Saturday July 12 2014 Georg Melchior Hoffmann: Meine Seele rühmt und preist (formerly BWV 189) Tenor Solo; Recorder, Oboe, Violin, Basso continuo
Early efforts to catalogue Bach’s cantatas—coupled with the desire to “find” as many as possible considering the knowledge that many have been lost—resulted in the adoption of a number of works whose authenticity has since been recanted. As a result, it has been discovered that at least a couple of “Bach’s” best-loved cantatas were actually composed by Georg Melchior Hoffmann (1679-1715). The utterly charming cantata for alto and bells (Schlage doch, gewünschte Stunde, performed at the 2012 ABS Festival) was originally given the Bach catalogue number (BWV) 53. Altos, saddened by the removal of that work from their cache of solo cantatas by Bach, still have three extraordinary solo works at their disposal. But their lower-voiced neighbors (tenors), having had three “Bach” cantatas to choose from, have suffered the reattribution of two of them, now known to have been composed by Telemann in one case and by Hoffmann in the other. The single remaining cantata for solo tenor by Bach is indeed the most difficult of the three to perform, so tenors did not fare so well at the hands of such scrutiny of origins. Nevertheless, Hoffmann’s cantata remains as piquant and agreeable as ever, qualities that seem to be omnipresent in much of Hoffmann’s music. Born and trained as a choirboy in Dresden, Hoffman studied law at the Leipzig University and participated in the Collegium Musicum that had been founded by Telemann. In 1705, at the age of 26, he took over the position of organist and music director at the Neukirche and became director of the Collegium. Additionally he composed and conducted a few works for the Leipzig Civic Opera. He was highly regarded by his contemporaries as an important and
sensitive composer; in fact, the great English music historian Charles Burney (1726-1814) regarded him as one of the finest composers of the first half of the 18th century. Unfortunately he lived a short life of only 36 years, but left behind a considerable body of compositions, most of which have since disappeared. Among them is the sweet and quite affecting cantata Meine Seele rühmt und preist. Comprised of three arias separated by recitatives, it features a remarkably mellifluous trio of obligato instruments. In the outer movements, the recorder, oboe, and violin immediately establish the joyfulness that is extolled by the unknown poet. In each of those arias, when the tenor joins the three instruments plus the bass line, we have a magical 5-part interplay that is perfectly successful. For the central movement, which describes the elevation of God (“God sits high above us”), the treble instruments retire for a few minutes, leaving the inflection of nobility up to the continuo players who render their parts in regal, dotted rhythms. The fact that this work was in Bach’s Leipzig library tells us that he knew it well, and the instrumentation of recorder, oboe, and violin—the same (plus trumpet) that is found in the second Brandenburg Concerto—must have intrigued Bach as much as it intrigues us, if not more. Add a trumpet to the skillfully conceived interweaving of Hoffmann’s trio of treble instruments and we have a very good formula for what has become one of Bach’s most celebrated Brandenburgs. [JT]
Aria
Meine Seele rühmt und preist Gottes Huld und reiche Güte. Und mein Geist, Herz und Sinn und ganz Gemüte ist in meinem Gott erfreut der mein Heil und Helfer heißt.
This my soul extols and praises God’s dear grace and generous kindness. And my soul, heart and mind and all my spirit are pleased in my God who is called my health and helper.
Recitative
Denn seh’ ich mich und auch mein Leben an, so muß mein Mund in diese Worte brechen: Gott, Gott! was hast du doch an mir getan? Es ist mit tausend Zungen nicht einmal auszusprechen, wie gut du bist, wie freundlich deine Treu, wie reich dein Liebe sei. So sei dir denn Lob, Ehr und Preis gesungen.
When I see myself and how I live, then I must open my mouth with these words: God, God! what have you done for me here? Not even with a thousand tongues could one ever declare, how good you are, how faithful is your word, how rich your charity. So praise, honor, and glory be sung to you.
Aria
Gott hat sich hoch gesetzet und sieht auf das, was niedrig ist. Gesetzt, daß mich die Welt gering und elend hält, doch bin ich hoch geschätzet, weil Gott mich nicht vergißt
God sits high above us and sees all in low estate. It is obvious, that to the world I seem low and poor, yet I am highly treasured since God does not forget me.
Recitative
O was für große Dinge treff ich an allen Orten an, die Gott mir getan, wofür ich ihm mein Herz zum Opfer bringe; Er tut es dessen Macht den Himmel kann umschränken, an dessen Namens pracht die Seraphim in Demut nur gedenken. Er hat mir Leib und Leben, er hat mir auch das Recht zur Seeligkeit, und was mich hier und dort erfreut, aus lauter Huld gegeben.
Oh what great things meet me in all directions, those that God has done for me; so I bring to him my heart as an offering; his is the deed whose might heaven can encompass the glory of whose name the Seraphim are humbly ever mindful. He gave me body and life, he too gave me the right to be redeemed, and that which pleases me here and there, is given from great grace.
Aria
Deine Güte, dein Erbarmen Währet, Gott, zu aller Zeit. Du erzeigst Barmherzigkeit Denen dir ergebnen Armen.
Your kindness, your mercy lasts, God, through all time. You show your graciousness to your devoted poor creatures.
Text: Poet unknown
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