On-line Book Review

FRONT COVER

OVERVIEW

Dimension: 24 x 16 x 2.3 cm

TITLE Analyzing Bach Cantatas by Eric Chafe PUBL. DETAILS Oxford: Oxford University Press, 2000. xvii + 286p. Hard back. Price: £40. ISBN 0-19-512099-X TO ORDER Oxford University Press, Great Clarendon Street, Oxford OX2 6DP, UK. SUMMARY DESCRIPTION Detailed analysis of selected cantatas by Bach from both text and music in their historical and theological context. WORKS COVERED BWV 1-2, 7-9, 12-13, 18, 21, 25, 27, 28, 38, 40-1, 46, 52, 58, 60-1, 63-4, 68, 70-1, 75-77, 90, 95, 106, 109-10, 117, 119, 121, 127, 130, 135, 147-8, 153, 155, 156, 161, 172-3, 177, 185, 190, 213-4, 249, 591, 992, (bold indicating those intensely discussed) READERSHIP serious readers interested in learning about Bach’s cantatas and the background of the genre in great depth RESEARCH  CONTRIBUTION comprehensive discussion of the historical background of Bach's cantatas

The most fundamental point the author makes is that Bach’s cantatas are among the highest achievements of Western musical art. All his discussions ultimately lead to justify this single point. In order to understand Bach’s cantatas better, it is essential that as Chafe shows, we have to examine in detail every element that they are made of, i.e. the text and music along with their historical backgrounds, not separately but holistically; in doing so, we need to cover such issues as Lutheran liturgy and theology, modal tradition and music theory of the day. The author certainly argues carefully and thoughtfully what Bach might have intended in his music---e.g. how the cantata texts reflect Lutheran interpretation of scripture, how the principles of Lutheran hermeneutics work in Bach’s music, how the text and music interact, and how Bach’s tonal structure and modal harmony relate to the theological content of his cantatas. Readers should note that his ‘analysis’---the term he uses in the title---is nothing to do with those approaches by Schenker and other analysts; much of his musical analysis is non-technical, and for this reason, the book should appeal to wider readership.

Contents 1. The Hermeneutic Matrix. Basic Principles Aspects of the Liturgical Year 2. The Lutheran “metaphysical” tradition in music and music theory 3. Cantata 21, “Ich hatte viel Bekümmernis” Commentary on the Individual Movements 4.  Modal Questions The Seventeenth-century Background Bach and Modal Tradition “Durch Adams Fall”--Andreas Werckmeister on the Hypophrygian Mode 5. Bach’s Reflection on the Past: Modal Chorales in Cantata Designs “Durch Adams Fall ist ganz verderbt” in Cantatas 18 and 109 “Ach Gott, vom Himmel sieh’ darein” in Cantatas 153 and 2 “O grosser Gott von Macht” in Cantata 46 6. Two Chorale Cantatas Cantata 121: “Christum wir sollen loben schon” “Es ist das Heil uns kommen hier” (Cantata 9) 7.  Cantata 77: The Theological Background “Dies sind die heil’gen zehn Gebot”: The Chorale and Its History The Text of Cantata 77 8. “Du sollt Gott, deinen Herren, Lieben”: An Analysis of Cantata 77 Commentary on the Individual Movements 9.  Cantata 60: “O Ewigkeit, du Donnerwort” Notes Bibliography Index

very dense and absorbing  Starting with the contents, some readers may be puzzled by his chapter headings, as there seem many abstract terms which do not tell them straight away the logic and structure of his arguments; the heading of Chapter 2 ‘Lutheran “metaphysical” tradition’ may be particularly bewildering. Yet when you read along the book, the author’s tactful narration should unfold the thrilling course of thoughts, as he demonstrates quite successfully how Bach attempted to bring out the Lutheran dogma in music. The actual musical analyses of the cantatas are treated as examples to substantiate his specific theoretical arguments, and therefore only a handful of cantatas, mostly from the early Leipzig period, are discussed in depth. Thus there is considerable scope for future expansion if the author wishes to.

Like many of his other writings, Chafe’s language can be difficult to follow at times, partially due to the way he says things and partially due to the amount of details he puts into his argument. Some readers may also be frustrated by the small type-face as well as its very tight line spacing with which the book is produced. Yet the amount of information it provides amply compensates for those trivial matters. Through his engaged discussion on a rich variety of ideas emerges the essence of Bach’s cantatas; it is a tremendous intellectual gain. While it may take a long time to digest what Chafe has to say, it is a satisfying, highly stimulating experience to share his enormous insight into some of the most amazing treasures---Bach’s cantatas.