Mein liebster Jesus ist verloren, BWV 154

Mein liebster Jesus ist verloren (My dearest Jesus is lost), BWV 154, is a church cantata by Johann Sebastian Bach. He first performed it in Leipzig on the First Sunday after Epiphany, on 9 January 1724.

History and words

Bach performed the cantata in his first year in Leipzig on the First Sunday after Epiphany, on 9 January 1724. The musicologist Alfred Dürr assumes that it was written already in Weimar,^[1] whereas John Eliot Gardiner shares this view only for movements 1, 4 and 7.^[2] The prescribed readings for the Sunday are Romans 12:1–6 and Luke 2:41-52, the Finding in the Temple. The unknown poet takes the parents' search for the lost Jesus as the starting point to depict the general situation of man who lost Jesus. Movements 1 and 2 lament this loss. Movement 3 is a chorale, stanza 2 of Martin Jahn's Jesu, meiner Seelen Wonne, asking Jesus to return. Movement 4 asks the same question in a personal aria. The answer is given by the bass, the Vox Christi (voice of Christ), in the words of the gospel "Wisset ihr nicht, daß ich sein muß in dem, das meines Vaters ist?" ("Do you not know that I must be in that which is My Father's?"). The joy of the finding is expressed paraphrasing Song of Songs 2:8, "The voice of my beloved! Behold, he comes, leaping on the mountains, skipping on the hills". The cantata ends with stanza 6 of Christian Keymann's chorale Meinen Jesum lass ich nicht.^[1]

Scoring and structure

Similarly to Weimar cantatas, the work is intimately scored for alto, tenor and bass soloists, a four-part choir for the chorales only, two oboe d'amore, two violins, viola, and basso continuo.^[1]

1. Aria (tenor, strings): Mein liebster Jesus ist verloren
2. Recitativo (tenor): Wo treff ich meinen Jesum an
3. Chorale: Jesu, mein Hort und Erretter
4. Aria (alto, oboi d'amore, strings, no continuo): Jesu, laß dich finden
5. Arioso (bass): Wisset ihr nicht, daß ich sein muß
6. Recitativo (tenor): Dies ist die Stimme meines Freundes
7. Aria (alto, tenor, oboi d'amore, strings): Wohl mir, Jesus ist gefunden
8. Chorale: Meinen Jesum laß ich nicht

Music

In the three arias Bach sets extreme affekts to music: desperate lament, intense longing and blissful joy. The first aria is based on an ostinato continuo, comparable to the opening of Weinen, Klagen, Sorgen, Zagen, BWV 12. First the violin, then the tenor perform an expressive melody and repeat it several times. The contrasting middle section is underlined by tremolos in the strings in daring harmonies. John Eliot Gardiner remarked in connection with his Bach Cantata Pilgrimage, that on the words "O Donnerwort in meinen Ohren" ("O thunderous word in my ears") "it contains a graphic evocation of ear drumming".^[2] The second aria is accompanied by the two oboe d'amore and the violins and viola in unison, without continuo. Similar to the soprano aria Aus Liebe will mein Heiland sterben in Bach's St Matthew Passion, the lack of foundation portrays fragility and innocence. The joy of the finding is expressed in a duet of alto and tenor, as if the parents speak after all, in homophon vocal lines of parallel thirds and sixths. It is in three parts, the third not a da capo of the first, but an affirmative conclusion in a faster 3/8 time.

Movement 3 is a four-part setting of Johann Schop's tune Werde munter, mein Gemüte (1642), which became famous as part of Herz und Mund und Tat und Leben, BWV 147, and was also used in movement 40 of the St. Matthew Passion. The closing chorale is a four-part setting of a tune (1658) of Andreas Hammerschmidt.^[1]

Recordings

• Die Bach Kantate Vol. 21, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Ann Murray, Aldo Baldin, Walter Heldwein, Hänssler 1978
• J.S. Bach: Das Kantatenwerk - Sacred Cantatas Vol. 8, Nikolaus Harnoncourt, Tölzer Knabenchor, Concentus Musicus Wien, Paul Esswood, Kurt Equiluz, Thomas Hampson, Teldec 1985
• J.S. Bach: Complete Cantatas Vol. 9, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Bernhard Landauer, Christoph Prégardien, Klaus Mertens, Antoine Marchand 1998
• Bach Cantatas Vol. 18: New York, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Michael Chance, James Gilchrist, Peter Harvey, Soli Deo Gloria 2000
• J.S. Bach: Cantatas Vol. 17, Masaaki Suzuki, Bach Collegium Japan, Robin Blaze, Gerd Türk, Peter Kooy, BIS 2001
• J.S. Bach: Cantatas for the Complete Liturgical Year Vol. 4, Sigiswald Kuijken, La Petite Bande, Elisabeth Hermans, Petra Noskaiová, Jan Kobow, Jan van der Crabben, Accent 2006
• Desire: J.S. Bach - Cantates, Marcel Ponseele, Il Gardellino, Caroline Weynants, Patrick Van Goethem, Marcus Ullmann, Lieven Termont, Passacaille 2008

References

1. ^ ^{a b c d} Alfred Dürr. 1971. "Die Kantaten von Johann Sebastian Bach", Bärenreiter (in German)
2. ^ ^{a b} John Eliot Gardiner (2010). "Cantatas for the First Sunday after Epiphany / Hauptkirche St. Jacobi, Hamburg". solideogloria.co.uk. p. 9. http://www.solideogloria.co.uk/resources/sdg174_gb.pdf. Retrieved 29 December 2010. 

External links

• Cantatas, BWV 151–160: Free scores at the International Music Score Library Project.
• Cantata BWV 154 Mein liebster Jesus ist verloren on bach-cantatas.com
• German text and English translation, Emmanuel Music
• Mein liebster Jesus ist verloren on the Bach website (in German)
• BWV 154 Mein liebster Jesus ist verloren on uvm.edu
• Chapter 36 BWV 154 Mein liebster Jesus ist verloren, A listener and student guide by Julian Mincham, 2010
• Entries for BWV 154 on WorldCat