Bach Cantata Notes
BWV 145
The Cantata BWV 145 is an unusual pastiche. The opening chorale is undoubtedly
a Bach harmonization but was probably added to the cantata by his successor
at Leipzig after his death. The chorus is by Telemann. The duet and
aria as well as the final chorale are authentic Bach but probably the
two concerted pieces are from Cöthen models a decade earlier.
For all of its varied genesis, this is a unified and successful cantata.
The beautiful chorale harmonization that begins the work has a quiet
grace that is characteristic of Bach’s best mature Easter pieces. The
Telemann chorus is one of his best and is very worthy of Bach’s company.
It begins with a bouncy irresistible duet for the women; as the men’s
voices enter, so does the orchestra bringing the chorus to a rousing
conclusion. The duet for soprano and tenor with violin obbligato is
very much in the style of Bach’s great Cöthen works. This was a period
when Bach wrote little religious music. In his Leipzig years Bach would
occasionally dip into his secular cantatas from his Cöthen era for material
for his sacred works. This happy work shows not only an intricate relationship
between the two vocal parts, but the incorporation of the brilliant
violin part is unusually skillful. The bass aria is unusual in that
it has independent parts for all of the treble instruments and no middle
voices. The lively interplay between the flutes and oboes is charming
and totally suited to the happy text. “Erschienen ist der herrlich Tag.”
was one of the favorite Easter Chorales in Bach’s day and here receives
a granite-like powerful harmonization.
©Craig Smith