CCXXXIII. BACH, J.S. (1685-1750)
Two versions
Concentus musicus Wien
Nikolaus Harnoncourt, cond.
[boy soprano & alto]
(14:11)
It is my preference to feature a live YouTube performance in these posts -- but I cannot help but include a second choice -- Harnoncourt, who uses boys in the soprano/alto duet. It is a superior performance in all other aspects, but the video is static, of course. Choose your own path.
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Except for the recitatives and final chorale, everything is in THREE! This opening chorus is like a minuet, beautifully decorated with the concertante oboe d'amore:
1. Chorus: Meinen Jesum laß ich nicht
The cantus firmus is freely adapted by Bach. Compare them:
2. Recitative (tenor): Solange sich ein Tropfen Blut
3. Aria (tenor): Und wenn der harte Todesschlag
The strings punch out a four-note motif while the oboe again soars above. The beginning lines are written with a roughness corresponding to the text:
Und wenn der harte Todesschalg (And when the dreaded stroke of death)
Die Sinnen schächt, die Glieder rühret (Upon my weakened frame descending)
Wenn der dem Fleisch verhaßte Tag (Shall suffocate my dying breath)
Nur Furcht und Schrecken mit sich führet (My soul from out my body rending)
But then, Bach softens the edge with his word-painting of the final two lines:
Doch tröstet sich die Zuversicht (Yet his my hope and joy will be)
Ich lasse meinen Jesum nicht (That I, my Jesus, still have Thee)
4. Recitative (bass): Doch ach! welch schweres Ungemach
5. Aria (soprano, alto): Entziehe dich eilends, mein Herze, der Welt
Again, I prefer the pure tones of the boys' voices in the Harnoncourt version. Either way, this duet is delightful:
6. Chorale: Jesum laß ich nicht von mir
Again, the cantus firmus -- greatly altered by Bach -- appears in the soprano:
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