1 HMA 1951752 ‘His like had never before been heard in this city for musical composition and the practice of the most diverse instruments…’ Nikolaus Bruhns, to whom we owe the finest cantatas written before Bach, sadly had little opportunity to practise his art. He died prematurely at the age of 32. Nikolaus Bruhns (1665-1697) Deutsche Kantaten Nikolaus Bruhns (1665-1697), organist of the town of Husum, was already regarded towards the end of his short life as one of the greatest musical talents of his age, and modern musicology has once more, with hindsight, confirmed the high standing of his compositions. No less a figure than Johann Sebastian Bach, as reported by his son Carl Philipp Emanuel, ‘loved and studied’ the works of Bruhns and in his early years chose them, along with other north German and French masters, ‘as models’ for his own creations. Until recently attention has generally been focused on Bruhns as an organ composer, but in the past few years we have also become increasingly aware of his sonorous and expressive cantatas. The present recording presents six of them – exactly half of the total that has come down to us. Bruhns came of a family of musicians that had been established in Schleswig-Holstein since the early seventeenth century. After initial studies with his father, who was a pupil of the celebrated organ master Franz Tunder, he was apprenticed to Dietrich Buxtehude at the age of fifteen. This instruction was to have a lasting effect on the young pupil, for from that time – as Johann Mattheson relates – ‘in composition ... he especially endeavoured to emulate the famous Dieterich Buxtehude’. After a short period of activity in Copenhagen Bruhns was unanimously elected organist of the Domkirche in Husum early in 1689, when he was still only twenty-four years old, ‘since his like in composition and performance on all manner of instruments had never before been heard in this city’. However, he was to occupy this post for only eight years, for he died prematurely on 29. March 1697. Those vocal works by Bruhns that have survived probably all date from his time in Husum. Although in many respects they show a clear affinity with the vocal style of his teacher from Lübeck, they also display definite personal features that mark them out as a high point in the cantata repertory before Bach. Such signs of individuality are to be seen, for example, in the choice of poetry to be set, in the elegantly proportioned and cantabile melodic writing, and above all in the subtle formal working-out of the compositions, which is capable of giving appropriate expression to the many varied patterns of the texts on the one hand, whilst on the other creating structuring and unifying relationships on a musical level in order to achieve a polished and coherent whole. In this respect Bruhns provided important sources of stimulation for the composers of the early eighteenth century, and not least for the young J.S. Bach. The unusual qualities of Bruhns’s musical language are already to be observed in his – probably early – settings of purely biblical texts. Amongst these is the fine funeral cantata Die Zeit meines Abschieds ist vorhanden, which handles its different soggetti with consummate ease, partly in a loose concertante manner and partly in dense contrapuntal writing. The psalm setting Wohl dem, der den Herren fürchtet is written for two sopranos and bass, a combination of voices often used in Italian music since Monteverdi’s time, and later common in north Germany also, here supported by a closely woven string ensemble. This work’s closeness to Italian models is also shown in melodic details; a conspicuously modern feature is the soloistic, as it were aria-like layout of the middle verse of the psalm. The psalm cantata in Latin Paratum cor meum follows the same textural principles, except that here two tenors are used in place of the sopranos. The instrumental ensemble, consisting of a violin and two bass viols, likewise plays on the contrast between high and low registers. This piece derives its individual character from the marked concertante treatment of voices and instruments.
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
1
HMA 1951752
‘His like had never before been heard in this city
for musical composition and the practice of the
most diverse instruments…’
Nikolaus Bruhns, to whom we owe the finest
cantatas written before Bach, sadly had little
opportunity to practise his art. He died prematurely
at the age of 32.
Nikolaus Bruhns (1665-1697)
Deutsche Kantaten
Nikolaus Bruhns (1665-1697), organist of the town of Husum, was already regarded towards the end of his short life as one of the greatest musical talents of his age, and modern musicology has once more, with hindsight, confirmed the high standing of his compositions. No less a figure than Johann Sebastian Bach, as reported by his son Carl Philipp Emanuel, ‘loved and studied’ the works of Bruhns and in his early years chose them, along with other north German and French masters, ‘as models’ for his own creations. Until recently attention has generally been focused on Bruhns as an organ composer, but in the past few years we have also become increasingly aware of his sonorous and expressive cantatas. The present recording presents six of them – exactly half of the total that has come down to us.Bruhns came of a family of musicians that had been established in Schleswig-Holstein since the early seventeenth century. After initial studies with his father, who was a pupil of the celebrated organ master Franz Tunder, he was apprenticed to Dietrich Buxtehude at the age of fifteen. This instruction was to have a lasting effect on the young pupil, for from that time – as Johann Mattheson relates – ‘in composition ... he especially endeavoured to emulate the famous Dieterich Buxtehude’. After a short period of activity in Copenhagen Bruhns was unanimously elected organist of the Domkirche in Husum early in 1689, when he was still only twenty-four years old, ‘since his like in composition and performance on all manner of instruments had never before been heard in this city’. However, he was to occupy this post for only eight years, for he died prematurely on 29. March 1697.Those vocal works by Bruhns that have survived probably all date from his time in Husum. Although in many respects they show a clear affinity with the vocal style of his teacher from Lübeck, they also display definite personal features that mark them out as a high point in the cantata repertory before Bach. Such signs of individuality are to be seen, for example, in the choice of poetry to be set, in the elegantly proportioned and cantabile melodic writing, and above all in the subtle formal working-out of the compositions, which is capable of giving appropriate expression to the many varied patterns of the texts on the one hand, whilst on the other creating structuring and unifying relationships on a musical level in order to achieve a polished and coherent whole. In this respect Bruhns provided important sources of stimulation for the composers of the early eighteenth century, and not least for the young J.S. Bach.The unusual qualities of Bruhns’s musical language are already to be observed in his – probably early – settings of purely biblical texts. Amongst these is the fine funeral cantata Die Zeit meines Abschieds ist vorhanden, which handles its different soggetti with consummate ease, partly in a loose concertante manner and partly in dense contrapuntal writing. The psalm setting Wohl dem, der den Herren fürchtet is written for two sopranos and bass, a combination of voices often used in Italian music since Monteverdi’s time, and later common in north Germany also, here supported by a closely woven string ensemble. This work’s closeness to Italian models is also shown in melodic details; a conspicuously modern feature is the soloistic, as it were aria-like layout of the middle verse of the psalm. The psalm cantata in Latin Paratum cor meum follows the same textural principles, except that here two tenors are used in place of the sopranos. The instrumental ensemble, consisting of a violin and two bass viols, likewise plays on the contrast between high and low registers. This piece derives its individual character from the marked concertante treatment of voices and instruments.
2
A piece of especially high quality is the melancholy funeral cantata Ich liege und schlafe. Here, a passage from Psalm 4 set for tutti frames three soloistic aria-strophes separated by string ritornellos. The formal structure of the cantata Muß nicht der Mensch auf dieser Erde in stetem Streite sein is much more complex. The text is pure madrigalian verse, based on Job 7:1. The exceptional pretensions of this splendid setting are immediately apparent in the extensive sinfonia, which is followed by two series of arias with tutti refrains. The tonal environment of the basic key of C major is in several places expanded in astonishing fashion – most daringly in the third strophe of the first part, which sidesteps as far afield as C sharp major. Comparable spaciousness is to be found in the Easter cantata Hemmt eure Tränenflut, described in the single surviving source as ‘Madrigale’. Its text derives from a cycle of cantata poems published in 1690, and also set by other composers. With its concertante introductory tutti movement, its diversely laid out aria-strophes and its closing movement quoting the music of the Easter chorale Christ lag in Todesbanden, this is a work that stands on the threshold of the eighteenth-century mixed church cantata.
Peter Wollny
Translation: Charles Johnston
3
1 | Die Zeit meines Abschieds ist vorhanden2 Thimotheus 4, 6-8
Die Zeit meines Abschieds ist vorhanden.Ich habe einen guten Kampf gekämpfet.Ich habe den Lauf vollendet.Ich habe Glauben gehalten.Hinfort ist mir beigelegt die Krone der Gerechtigkeit,welche mir der Herr an jenem Tageder gerechte Richter geben wird.Nicht mir aber allein, sondern auch allen,die seine Erscheinung lieb haben.
2 | Muß nicht der Mensch auf dieser Erden in stetem Streite sein(Nach Hiob 7, 1)
Muß nicht der Mensch auf dieser Erden in stetem Streite sein?Ja wenn wir nur geboren werden, da find’ sich Furcht und Pein.Da gibt es schon auf allen Seiten zu kämpfen und zu streiten.Sind wir gelangt zu unseren Jahren, da geht die Unruh an,da müssen wir alsdann erfahren, was die Begierde kann.Dann gibt es auch auf allen Seiten zu kämpfen und zu streiten.Läuft unser Lebenslauf zu Ende, o weh, da findet sich Welt, Satan, Sünd und Tod behende,die sind uns hinderlich,die machen uns auf allen Seiten zu kämpfen und zu streiten.
3 | Doch wer sich tapfer hält, behält das Feld,und überkommt zum Lohne den Kranz der Ewigkeit,die wunderschöne Krone, die unser Siegesfürst den Kämpfern selbst bereit’.Drum so lasset uns mit Haufen, auf den rauhen Kampfplatz laufen,daß wir bis ans Ende kämpfen und die stolzen Feinde dämpfen.Ach, aber ach! wir sind ja viel zu schwach,des Geistes Schwert zu führen, drum steh’ uns bei, du starker Held, der du bezwungen hast Tod, Sünde, Höll’ und Welt,sonst müssen wir verlieren.Du mußt uns und unsern Waffen, selber Glück und Sieg verschaffen.Ja, du mußt uns helfen ringen,bis wir fröhlich können singen.Triumph! Der Kampf ist gekämpfet, die Feinde gedämpfet,der Lauf ist vollendet,weil alles zu unserm Vergnügen sich endet. Triumph!
Wohl dem, der den Herren fürchtet(Psalm 128)
4 | Wohl dem, der den Herren fürchtetund auf seinen Wegen gehet.Du wirst dich nähren deiner Hände Arbeit;wohl dir, du hast es gut.
5 | Dein Weib wird sein wie ein fruchtbarer Weinstockum dein Haus herum, und deine Kinder wieÖlzweige um deinen Tisch herum.
6 | Siehe also wird gesegnet der Mann,der den Herren fürchtet.
7 | Der Herr wird dich segnen aus Zion,daß du siehest deine Kinderund deiner Kinder Kinder Friede über Israel.Amen.
Ich liege und schlafe(Psalm 4/9)
8 | Ich liege und schlafe ganz mit Frieden, denn du allein, Herr, hilfest mir,[daß ich sicher wohne.
9 | Ich hab, Gottlob, das mein vollbracht, Welt, gute Nacht, wir müssen uns[nun scheiden.
In Jesu Namen sanft und still ich wandern will zur Seligkeit mi Frieden.In dieser Welt war mir bestellt nur Angst und Not, zuletzt der Tod, jetz
[endet sich mein Leiden. 10 | Ritornello
11 | In Jesu Namen schlaf ich ein, er führt allein mich aus dem Tod ins Leben.Am Kreuzesstamm vergossnes Blut kommt mir zu gut, macht fröhlich [mich daneben;der edle Saft gibt rechte Kraft, stärkt mir mein Herz im Todesschmerz,
[kann Freud und Wonne geben.
The time of my departure is at hand2 Timothy 4, 6-8
The time of my departure is at hand.I have fought a good fight.I have finished my course.I have kept the faith.Henceforth there is laid up for mea crown of righteousness,which the Lord, the righteous judge,shall give me at that day.And not to me only, but unto all them alsothat love his appearing.
Must not Man on this earth be in continuous strife?(after Job 7: 1)
Must not Man on this earth be in continuous strife?For even when we are born it is in fear and pain.There already, on every side, there is need to struggle and to fight.When we come into man’s estate, then begins our trouble,for then we must find out what lust can do.Then too, on every side, there is need to struggle and to fight.When our life has run its course, alas,there spring up the World, Satan, Sin and Death,they stand in our way,they oblige us, on every side, to struggle and to fight.
But he who carries himself bravely wins the day,and receives as his reward the laurel wreath of eternity,the wonderful crown that our Lord of Battleshimself prepares for those who fight.Then let us run in great number to the rude battlefield,that we may fight till the end and subdue the proud foe.But ah, alas, we are already much too weakTo wield the sword of the spirit, so stand by us, mighty hero, you who have overcome Death, Sin, Hell and World,otherwise we are bound to lose.You yourself must provide good fortune and victory for our weapons.Yes, you must help us to strive,until we can joyfully sing:Triumph! The battle has been fought, the foe conquered,the race is run,for all has ended to our delight. Triumph!
Blessed is every one that feareth the Lord(Psalm 128)
Blessed is every one that feareth the Lordand that walketh in his ways.For thou shalt eat the labour of thine hands:happy shalt thou be well with thee.Thy wife shall be as a fruitful vineby the sides of thine house: thy childrenlike olive plants round about thy table.Behold, that thus shall the man be blessedthat feareth the Lord.The Lord shall bless thee out of Zion:thou shalt see thy children’s children.Peace upon Israel.Amen.
I lie down and sleep in peace(Psalm 4, 9)
I lie down and sleep in peace, for thou alone, Lord, dost help me to[dwell in safety.
I have, praise be unto God, done my duty; world, good night, we now{must part.
In Jesus’ name I shall softly and quietly go to blessedness in peace.In this world my lot was but fear and distress, and finally death, now my suffering does end.
In Jesus’ name I go to sleep, he alone leads me from death to life.The blood shed upon the cross’s tree stands me in good stead, and fills me with joy;the noble liquid give me great strength, resolves my heart in the pangs of death, and can grant me joy and bliss.
4
12 | Ritornello
13 | In Jesu Namen fahr ich hin, denn mein Gewinn ist Christus, wenn ich[sterbe.
Ich weiß, daß er mich nicht verläßt, und glaube fest: im Tod ich [nicht verderbe.
Mir ist bereit in Ewigkeit von Gottes Sohn die Ehrenkron’, das[rechte Himmelserbe.
14 | Ich liege und schlafe…
Paratum cor meum(Psalm 57, 8-12)
15 | Alleluja!Paratum cor meum, Deus.Cantabo et psallam in gloria mea.Exsurge, gloria mea.Exsurge, psalterium et cithara;exsurgam diluculo.
16 | Confitebor tibi in populis, Domine,et psallam tibi in natibus.Quia magna est sub coelo misericordia tua,et usque ad nubes veritas tua.
17 | Exaltare super coelos, Deus,et super omnem terram gloria tua.
Hemmt eure Tränenflut
18 | Hemmt eure Tränenflut und trocknet ab die nassen Wangen,die ihr bei Jesu seid zu Grabe mitgegangen,der heutge Tag ist unvergleichlich gut.Das Grab ist leer, die Leich ist nicht vorhanden,der Herr ist ganz gewiß von Toten auferstanden.
Nun hat es keine Not! Die Feinde sind all überwunden.Der große Siegesfürst, der führt mit sich gebundenund träget schon die Sünde, Teufel, Tod.Nun höret auf ihr Drohen, Wüten, Morden,weil Jesus hat gesiegt, ist ewger Friede worden.
19 | Der Stein war allzu groß. Die Zentnerlast der schweren Sünden,die drückt und ließe mich gar nirgends Ruhe finden.Gott sei gedankt, nun bin ich solcher los,weil Jesus lebt, so lagern sich die Schmerzen,der allzu große Stein ist abgewälzt vom Herzen.
20 | Die Christi Grab bewacht sind weg und haben sich verkrochen,der starke Simson hat die Tor entzweigebrochenund trägt sie fort bei finstrer Mitternacht.So wird er auch, wie er mir hat verheißen,mich noch mit starker Hand aus allen Nöten reißen.
21 | Verlaß ich gleich die Welt, mir grauet nicht für meinem Grabe,weil ich dies Leben selbst im Tode bei mir habeund Engel sich im Grab zu mir gesellt.Von Mund auf soll die Seel’ zum Himmel gehen,der Leib wird auch gewiß von Toten auferstehen.
22 | Amen.
In Jesus’ name I depart, for my reward is Christ when I die.I know that he will not forsake me, and firmly believe that in death
[I shall not perish.The glorious crown of God’s son is prepared for me for all eternity, heaven’s true heritage.
I lie down and sleep in peace…
My heart is ready(Psalm 57, 7-11)
Alleluja.My heart is ready, O God,I shall sing and give praise upon the psaltry in my glory.Rise up, my glory; rise up, psaltry and cithara; I shall rise up at dawn.I shall confess you amongst the peoples, O God,and I shall sing your praise amongst the nations.For his mercy is great and reaches beyond the heavens,and your truth unto the clouds.Rise up above the heavens, O God,and may your glory rise up over the entire earth.
Staunch your floods of tears
and dry your damp cheeks,you who have accompanied Jesus to his grave,for this is a day of incomparable joy.The grave is empty, the body is not to be found:it is quite certain that the Lord has risen from the dead.
Now there need be no affliction! The enemy have all been overcome.The mighty Lord of Battles leads them away with him in chainsand is already bearing Sin, the Devil and Death.Now end their threats, raging, killing,for Jesus has triumphed, everlasting peace has begun.
The stone was too massive, that great burden of heavy sinsthat oppressed me and would not let me find rest anywhere.Thanks be to God, I am now free of it,for Jesus lives, and so my sorrows can find rest;that stone too heavy to bear has been rolled from off my heart.
Those who kept watch over Christ’s tomb are gone, they have crept away,Samson the strong has broken the door in twoand carries it away in the darkness of midnight.Thus will he, as he has promised me,pluck me from all affliction with his strong hand.
Now I can forsake the world, my grave has no terrors for me,because I have this life with me even in deathand angels have joined me in the grave.The soul shall ascend to Heaven from the mouth,and the body too will surely rise from the dead.
Amen.Translation: Charles Johnston (2-3, 18-22)
Translation: Derek Yeld (8-14)
Related Documents
