Wiener Sängerknaben - Cantate BWV 3.wmv
'Ach Gott, wie manches Herzeleid', composed for January 14, 1725 in the chorale cantata year, only refers in very general terms to the Gospel reading for the day - the Wedding at Cana.The cantata is based on a long hymn by Martin Moller: Ach Gott, wie manches Herzeleid. Verse 1, 2 and 18 are quoted for the 1stt, 2nd and 6th; elements of the other verses are paraphrased for the other movements of this cantata. The hymn itself is based on another hymn: Jesu dulcis memoria (Moller paraphrases this hymn from the 3rd verse in the modern edition, which has 10 verses): Jesu mein Herr und Gott allein, wie suess ist mir der Name dein. (Jesus, my Lord and God, how sweet is your name to me). BTW: I have the strong feeling that Newtons hymn: How sweet the name of Jesus sounds also pays tribute to this Latin hymn. Jesu dulcis memoria is one of those pious hymns around the 'remembrance' of Jesus name, which is so 'sweet' (i.e. gives joy and life to the soul of man). these hymns date back to the 11th century. Jesu dulcis memoria is a beautiful poem, in the tradition of the piety of (and therefore attributed to) Bernard of Clairvaux. The beautiful motet of Heinrich Schütz: O bone Jesu is based on the same Latin hymn. Editions and translations of these medieval pious hymns kept appearing in the beginning of the 'modern era' in roman catholic editions but also in protestant editions (and editing), until the 17th century. The famous passion-hymn 'O Haupt voll Blut und Wunden' (Paul Gerhard) is also based on a medieval hymn (Salve mundi salutare) which meditates the wounds of Christ, also attributed to Bernardus and also popular with both roman-catholics and protestants [BTW Buxtehudes 'Membra Jesu nostri' is based on this hymn]. Conclusion: Piety creates a cross-over between institutional (church) borders.(Dick Wursten, 2003) No 13: Coro: 'Ach Gott, wie manches Herzeleide', Wiener Sängerknaben; chorus master: H. Gillesberger; Concentus musicus Wien: N. Harnoncourt No 14: Choral: Recitativo: treble from Wiener Sängerknaben: ?; alto: Paul Esswood; tenor: Kurt Equiliuz; bass: Max van Egmond
'Ach Gott, wie manches Herzeleid', composed for January 14, 1725 in the chorale cantata year, only refers in very general terms to the Gospel reading for the day - the Wedding at Cana.The cantata is based on a long hymn by Martin Moller: Ach Gott, wie manches Herzeleid. Verse 1, 2 and 18 are quoted for the 1stt, 2nd and 6th; elements of the other verses are paraphrased for the other movements of this cantata. The hymn itself is based on another hymn: Jesu dulcis memoria (Moller paraphrases this hymn from the 3rd verse in the modern edition, which has 10 verses): Jesu mein Herr und Gott allein, wie suess ist mir der Name dein. (Jesus, my Lord and God, how sweet is your name to me). BTW: I have the strong feeling that Newtons hymn: How sweet the name of Jesus sounds also pays tribute to this Latin hymn. Jesu dulcis memoria is one of those pious hymns around the 'remembrance' of Jesus name, which is so 'sweet' (i.e. gives joy and life to the soul of man). these hymns date back to the 11th century. Jesu dulcis memoria is a beautiful poem, in the tradition of the piety of (and therefore attributed to) Bernard of Clairvaux. The beautiful motet of Heinrich Schütz: O bone Jesu is based on the same Latin hymn. Editions and translations of these medieval pious hymns kept appearing in the beginning of the 'modern era' in roman catholic editions but also in protestant editions (and editing), until the 17th century. The famous passion-hymn 'O Haupt voll Blut und Wunden' (Paul Gerhard) is also based on a medieval hymn (Salve mundi salutare) which meditates the wounds of Christ, also attributed to Bernardus and also popular with both roman-catholics and protestants [BTW Buxtehudes 'Membra Jesu nostri' is based on this hymn]. Conclusion: Piety creates a cross-over between institutional (church) borders.(Dick Wursten, 2003) No 13: Coro: 'Ach Gott, wie manches Herzeleide', Wiener Sängerknaben; chorus master: H. Gillesberger; Concentus musicus Wien: N. Harnoncourt No 14: Choral: Recitativo: treble from Wiener Sängerknaben: ?; alto: Paul Esswood; tenor: Kurt Equiliuz; bass: Max van Egmond