J.S. Bach's "Brich dem Hungrugen dein Brot" BWV39
“The theology and music of Bach’s Brich dem Hungrugen dein Brot, BWV39”
Johann Sebastian Bach’s position at St. Thomas in Leipzig included overseeing music at the four town churches. The liturgical year including festivals amounted to fifty-eight canata performances. Bach wrote approximately five yearlong cycles, of which approximately two-hundred canatas are extant. The canata “Brich dem Hungerigen den Brot,” BWV 39, was written and composed for the first Sunday after Trinity, 23 June 1726, as part of the third cycle of Bach’s Leipzig cantatas. Bach’s compositional rhythm and frequency decreased, beginning in 1725. This third cycle extended over three years, unlike the first two cycles (of 1723-24 and 1724-25). While BWV75 (1723) and BWV20 (1724) for the first Sunday after Trinity were intended to compliment each other, there is no evidence to suggest the same for the 1725 cycle. According to Dürr, early commentaries thought this cantata was composed for the Protestants driven out of catholic Salzburg in 1731.[i] This theory was triggered by Dresden researcher Rudolf Wustmann on October 1909. In a lecture on “Bach’s music in worship,” Wustmann suggested cautiously this might be the beauiful, large canata performed for the major Protestant charity celebration held on 15 June 1732.[ii] Few would remember the original performance as Leipzig was in turmoil in 1732 with the many immigrants, plus the teachers were absent while the St. Thomas school was under renovation. Yet, the text is clearly dated from 1704 and not composed especially for this occassion. Current document evidence gives a date of performance that excludes this possibility, yet its content would certainly have made it appropriate for performance six years later. The appointed lections for the first Sunday after Trinity are: Psalm 27 for the introit, Psalm 41 for the gradual, 1 John 4:(7-15) 16-21 for the Epistle, Psalm 7:1 for the verse, and the Holy Gospel is Luke 16:19-31. The introit highlights the perspective of the one in need. “How long, O Lord?” the psalmist cries. Yet, through his despair in the face of foes, enemies, and death, the psalmist trusts in the Lord’s salvation. He has faith that the Lord will deal bountifully with him. The Gradual first takes the perspective of the beggar, calling upon the Lord for grace. The psalmist looks outward towards his neighbor, recognizing their same need. Thankfully the Lord delivers him also in the day of trouble. The verse continues the themes of deliverance and refuge. Bach’s selection of texts for the cantata are not the appointed lections. His libretto features freely composed poetry, Isaiah 58:7-8[iii], and Hebrews 13:16[iv]. The Isaiah text is on proper almsgiving and the Hebrews text on the sharing of good with the Christian community, while unique to the liturgical year, share consistent themes with the Epistle and Gospel. In Isaiah 58, the prophet instructs us to share bread with the hungry, to take those in need into our house. We are to clothe the naked, especially those of our family. In the Epistle, John is confessing the nature of God’s love for us and similarly our love for our brother. This love is expressed in our care and concern. The Gospel is the parable of the Rich Man and Lazarus. While the beggar Lazarus lay at the gate, covered with sores and hungry, the rich man, who feasted sumptuously every day, could not spare even a crumb from his table, a nurse for Lazarus’s sores. The text certainly commends those who have received good things to share with those in need. Bach’s choice of additional texts serve as an exposition upon the theme. Yet, this theme is a secondary thrust to the main point, that is, the good things of God are Moses and the Prophets who bear witness to Christ. The cross is the ultimate expression of mercy by our Lord. The additional poetry conveys these themes as well. The bass recitative (movement two) places the compulsion to care for neighbor in God’s hand. He richly blesses us with abundance but not that we should feast alone on his treasures. No, these gifts he gives to us that we might dispense them to the poor. This is the love he has shown to us, that we can in turn show love and compassion for our neighbor. In this love we express and return our love for God. The alto aria (movement 3) continues this theme. While on earth, we can experience a foretaste of this blessedness of heaven by imitating his mercy, scattering the Lord’s blessings on others, whom he will gather on the last day. The soprano aria (movement five) confesses again that all we have is God’s gift. He does not give it to us to present to him on the last day. The final alto recitative (movement six) asks, “How shall I repay you, O Lord for the good you have done for body and soul?” We receive often, at every moment praising the Lord. The aria confesses that we come to the Lord only with our soul, and that He desires we use in service to Him, caring for the poor, unless this life is ended. Then the Lord will gather it up and give to use the eternal life He promised. The final chorale continues these themes and will be discussed in detail later. When Bach composed for the church, he drew heavily on the hymns of the Lutheran church. The chorale is found not only in these vocal settings but also in his instrumental works, especially the organ chorales. The chorale is the basis on which Bach built much of his vocal work. “Of the Cantata […], the chorale controlled the form and supplied the material. Bach’s art is inextricably associated with it… In brief, he associated them with all he did in the service of God, embellishing them like precious jewels in a holy shrine.”[v] The chorale and its text must first be considered to properly understand the cantata of Bach. The chorales represent the meditative element, the links that hold the sections of the cantata together. In the Kirchen-Gesangbuch of 1892, the chorale “Kommt, laßt euch den Herren lehren” is attributed to Johann Hermann circa 1630 and reviewed by David Denike (1603-1680).[vi] Denicke, son of a city judge, was trained as a lawyer. In Zittau, he served as court master, counselor, and an abbot for a Lutheran monastery in Bursfelde, Göttingen.[vii] Denicke co-edited the Hannoveresche Gesangbuch of 1646 through 1659 with Justus Gesenius. Many of the hymns were here published for the first time. Denicke and Gesenius often reworked hymns or simply made aesthetic changes. For example, older tunes such as “in dulci jubilo” was first set to the text “Nun singet und sei froh.” Denicke should rightly be given credit for the text of the chorale, despite the Kirche-Gesangbuch’s suggestion. The chorale may have been inspired by Hermann’s “Kommt ihr Christen, kommt und hören” but has only three lines in common.[viii] Translator Matt Carver revised J.C. Jacobi’s 1722 English translation.[ix]6. Blest are they who with compassion Look upon their neighbor's grief, Help the poor in their oppression, Pray to God for their relief; Who assist the suff'rer's need, Not with word alone, but deed— They shall never be discarded But with mercy be rewarded. 6. Selig sind, die aus Erbarmen sich annehmen fremder Noth, sind mitleidig mit den Armen, bitten treulich für sie Gott ; die behilflich sind mit Rath, auch, wo möglich, mit der That, werden wieder Hilf empfangen, und Barmherzigkeit erlangen.The appointed melody for the chorale is “Freu dich sehr, o meine Seele.” The chorale tune was written by Louis Bourgeois as a setting for Psalm 42 in his collection Psaeaumes octante trios de David (Geneva, 1551). The original chorale text is an exposition of the Beatitudes. For example, stanza one speaks of learning of those who are called true Christians. They are those who acknowledge with their mouth, believe with their hearts, and exert themselves towards doing good. “Selig sind” or “blessed are” marks the introduction of each remaining stanza. Stanza two speaks of humility, those who do not boast in themselves but praise God. Stanza three tells of those who endure grief and bear each others burdens. Stanza four marks those who are gentle and do not seek revenge. Stanza five commends those who are just. Stanza six is the text of the final chorale of the cantata. Stanza seven speaks of those who are pure of heart, living in modesty and holiness. Stanza eight tells of the peacemakers. Stanza nine grants the crown of honor to those who endure the cross of disgrace. Stanza ten asks the Lord for his guidance to do as he has commanded in the beatitudes. In the final stanza eleven, the gift of a pure heart and active good work is granted through faith in Christ and by His spirit. From February to September 1726, Bach performed a long series of cantatas written by his cousin, Johann Ludwig Bach. Likely Bach had access to the same textual sources as his cousin, a collection from 1704, attributed to Duke Ernst Ludwig von Sachsen-Meiningen.[x] Duke Ernst Ludwig liked spiritual poetry and collected poems reflecting on both Old and New Testament texts into the Meiningen text (1704). The cantatas of the third cycle are distinguishable for their lack of opening large-scale instrumental symphonies, nor the usual extended or richly scored opening movements.[xi] The work is scored for four-voice choir (with soprano, alto and bass parts sometimes performing as soloists) and orchestra with two recorders, two oboes, strings and continuo. It is composed in two parts, the first part with chorus, bass recitative, and aria alto. The second part is bass aria, soprano aria, alto recitative, and the closing chorale.[xii] The work begins with an instrumental symphonia which highlights musically the theme of distributing bread by chordal “drops” by the winds and strings. In the opening section, instruments are dealt with individually. They serve to interpret the text. Bach distributes the chords among the recorder, oboes and strings, thereby illustrating the “distributing” the bread among the hungry. The opening chorus “Brich dem hungrigen dein Brot,” based on Isaiah 58:7-8, is extended and in three parts. Wolff considers it “a model of how to combine the choral voices and orchestral parts while preserving their distinct character.”[xiii] Dürr states “the introductory chorus stands out because of the expansiveness of its idea. In structure, the multipart feature is just as pleasing as the independent instrumental treatment of the instrumental concerto, and the text-construing imagery of the figuration school.”[xiv] The opening section of the first movement has a number of text-tune interplays. Bach wrote in long melismas in a minor mode on “im Elend sind” or “are in want” to demonstrate musically the cries of the hungry. He contrasts this melisma with another on the text “führe ins Haus!” or “bring to your house.” This time its offer in a major mode, suggesting the joy of doing this good for the needy. The textual entrance of the man naked is marked by the solo entrance in the bass voice on the text “so du einen nacket siebest.” He is complimented by others in the other voices. The second of three parts features a short fugue around the text “Als denn wird dein Licht herfürbrechen wie die Morgenröte” or “then the light shall break forth like the rosy morning.” This treatment suggests the daybreak of morning, beginning in darkness, introducing a single voice and building to full daylight. The tempo changes to triple time to reflect this textual change. The fugue shifts throughout the movement into homophonic sections. Finally in the last section of the opening chorus, Bach suggests the theological import of Herrlichkeit or majesty by again building the chorus fugally in number of voices, pitch, and intensity. In the second movement, a bass recitative, Bach emphasizes the text through either longer duration or higher pitch. For example, the third person pronouns indicating God are highlighted (sein/his). He reinforces musically that God is the source and worker of good. He grants us our comforts, which are touchstones to show that he gives to all in need. We are required (sollen) to give to those with open (milder) hands and the poor (nötig) as we have been given (zugewendet) by God. The poet recalls Jesus’ words in his parable to not carry (bringen) our wealth into barns. The mark of the Christian is showing (ruhen) mercy (barmherzigkeit) to one’s neighbor. Bach emphasizes that this gift (Gab) can compel the heart (das Herze dringen) of the neighbor. The alto aria begins with a light introduction by oboe and violin. The text emphasizes that the Christian is but a shadow of the creator, yet he can experience a foretaste of the bliss of heaven when he shows mercy and scatters the seeds of blessing, that will be gathered up into heaven when the saints are brought to the Lord. On the word streuet or scatters, Bach uses a significantly long melisma. Bach also communicates his theology blessing musically. When the alto sings blessing (samen) the vocal line descends indicating action from God to us. Next, when in heaven (den wir dorten), the vocal line ascends indicating God taking us to heaven. Where the opening chorus is of larger scale, the New Testament text from Hebrews[xv] in movement four is a sparsely arranged aria. The text is given to the bass, just as the “vox Christi” of the passions. We hear God’s voice speaking directly to us through Christ. Christ is giving his exhortation to do good and care for all, just as the writer to the Hebrews commended them. The bass emphasizes blessings. Bach reflects the text as he has an extended pause after the phrase “forget me not” or “vergesset nicht.” Finally, the optimistic chorale rounds out the cantata. It is noteworthy that this cantata would be performed in two parts. While Stiller indicates some variance of practice[xvi], the cantata typically came after the prayer of the church and before the readings in Leipzig. In the case of a two part cantata like BWV 39, the second part would continue after the sermon section which closed with prayers, thanksgiving, intercessions, and announcements of all kinds. According to the Leipziger Kirchen-Staat church order, “The congregation is admonished to be generous over against poverty, for which purpose every church door has its ‘poor boxes.’ Then comes the close with a silent Lord’s Prayer, and the priest leaves the pulpit with the Pauline words.”[xvii] The placement of the cantata with the exhortation perhaps was not coincidental. The reader might be tempted to understand Bach’s expression of the theme of breaking bread for the hungry as ancillary to the texts, perhaps indicating influence of the moralist leanings of pietism. While this may be true, Bach understood that the essential unity of Scripture was salvation history. We ought to understand Bach’s theological motive with this cantata as serving to compliment the preaching of the Gospel text. He treats the text through melodic direction, vocal ranges, styles, instrumentation, and tonal plan. Back interprets the text with music in much the same way a preacher would treat the text. He uses “Old Testament/New Testament parallels and juxtapositions, literal and figurative musical ideas, points of insight and transformation, and the like.”[xviii] In this way, Bach provides Christian instruction which would not be the main thrust of the preacher’s treatment of John 16:19-31. It is noble and right to commend the Christian to care for those in need, especially by providing food. Canata BWV39 “Brich dem hungrigen dein Brot” is a wonderful exposition on one teaching from Christ’s Sermon on the Mount, which draws on a rich tradition of almsgiving from Isaiah and Psalms. Its music and theology are a delight to the ears and the soul. Works Cited
- Bach, Johann Sebastian. Neue Ausgabe sämtlicher Werke. Band I/15. Kassel: Bärenreiter, 1954.
- Carver, Matt. “Kommt, laßt euch den Herren lehren.” Hymnoglypt. http://matthaeusglyptes.blogspot.com/2009/03/kommt-lat-euch-den-herren-lehren... (accessed May 13, 2009).
- Lutheran Church--Missouri Synod. Kirchen-Gesangbuch für evangelisch-lutherische Gemeinden ungeänderter Augsburgischer Confession: darin des seligen D. Martin Luthers und anderer geistreichen Lehrer gebräuchlichste Kirchen-Lieder enthalten sind. St. Louis: Concordia Pub. House, 1892.
- “Choralbearbeitungen Bachs.” Archiv der Monarchieliga. http://www.monarchieliga.de/divers/bach/ch-07-d-e.htm (accessed May 13, 2009).
- Wolff, Christoph. Bach's Third Yearly Cycle of Canatas (1725-1727): from “Das Kantatenwerk: Volume 16, Amsterdam Baroque Orchestra and Choir.” Amsterdam: Ton Koopman, 2003.
- Dürr, Alfred. The cantatas of J.S. Bach: with their librettos in German-English parallel text. Oxford: Oxford University Press, 2005.
- Dürr, Afred. Introduction from: Bach, Johann Sebastian, et al. Das Kantatenwerk. Vol. 11. Das Alte Werk. Hamburg: Teldec, 1987.
- Young, W. Murray. The Sacred Dramas of J.S. Bach: A Reference and Textual Interpretation. Jefferson, N.C.: McFarland, 1994.
- Stiller, Günther, and Robin A. Leaver. Johann Sebastian Bach and Liturgical Life in Leipzig. St. Louis, Mo: Concordia Pub. House, 1984.
- Julian, John. A Dictionary of Hymnology Setting Forth the Origin and History of Christian Hymns of All Ages and Nations. London: J. Murray, 1908.
- Chafe, Eric Thomas. Analyzing Bach Cantatas. New York: Oxford University Press, 2000.
[i] Alfred Dürr, Introduction from: Johann Sebastian Bach, Das Kantatenwerk. Vol. 11, Das Alte Werk, (Hamburg: Teldec, 1987), 10. [ii] Hans-Joachim Schulze, Die Bach-Kantaten: Einführungen zu sämtlichen Kantaten Johann Sebastian Bachs, (Leipzig: Evangelische Verlagsanstalt, 2006), 295-6. [iii] “Is it not to share your food with the hungry and to provide the poor wanderer with shelter—when you see the naked, to clothe him, and not to turn away from your own flesh and blood? Then your light will break forth like the dawn, and your healing will quickly appear; then your righteousness will go before you, and the glory of the Lord will be your rear guard.” (Isaiah 58:7-8 ESV) [iv] “And do not forget to do good and to share with others, for with such sacrifices God is pleased.” (Hebrews 13:16 ESV) [v] Charles Terry, quoted by W. Murray Young, The Sacred Dramas of J.S. Bach: A Reference and Textual Interpretation, (Jefferson, N.C.: McFarland, 1994), 201. [vi] Lutheran Church--Missouri Synod, Kirchen-Gesangbuch für evangelisch-lutherische Gemeinden ungeänderter Augsburgischer Confession: darin des seligen D. Martin Luthers und anderer geistreichen Lehrer gebräuchlichste Kirchen-Lieder enthalten sind, (St. Louis: Concordia Pub. House, 1892), 174-175. [vii] “Choralbearbeitungen Bachs,” Archiv der Monarchieliga, http://www.monarchieliga.de/divers/bach/ch-07-d-e.htm (accessed May 13, 2009). [viii] John Julian, A Dictionary of Hymnology Setting Forth the Origin and History of Christian Hymns of All Ages and Nations, (London: J. Murray, 1908), 287. [ix] Matt Carver, “Kommt, laßt euch den Herren lehren,” Hymnoglypt, http://matthaeusglyptes.blogspot.com/2009/03/kommt-lat-euch-den-herren-lehren... (accessed May 13, 2009). [x] Christoph Wolff, Bach's Third Yearly Cycle of Canatas (1725-1727): from “Das Kantatenwerk: Volume 16, Amsterdam Baroque Orchestra and Choir,” (Amsterdam: Ton Koopman, 2003). [xi] Christoph Wolff, Bach's Third Yearly Cycle of Canatas (1725-1727): from “Das Kantatenwerk: Volume 16, Amsterdam Baroque Orchestra and Choir,” (Amsterdam: Ton Koopman, 2003). [xii] Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke, (Kassel: Bärenreiter, 1954), Band I/15,p. 181ff. [xiii] Christoph Wolff, Bach's Third Yearly Cycle of Canatas (1725-1727): from “Das Kantatenwerk: Volume 16, Amsterdam Baroque Orchestra and Choir,” (Amsterdam: Ton Koopman, 2003). [xiv] Alfred Dürr, Introduction from: Johann Sebastian Bach, Das Kantatenwerk. Vol. 11, Das Alte Werk, (Hamburg: Teldec, 1987), 10. [xv] “Do not neglect to do good and to share what you have, for such sacrifices are pleasing to God.” Hebrews 13:16 ESV. [xvi] Günther Stiller and Robin A. Leaver, Johann Sebastian Bach and Liturgical Life in Leipzig, (St. Louis, Mo: Concordia Pub. House, 1984), 121ff. [xvii] Ibid., 125. [xviii] Eric Thomas Chafe, Analyzing Bach Cantatas, (New York: Oxford University Press, 2000), 11.
