv88/i; and bwv207/ii, vii, x, xi. 34 This is not a conclusive argument either, since in many Bach cantatas the use of oboes varies from movement to movement. In bwv110, the first movement has three oboes, the fourth movement has an oboe d’amore, and the closing chorale has two oboes and an oboe da caccia. 35 As one can see from the previous examples, instrument listings do not always distinguish between oboe and oboe d’amore; often, only the range of the part reveals which instrument the composer had in mind. 36 The range of the third oboe in this movement is a–g!′′. 37 The range of the part is a–g!′′. If Bach had intended a violin, he probably would have taken the part higher. The use of an oboe d’amore in movement 5 does not necessarily indicate that it should be used in the opening movement as well; see n.34. 38 This theme is given to the first oboe in Masato Suzuki’s reconstruction, but played by the first trumpet on Masaaki Suzuki’s recording (BIS-CD-1311), for understandable acoustical reasons. 39 Aside from a slight rhythmic change in the soprano, due to reasons of prosody. 40 On Gardiner’s 2000 recording, this entry was reassigned to the trumpet. 41 Only Gyöngyösi uses the theme in its entirety. Koopman used a smoothed-out version moving in values of dotted minims, while Suzuki simplifies the anapaests from the end of the theme, turning them into groups of three crotchets. 42 Hellmann, Joh. Seb. Bach: Kantate Nr. 190, pp.3, 4. 43 J. S. Bach: Cantatas, Vol.21, BIS-CD-1311, booklet p.8. © The Author(s) 2019. Published by Oxford University Press. All rights reserved. This article is published and distributed under the terms of the Oxford University Press, Standard Journals Publication Model (https://academic.oup.com/journals/pages/open_access/funder_policies/chorus/standard_publication_model)
TI - In search of the lost parts of Bach’s cantata Singet dem Herrn ein neues Lied (bwv190)
JF - Early Music
DO - 10.1093/em/caz068
DA - 2019-12-31
UR - https://www.deepdyve.com/lp/oxford-university-press/in-search-of-the-lost-parts-of-bach-s-cantata-singet-dem-herrn-ein-rWWlEFTyyR
SP - 1
VL - Advance Article
IS - 
DP - DeepDyve
ER -