N.B. A new performance of this chorale with "real" vocals can be found here: [ Ссылка ]
Chorale No. 950 of 1345
First performance: 16/12/1742 (3rd Sunday in Advent)
Verse text: Was willst du dich betrüben
Text source: 1st verse of Was willst du dich betrüben - Johann Heermann (1630)
Chorale melody: Zeuch ein zu deinen Toren, Johann Crüger (1653)
1st movement of cantata "Was willst du dich betrüben" (GWV 1103/42)
Scoring: SATB, Strings and Continuo
Here I feature a cantata-framing chorale, namely one which appears at the start and close of the work and each playing uses a different hymn verse. And this short work is a bundle of fun from start to finish! The hymn text is originally written by Johann Heerman in 1630:
Was willst du dich betrüben,
O meine liebe Seel?
Tu den nur herzlich lieben,
Der heißt Immanuel!
Vertraue ihm allein,
Er wird gut alles machen
Und fördern deine Sachen.
Wie dir's wird selig sein!
Translation (my attempt!):
Why all your idle moaning,
O you, my troubled soul?
With love, replace your groaning,
For the Emmanuel.
Place all your faith in him;
He will misfortune aright;
His works will bring you delight;
Give thanks and praises sing!
The chorale tune Graupner uses is not the standard one used for this text (i.e. “Von Gott will ich nicht lassen”). Instead he uses the melody "Zeuch ein zu deinen Toren" which he set 24 times during his career, 9 of those times for this particular text. Bach wrote a chorale cantata on the same text (BWV 107). The opening movement is based on the first verse (the same verse that Graupner had in his opening movement of GWV 1103/42 ). It is fascinating to compare the two composer’s approaches here, for they are diametrically opposite. Bach clearly recognises that the text implores the listener for devotion. His corresponding music, which in my view counts as some of his most deeply moving, matches that perfectly. Graupner, on the other hand, interprets the text as encouraging a more care-free attitude – “place your trust in Jesus, he’s got your back so you can have FUN”. He underlines this in the music by accompanying the chorale with what could be best described as some kind of country dance, complete with a funky bassline and jazz violin. No doubt his timpanist wanted a piece of this, but the boss left him on the bench that day, presumably to rest his arms before Christmas. So the chorale is just for strings and chorus.
The accompaniment is a kind of highly rhythmic ostinato although as is often the case with Graupner it is not a true ostinato – he varies the figuration subtly to emphasise the phrasing, harmony etc. For my interpretation I have noted that all the accompanying parts have the same syncopated rhythm at the start of almost all measures: quaver crotchet (eighth note, quarter note). As this is in triple time, the second note is rather emphasised due to the syncopation. To reinforce this and give a bit more swing to the piece I believe Graupner expected his string players to delay the second note slightly. I have tried to realise this in my interpretation. If anyone can identify the type of dance I would be very grateful!
The first violin line is pure joy and is so fresh that it gives the impression that it is being improvised. It is an interesting juxtaposition to the longer, smoother notes of the chorale. It reminds me somewhat of the famous interpretations of renaissance polyphony by saxophonist Jan Garbarek and the Hilliard Ensemble. For Graupner this is not an isolated device. In the cantata for the 3rd of Christmas in 1740 „Das Licht des Lebens scheint hell” (GWV 1107/40) he uses another such violin line. That work has been recorded.
