“Jesu, deine Gnadenblicke” is the second aria from Johann Sebastian Bach’s cantata Lobet Gott in seinen Reichen, BWV11, also known as Himmelfahrts-Oratorium or Ascension Oratorio. It was first performed on Ascension Day, May 19, 1735, in Leipzig. This aria, the eighth movement of the cantata in the Neue Bach-Ausgabe (movement 10 in the edition of the Bach-Gesellschaft), is written for two transverse flutes in unison, soprano, oboe and unison violin and viola. There is no continuo part. In this particular edition, the obbligato oboe line is placed in the right hand of the keyboard accompaniment, while the two unison string parts supply the bass line. In measure 124 of the flute parts, the trill on the second beat should be e²to f ²natural (not noted in the NBA). Bach’s first secular cantata, Was mir behagt, BWV 208, is also named the Jagd-Kantate or Hunting Cantata. It was written for the birthday of Duke Christian of Saxe-Weißenfels and probably dates from 1713 during Bach’s early Weimar years. “Schafe können sicher weiden” (“Sheep May Safely Graze”) is a very well known aria for two Flauto dolce (recorders), soprano and continuo. The original use of the recorder (vs. the transverse flute) helps reflect the pastoral nature of this aria. Tönet ihr Pauken! Erschallet, Trompeten!, BWV 214, a “dramma per musica,” was written for the birthday of Electress Maria Josepha and was first performed on December 8, 1733. Bach used much of this secular cantata later in his Christmas Oratorio. One aria not found in the oratorio is “Blast die wohlgegriffnen Flöten” for two transverse flutes, soprano and continuo. The original violone part bears the instruction ‘pizzicato’. In measure 43 of the first flute part, the d²in the fourth beat should be a d²sharp (not indicated in the NBA). This movement is quite energetic with much syncopation in the two obbligato flutes. In this edition, basic continuo realizations are provided and may be supplemented by the keyboardist. Articulations, dynamics and ornaments may be added in the appropriate style of the baroque period as well.

Auburn, Spring 2004 Ann Knipschild