Tears into Wine: J. S. Bach's Cantata 21 in its Musical and Theological Contexts

633 Pages·2015·20.81 MB·English

by  Eric Chafe

Tears into Wine

Tears into Wine
J. S. BACH’S CANTATA 21 IN ITS MUSICAL
AND THEOLOGICAL CONTEXTS
Eric Chafe
1
1
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Library of Congress Cataloging-in-Publication Data
Chafe, Eric Thomas, 1946– author.
Tears into wine: J. S. Bach’s Cantata 21 in its musical and theological contexts / Eric Chafe.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–021729–7
1. Bach, Johann Sebastian, 1685–1750. Ich hatte viel Bekümmernis. I. Title.
ML410.B13C46 2015
782.2'4—dc23
2014025879
1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
{ Contents }
List of Figures  vii
Acknowledgments  ix
A Note on Translations, Spelling, Pitch Designations,
and Orthography  xi
Abbreviations  xiii
Introduction: Ich hatte viel Bekümmernis: Stages of Revelation  1
Part I The Theological Context
1. Tears into Wine: Liturgical and Related Questions  47
2. Per ogni tempo: Text interrelatedness in Cantata 21  91
3. Inner and Outer Revelation: Johann Arndt and Philipp Nicolai  151
4. “Arndtian Pietism” and “Spiritual Orthodoxy”: Joachim
Lütkemann, Heinrich Müller, Christian Scriver 186
Part II Music and the Foretaste of Eternity
5. Music and the Praise of God  251
6. Christoph Raupach and Johann Mattheson  279
7. Breakthrough and Foretaste: The Way to Heaven  312
Part III Ich hatte viel Bekümmernis
8. Spiritual Sorrow: Part 1  345
9. Ascent of the Soul: Part 2  389
Part IV Cantatas for Weimar 1714 
10. Perspectives on the Incarnation: Cantatas 61, 63, 152  427
11. The Way of the Cross: Cantatas 182 and 12  474
12. Descent and Indwelling: Cantata 172  529
vi Contents
Appendix A. Ich hatte viel Bekümmernis: text and translation  569
Appendix B. Gospel and epistle for the third Sunday after Trinity  572
Appendix C. Gospel and epistle for the second Sunday
after Epiphany  574
Bibliography  577
Index  597
{ List of Figures }
(Figures follow p. 278)
1. Heinrich Müller, Himmlischer Liebes-Kuβ (1659) 
2. Heinrich Müller, Himmlischer Liebes-Kuβ (1686)
3. Heinrich Müller, Himmlischer Liebes-Kuβ (1686) 
4. Heinrich Müller, Himmlischer Liebes-Kuβ (1686) 
5. Heinrich Müller, Himmlischer Liebes-Kuβ (1659) 
6. Heinrich Müller, Himmlischer Liebes-Kuβ (1659) 
7. Heinrich Müller, Göttliche Liebes-Flamme (1676) 
8. Heinrich Müller, Göttliche Liebes-Flamme (1676) 
9. Heinrich Müller, Geistliches Dank-Altar (1724) 
10. Freylinghausen, Geistreiches Gesang-Buch (1706), frontispiece
11. Heinrich Müller, Himmlischer Liebes-Kuβ (1659)
12. The Weimar court chapel (“Weg zur Himmelsburg”).
From a painting of around 1660 by Christoph Richter

{ Acknowledgments }
This project has been a long time in the making and during that time many
friends, colleagues, teachers, and students have helped me in ways too numer-
ous and varied to remember fully. As early as 1979 I received valuable advice and
suggestions from Paul Brainard, who edited Cantata 21 for the New Bach Edition.
And as late as December 2001 I discussed the project over dinner with Paul at
the Yale Institute for Sacred Music. Eventually, I came into the possession of
Paul’s working score with his handwritten annotations. I wish he were still here
to give me his thoughts and criticism. In December 2008 the Brandeis chamber
choir under the direction of my longtime colleague, James Olesen, performed
Cantata 21 in conjunction with preconcert lectures on different aspects of the
work by Christoph Wolff of Harvard University, Marc Brettler of the Brandeis
Near Eastern and Judaic Studies department, and myself. I had already con-
ceived much of this book by then, but the occasion and the stimulating lectures
pointed me in fruitful new directions, especially that of the study of the psalm
texts of the cantata, which Professor Brettler introduced expertly. I also benefit-
ted greatly from discussions of Cantata 21 with Professor Olesen who, along with
me, arranged that the event be dedicated to the memory of Paul Brainard, then
recently deceased.
Among the many others who have contributed in various ways to my think-
ing about Cantata 21 and the other cantatas discussed here are Martin Petzoldt,
Renate Steiger, Markus Rathey, Robin Leaver, Gerhard Herz, Robert Marshall,
Don Franklin, Michael Marissen, Susan Boynton, and Elizabeth Joyce. Joseph
Morgan prepared the musical examples and Jacquelyn Sholes the index. Paula
Musegades and Alexander Lane put together much of the bibliography. I am
grateful to Susan Ebertz, director of the Reu Memorial Library of the Wartburg
Theological Seminary in Dubuque, Iowa, for assistance with acquiring a digital
copy of Johann Christian Adami’s Güldene Aepffel in silbernen Schalen, and espe-
cially to Jennifer Carnihan, who did the expert digitizing. I gratefully acknowl-
edge the support of the Brandeis University Norton Faculty Research Fund, which
covered the cost of the musical examples and the index. All illustrations in this
book, save one, come from my own library. The one exception is the painting
of the Weimar court chapel from around 1660 by Christian Richter. I am grate-
ful to the Klassik Stiftung Weimar, especially Sandra Haupt, for providing me
with a copy of the painting and permission to reproduce it. As always, the staff
at Oxford University Press were amazingly helpful in getting this book into