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Dimension: 30.5 x 23.2 x 3.8 cm


GNADENGEGENWART: Johann Sebastian Bach im Kontext lutherischer Orthodoxie und Frömmigkeit von Renate Steiger. (=Doctrina et Pietas: Abt.2, Varia; Bd.2)

PUBL. DETAILS Stuttgart-Bad Cannstatt: frommann-holzboog, 2002 xxiii, 397p. DM 218,-- /euro 111/ öS 1592,- / sFr 194,-.
ISBN 3-7728-1871-4
TO ORDER frommann-holzboog: Friedrich Frommann Verlag. Günther Holzboog, Postfach 50 04 60, D-70334 Stuttgart (Bad Cannstatt), Germany. Tel: 0711 955 9690 / Fax: 0711 955 9691. eMail:
DESCRIPTION A series of analytical essays on Bach's sacred vocal works approaching from theological angle. With musical examples in 2 CDs.
WORKS COVERED BWV 1-2, 4, 5, 6, 8, 12, 19-23, 25-7, 30-34, 39-40, 44-5, 48-49, 51, 55, 56, 57, 59-61, 66, 67, 68, 70-1, 72-6, 78-83, 85-7, 89-91, 93-6, 99, 101-8, 110-3, 116, 123-5, 127-8, 133, 135-6, 138, 140, 145-6, 148, 152, 155-9, 161-5, 168-9, 172, 174-5, 178-80, 183, 185, 194, 199, 208, 211, 213, 226, 228, 232, 234-5, 243,  244, 245, 247, 248, 249, 487, 646, 669-689, 1053.
READERSHIP theologians, pastors, scholars, and dedicated musicians.
RESEARCH CONTRIBUTION various branches of theological approach to Bach's vocal works, i.e. applied emblematics, medieval mystic tradition, the atonement, ars moriendi, and hermeneutics.

n a margal space of his copy of Calov Bible Commentary, Bach entered the following remark to the 2nd book of Chronicles, 5:13: "NB. Beÿ einer andächtig Musig ist allezeit Gott mit seiner Gnaden=Gegenwart." (NB. With devotional music God is always present with his grace.)
With the word "Gnadengegenwart" (presence of grace), the author attempts to argue that in order to appreciate Bach's vocal works fully it is essential to understand the liturgical context in which they were conceived, performed and received, i.e. the Lutheran orthodoxy and piety. Sadly, much of this context is now lost, and hence we strive for rediscovering it.
Contents in brief
I Die Kantate in der Tradition der Schriftausleung und als Predigt sui generis
1. Vom Sieg singen - den Frieden austeilen. Die Kantate "Halt im Gedächtnis Jesum Christ" BWV 67 auf den Sonntag nach Ostern

2. Eine Predigt zum Locus De iustificatione. Die Kantate "Jesu, der du meine Seele" BWV 78 

3. Vom christlicher Gelassenheit. Die Kantate "Alles nur nach Gottes Willen" 

4. "Amen, amen. Komm, du schöne Freudenkrone". Zum Schlußsatz von BWV 61

II.  Angewandte Emblematik

5. Eine emblematische Predigt. Die Sinnbilder der Kantate "Ich will den Kreuzstab gerne tragen" BWV 56 

6. Suavissima Musica Christo. Zur Symbolik der Stimmlagen bei J. S. Bach

Mystikrezeption reformatorisch 7. Der Actus Crux der Matthäus-Passion BWV 244

8. "Ich geh und suche mit Verlangen" BWV 49

Versöhnung durch das Blut Jesu Christi 

9. "Fallt mit Dancken, fallt mit Loben - Vor des Höchsten Gnaden=Thron". Zum IV. Teil des Weihnachts-Oratoriums BWV 248 

10. Das Blut Jesu und die Lehre von der Versöhnung im Werk Bachs

Ars moriendi

11. Actus tragicus und ars moriendi. Bachs Textvorlage für die Kantate. "Gottes Zeit ist die allerbeste Zeit" BWV 106

Zur lutherischen Musikanschauung 

12. Lesespuren - Lesefrüchte. Zu Johann Sebastian Bachs Umgang mit seiner Bibliothek. 

13 Bilder des Heils. Johann Sebastian Bachs Parodiepraxis in theologischer und musikalischer Sicht.

Hermeneutica sacra und musikalische Struktur

14. Symbol und musikalische Invention: Biblische und emblematische Sinnbilder im Vokalwerk von Johann Sebastian Bach. 

15 "Bisher habt ihr nichts gebeten in meinem Namen". Die Kantate BWV 87 und das Vaterunser. Eine Antwort an Ulrich Konrad

Zitierte Quellen 




Verzeichnis der Abkürzungen 

Liste der Tonbeispiele auf den beiliegenden Compact Discs 

Bibliographie Renate Steiger

 it is truly a remarkable achievement

This is a large book; it consists of a series of scholarly essays, which are arranged under seven section headings of diverse topics, as can be seen in the table of contents in brief on the left. (The actual table of contents has two further levels of sub-headings, occupying 10 pages of the book.) If you are already familiar with Steiger's work, you may be a little disappointed to find that not all the essays are published here for the first time: in fact, the first twelve essays are based on already-published materials, mostly in the last decade. But as they are now arranged in such a narrative and systematic way, the whole discussion is made much more accessible. In addition, there is a generous set of indices of names, the biblical reference, hymn tunes, Bach's works, and keywords, which further enhances its usefulness as a reference book.

The author's main focus is the words set by Bach in his works, which she examines from a wider historical settings, such as applied emblematics, medieval mystic tradition, the atonement, ars moriendi, and hermeneutics. Common with many of her articles, Steiger's writing is rich with citations from the sources from which Bach presumably gained knowledge or received influence, such as Johann Olearius, Johann Arndt, Heinrich Müller, Martin Moller, Martin Geier, Johann Heermann, to name but six. Studying these citations and their potential influence on Bach gives some insight into how Bach approached his compositions.

This may be the most systematic and up-to-date monograph discussing Bach's vocal works as a whole from a theological angle; but the detailed discussion of the actual works are limited to those works indicated under the "works covered" above in bold type. Nevertheless, it has to be said that it is truly a remarkable achievement that so much has already been done in the space of a few decades.

Published online on 30 March 2002

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