Bach’s Cantata, BWV 106 is a delicate and intimate reflection on demise and redemption. It’s titled, Gottes Zeit ist die allerbeste Zeit (“God’s time is one of the best time”), with the subtitle Actus Tragicus.
The Cantata is scored for an uncommon mixture of devices which the Netherlands Bach Society calls
well-known, idiosyncratic, exceptionally lovely and significant…The violins are conspicuous by their absence, however there are two recorders and two viola da gambas, which offer a smooth, comforting and generally nearly heavenly sound. The recorders appear to represent earthly struggling with their sharp seconds and unisons.
Conceived for a funeral service, the Cantata dates from 1707-1708 through the 22-year-old Bach’s transient tenure in Mühlhausen. The unique manuscript was misplaced. The work is structured symmetrically, with the primary part representing the earthly demise of the Previous Testomony, and the second part delivering the New Testomony’s promise of salvation. In accordance with the Netherlands Bach Society,
The refrain ‘Es ist der alte Bund’ features as a dramatic climax and axis of symmetry, wherein Bach spectacularly combines the acquainted memento mori warning (keep in mind that it’s a must to die) with the soprano’s proclamation of the approaching of Jesus. This dialogue grows right into a musical and theological tour de pressure when on the finish of the motion Bach now not juxtaposes the 2 concepts, however units them above and beneath each other.
The Cantata begins with a serenely flowing Sonatina (Molto adagio), wherein the 2 data weave sensuous traces full of quiet longing. Their vivid angelic colours meet the veiled tones of the violas da gamba.
The opening refrain (“God’s time is one of the best of all instances”), a setting of Acts 17:28, is adopted by a melancholy aria in two sections. The lamenting first part options the tenor “Ah, Lord, train us to think about that we should die,” (Psalms 90:12). A response by the bass comes with a quickening of tempo: “Put your home so as; for you’ll die” (Isaiah 38:1). With a way of divine urging, the recorders propel the music ahead.
The central refrain, Es ist der alte Bund (“It’s the historical legislation: human, you have to die!”) begins with a fugue punctuated with occasional wrenching dissonances. It’s the soprano that brings the daylight of redemption (“Sure, come, Lord Jesus!”). Within the closing moments, the opposite traces dissolve out of the blue, and the lone soprano stays. It drifts off as a solitary voice crying out within the wilderness.
The alto solo which follows, In deine Hände befehl ich meinen Geist (“Into Your arms I commit my spirit”) is taken from the Gospel of Luke and Psalm 31. The second citation, Heute wirst du mit mir im Paradies sein (“At present you can be with Me in Paradise”) blends with Martin Luther’s hymn Mit Fried und Freud ich fahr dahin (“With peace and pleasure I depart”).
The ultimate motion, In dich hab ich gehoffet, Herr, Glorie, Lob, Ehr und Herrlichkeit (“Glory, reward, honor, and majesty”) is a setting of phrases by Adam Reusner. Its chorale melody is accompanied by a joyful recorder obligato. The work concludes with a jubilant double fugue on the phrase, Amen.
Bach scholar Alfred Dürr referred to as the Cantata “a piece of genius resembling even nice masters seldom obtain… The Actus tragicus belongs to the good musical literature of the world.”
Featured Picture: the organ of the church Divi Blasii, Mühlhausen, {photograph} by Hans-Jörg Gemeinholzer
