Bach wrote four cantatas for the third Sunday after Epiphany. This year I've chosen a beautiful and moving work - BWV 73, Herr, wie du willt, so schick's mit mir (Lord, as you will, so let it be done with me, Leipzig 1724). This cantata addresses the early controversy in the church, whether the message of Jesus is just for the Jews or for Jew and Gentile alike, with the Gospel reading for the day, the story of the faith of the Roman centurion. Here's the late Craig Smith of Emmanuel Music (edited by Ryan Turner) on this interesting and beautiful cantata:
The cantata BWV 73, composed in 1724 in Leipzig, begins as an unsolvable knot, which in the course of the piece unravels to produce music of the greatest peace and comfort. The Gospel reading – Matthew 8:1-13, for which our cantata was conceived, speaks of the faith of the Centurion. The reading emphasizes the lessons that can be learned from the faith of a Gentile. The issue of undying faith becomes the issue that is repeatedly hammered home in this text.
The work begins with a chorus that is as single-minded and thunderous as the famous opening of Beethoven’s Fifth Symphony. The oft-repeated motif in both the horn and the chorus actually resembles the “fate” motif in the symphony and functions in exactly the same way. The hard-hitting chorale theme is troped by some of the most emotional and over-the-top recitatives in all of Bach. The chorus ends without musical or emotional resolution. The gently descending oboe line that begins the tenor aria acts like the dove descending and bringing a balm to mankind. It is one of the most striking releases of tension in all of Bach. The middle section of the aria is like a memory of the despair of the opening chorus. The bass recitative and aria go even deeper. The recitative sets up education and submission to God’s will as the only hope of salvation. The aria is, unusually, a set of three quatrains, a form rare in the Bach cantatas. Our opening chorus motif, “Herr wie du willt” has been transformed into something malleable and plastic, one can almost see the soul descending into submission. The magical funeral bells – string pizzicati- in the third verse are unbearably poignant. A direct and affirming verse of the chorale, “Von Gott will ich nicht lassen” ends the cantata.© Craig Smith, with Ryan Turner
Today's performance is a magnificent one by the Collegium Vocale Gent under the direction of Philippe Herreweghe. Enjoy!
Photo © 2018 by A. Roy Hilbinger
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