M.

Kaplan
Wie schn leuchtet der Morgenstern, BWV 1
The cantatas written by Johann Sebastian Bach are a monumental achievement
alone in scope of Western music history. While Bach was in Leipzig from 1723-1750, it
was his responsibility to compose, rehearse, and direct a cantata for every Sunday and
various other sacred occasions. Not only did he do so masterfully, he was also able to
create this significant musical output under serious time limitations. How could one man
compose such magnificent compositions on a weekly basis (not including other various
secular compositions)? Was it out of a primary need to compose as a profession, or was it
a deeply superhuman inspired vocation? It is even more amazing to think that this was
only one of his many duties during his residency. One of the most interesting aspects to
these compositions was that they needed to be written to express Luthern text as the
compositions primary function.
Wie schn leuchtet der Morgenstern, or How Beautifully the Morning Star Shines,
is a cantata that immensely lends itself to composisition ideas. This cantata was written
for the occasion of the Annunciation of The Lord on March 25th, 1725. The Annunciation
is a feast in celebration of the angel Gabriel bring news to the Virgin Mary that she will
deliver Jesus and he will be the saviour. This sacred delieverance marks a period of great
jubilation and is a lasting Christian observance.
If this occasion is not enough of a reason to have spirited music composed for,
John Eliot Gardner points out that this date was also an extremely rare occurrence. It is
significant in that this date also coincided with the celebration of Jesuss entrance into
Jeruselum. Palm Sunday is a moveable celebration that does not usually occur on the

same day and is often postponed due to tempus calmus. This was a time during the
observance of Lent when people of the church were fasting as a sign of petinance and
heard no such music in the Sunday services. What type of music would one expect to
hear from such an illustrious composer on a dually important occasion?
The first chorus of this F major cantata is grand in instrumentation, written for
two horns, two oboe di caccia, two solo violins, two ripieno violins, satb choir, and
continuo. The piece is written in 12/8 time which signifies a pastorale mood. The
opening motive is presented to us with a solo violin entrance that is immediately
answered with the full instrumental ensemble. Melvin Ungers translation of the text has
the first stanzas as How beautifully shines the morning star, Full of grace and truth from
the Lord. This Luthern hymn is then realized within the texture of the ensemble as a
cantus firmus (as one might expect in a chorale cantata), sung by the highest voice. The
cantus firmus is rarely sung solo accompanied by busy counterpoint at most times. After
each statement of the hymn, we are brought into ritornello material that is often
dominated by the two solo horns or violins. The horns might serve as a representation of
the annunciation, where the violins (often playing a cascading 16th note motive) represent
the sheer joy in which this news brings.
Bach then composes a tenor recitative in the relative D minor key. The solo
recitative gives us insight to the significance to the announcement of Gabriel. The most
expressive form of text-painting is when Bach jumps up an octave and down a minor 6th
on the text, O sweetness, O bread-of-heaven. Julian Mincham suggests that there
might be significance in the tenor range alone in that one should listen to it as if the music
were a side narritive. This music serves as a very human explination: According to

which the first fathers already-years as days counted Maybe this is an example of
formally subtle musical hypostasis, wherein the arias and choruses are the spiritual
declarations, and the recitatives are the human expression.
The soprano aria is written in the subdominant key of Bb major and could be
closely regarded as an allemande. The soprano voice is only supported by an oboe di
caccia and continuo. One aspect to the vocal line that is of interest is that even if one is to
consider this a light german dance, Bach still executes italian melismas on the words
flammen and freudenschein (flame and light of joy). The melisma on flammen even gets
more and more involved as the aria progresses. Perhaps this suggests the weightiness of
the divine flame that will be felt if one accepts Gods graces.
The bass recitative takes on a similar character to the tenor. In a rhythmic sense,
it seems as if Bach went for something more stately and assertive to deliver the message.
The text here suggest the that the love of God has been destined for us: So must us
indeed The overflowing blessing, Which for-us from eternity (was) determined And our
faith to itself does-take, to thanksgiving and praise. Again, Bach mimics the melismatic
nature of flammen within this short dialouge.
Although composed in 3/8 might suggest an Italian gigue. If that were the case it
could be understood to pair nicely with the oboe allemande. The texture opens back up
including everyone from the initial chorus (except the cornos and other voices). The
images that Bach is able to produce are extrememly absorbing. Ungers translation of the
first line reads, Our mouth and (the) sound of strings Interestingly enough, the vocal
line mimics the 16th note nature of the solo violin section for the majority of the aria. Not
only is that significant with in itself, the 16th note motive of this gigue comes from the

violin part from the opening chorus. If the violin motive in the opening is supposed to
signify joy and exhaltation, that might give us a clue to what Bach had in mind for the
overall affect of the last dance before the final chorus.
The final chorus is a more conspicuous adaptation of the Luthern text from what
we have seen in the previosu movements. As one would expect, all instruments and
voices are present and are following the original cantus firmus (with the exception of one
contrpuntal horn). This text is the final prayer and declaration of again what might
perhaps be another example of hypostasis in a concluding musical dialouge. Two
thoughts exist in this final chorus; one of the human condition awaiting the ascention in
heaven to join in exuberance of the eternal kingdown, and the other being the Lords
willingness to await such a proclamation. That being, Take me up into paradise and
For thee I wait with longing.
From this material, one can only begin to see the tip of the iceburg of what Bach
was capable of during his lifetime. His ability to write music in a pleathora of styles like
he does is still unmatched to this day. Wie schn leuchtet der Morgenstern is a paramont
work that could easily fall short in the hands of a second-rate composer. His use of
motives, text-painting, and other subtle musical devices are what brings this music to life
in an exalting way. Whether Bach was simply obliging to be industrious or if he was
truly inspired by this regal music will forever be a debate.

Bibliography

Bach, Johann Sebastian, and Melvin P. Unger. Handbook to Bach's Sacred Cantata Texts:
An Interlinear Translation with Reference Guide to Biblical Quotations and
Allusions. Lanham, MD: Scarecrow, 1996. Print.
Bach, Johann Sebastian. Wie Schn Leuchtet Der Morgenstern: BWV 1. NeuhausenStuttgart: Hnssler, 1981. Print.
Dellal, Pamela. "Bach Cantata Translations." Emmanuel Music. Emmanuel Church, n.d.
Web. 13 May 2014.
Francis, Browne. "Chorale: Wie Schn Leuchtet Der Morgenstern - Text & English
Translation." Chorale: Wie Schn Leuchtet Der Morgenstern - Text & English
Translation. Bach Cantatas Website, Mar. 2005. Web. 1 May 2014.
Gardiner, John E. Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach.
New York: Alfred A. Knopf, 2013. Print.
Mincham, Julian. "Chapter 41 BWV 1 Wie Schn Leuchtet Der Morgenstern." The
Cantatas of Johann Sebastian Bach. Julian Mincham, 2010. Web.
Oron, Aryeh. "Cantata BWV 1 - Discussions - Part 1." Cantata BWV 1 - Discussions Part 1. Bach Cantatas Website, 25 Mar. 2005. Web. 1 May 2014.