Bach wrote three cantatas for the 17th Sunday after Trinity, and I've chosen the last one for today - BWV 47, Wer sich selbst erhöhet, der soll erniedriget werden (He who exalts himself shall be humbled, Leipzig 1726). This is Bach's fugal majesty at its finest, and the rest of the cantata, while not quite as majestic, is still a pleasant listening experience. Here's musicologist Simon Crouch on this cantata:
If you know the prelude and fugue in c minor BWV 546 for organ, you may very well recognise the opening movement of this cantata. A lot of the material from the organ work has gone into fashioning this mighty choral movement. The text is from the very final part of the Gospel: Whoever himself exalteth shall be abased and he who gains humility shall be exalted over. Stand back and admire this mighty fugal work!I have to disagree with Mr. Crouch on one item in his critique; he complains that the soprano aria is too long, but for me, it depends on the soprano. For today's performance I've chosen a recording by the Amsterdam Baroque Orchestra and Choir under the direction of Ton Koopman, and the soprano featured is Sandrine Piau, whose voice is not tiring at all. Listen and see if you agree.
After the opening chorus Bach immediately cuts down the scale of things with a very simple, sparely accompanied soprano aria. The aria, at nearly ten minutes, is very long and you may well feel, as I do, that it outstays its welcome. The recitative is followed by a bass aria that is far more interesting. There's a very genial accompaniment from the oboe and violins that lightens the mood, as is appropriate to the more positive message of the libretto. The cantata ends with a straightforward chorale setting.
Copyright © 1996 & 1998, Simon Crouch
Photo © 2018 by A. Roy Hilbinger
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