Gott der Herr ist Sonn und Schild, BWV 79

Gott der Herr ist Sonn und Schild
BWV 79
Chorale cantata by J. S. Bach
Luther's Ninety-Five Theses, beginning the Reformation
Occasion	Reformation Day
Performed	31 October 1725 (1725-10-31): Leipzig
Movements	6
Cantata text	anonymous
Bible text	Psalms 84:11
Chorale	"Nun danket alle Gott" by Martin Rinckart "Nun laßt uns Gott dem Herren" by Ludwig Helmbold
Vocal	SATB choir and soloists
Instrumental	2 horns timpani 2 oboes 2 violins viola continuo

Gott der Herr ist Sonn und Schild (God the Lord is sun and shield),^[1] BWV 79,^{[lower-alpha 1]} is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1725, his third year as Thomaskantor, for Reformation Day and led the first performance on 31 October 1725.

The text was written by an unknown poet, who did not refer to the prescribed readings for the day. Bach began the libretto for the feast with a quotation from Psalm 84 and included two hymn stanzas, the first from Martin Rinckart's "Nun danket alle Gott", associated with Reformation Day in Leipzig, as movement 3, and as the last movement the final stanza of Ludwig Helmbold's "Nun laßt uns Gott dem Herren". Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, a pair of recitative and duet following the first chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs.

Bach performed the cantata again, probably in 1730. He later reworked the music of the opening chorus and a duet again in his Missa in G major, BWV 236, and the music of an alto aria in his Missa in A major, BWV 234.

History and words

Bach composed the cantata in his third year as Thomaskantor in Leipzig. While he had written complete annual cycles for many occasions of the liturgical year the first two years in the position, he slowed down in the third. For the Reformation Day, he composed this new cantata, his first extant work for the occasion.^[2] The prescribed readings for the feast day were from the Second Epistle to the Thessalonians, "be steadfast against adversaries" (2 Thessalonians 2:3–8), and from the Book of Revelation, fear God and honour him (Revelation 14:6–8).^[3] The writer of the text – an unknown poet – was not concerned about the readings, and began with a quotation from Psalm 84 (Psalms 84:11). He included the first stanza from Martin Rinckart's hymn "Nun danket alle Gott" and as the closing chorale the final stanza of Ludwig Helmbold's hymn "Nun laßt uns Gott dem Herren".^[4] According to the Bach scholar Klaus Hofmann, the first of these hymns was sung regularly after the sermon on Reformation Day in Leipzig.^[5]

Bach first performed the cantata on 31 October 1725. He repeated it again, probably in 1730, with minor changes in the scoring, doubling the oboes by flutes and assigning a flute as the obbligato instrument in the alto aria. ^[2] He used the music of the opening chorus and the duet again in his Missa in G major, BWV 236, and the music of the alto aria in his Missa in A major, BWV 234.^[5]

Scoring and structure

Bach structured the cantata in six movements. A chorale movement is followed by an aria, a chorale, recitative and duet, closed by another chorale. He scored the work for three vocal soloists (soprano, alto, bass), a four-part choir and a Baroque instrumental ensemble of two horns (Co), timpani (Ti), two flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.^[3]^[6] The title page of the autograph score reads: "Festo Reformat. / Gott der Herr ist Sonn und Schild / a / 4 Voci / 2 Corni / Tamburi / 2 Hautb. / 2 Viol. / Viola / e / Cont. / di / J.S.Bach".^[7]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.^[6] The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).^[3] The continuo, playing throughout, is not shown.

Movements of *Gott, der Herr, ist Sonn und Schild*, BWV 79
No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Gott, der Herr, ist Sonn und Schild	anon.	Chorus	SATB	2Co Ti 2Ft 2Ob	2Vl Va	G major
2	Gott ist unser Sonn und Schild	anon.	Aria	A	Ob		D major	6/8
3	Nun danket alle Gott	Rinckart	Chorale	SATB	2Co Ti 2Ft 2Ob	2Vl Va
4	Gottlob! Wir wissen den rechten Weg zur Seligkeit	anon.	Recitative	B
5	Gott, ach Gott, verlaß die Deinen nimmermehr	anon	Aria	S B		2Vl	B minor
6	Erhalt uns in der Wahrheit	Helmbold	Chorale	SATB	2Co Ti 2Ft 2Ob	2Vl Va

Music

Schlosskirche, Wittenberg, main door

As Hofmann points out, Bach achieved "festive magnificence",^[5] using two horns and timpani not only in the opening chorus but also as obbligato instruments in the two chorales.^[2] Bach established unity of form by using a horn motif from the first movement again in the first chorale, juxtaposed to the hymn tune.^[5]

1

The cantata opens with a choral movement, "Gott der Herr ist Sonn und Schild" (God the Lord is sun and shield).^[1] The instrumental ritornello introduces two themes: "a festive, march-like theme for the horns and timpani, and a more lively counter-theme that develops from a note that is heard seven times."^[5] The musicologist Julian Mincham notes that the ritornello, structured in three parts, is among the longest among Bach's opening choruses. The horns are silent in the middle section, but the voices enter "an imitative discussion of a simplified version of the string theme from the ritornello. Complex contrapuntal texture is used as the vehicle to convey the important and ultimately optimistic message ... The driving rhythms infusing the intricate swirling counterpoint produce an effect that is totally infectious", as Mincham writes.^[8] John Eliot Gardiner, who conducted during his Bach Cantata Pilgrimage in 2000 the cantatas for Reformation at the Schlosskirche in Wittenberg where the Reformation began, describes the opening chorus as a ceremonial procession, and hears the "insistent drum beat" going along with the "fanfares of the high horns" as "the hammering of Luther’s theses to the oak door at the back of the church".^[9]

2

The aria for alto and an obbligato oboe, "Gott ist unsre Sonn und Schild!" (God is our sun and shield!),^[1] expresses similar ideas as the first movement in a personal way, described as "tranquil and individual" by Mincham.^[8] In a later version, the oboe is replaced by a transverse flute.^[2]

3

In the first chorale, "Nun danket alle Gott" (Now let everyone thank God),^[1] Bach uses the first theme of the opening again, simultaneously with the chorale tune.^[5] Helmuth Rilling notes the unity of topic, praise and thanks to God, for the first three movements.^[10] The praise, individual in the preceding aria, is now communal again, "a rousing hymn, now given the most extrovert of settings!"^[8] Gardiner assumes that the sermon may have followed the chorale.^[9]

4

The only recitative, sung by the bass, "Gottlob, wir wissen den rechten Weg zur Seligkeit" (Praise God, we know the right way to blessedness),^[1] mentions the reason for thanks on this occasion. The phrase "Du hast uns durch dein Wort gewiesen" (You have instructed us through Your word)^[1] addresses "the basic issues of the Reformation", as Rilling points out.^[10]

5

A duet for bass and soprano, "Gott, ach Gott, verlaß die Deinen nimmermehr!" (God, ah God, abandon Your own ones never again!), expresses a prayer for protection.^[1] The voices are in homophony, beginning without the instruments,^[2] while a "sharply contoured violin theme" appears first alone, then together with the voices.^[5] All violins play it in unison. The motif was attributed by the Bach scholar Albert Schweitzer to tumult, representing the "raging of enemies" mentioned in the text.^[8] Gardiner hears in the "innocent" setting of the voices "a pre-echo … of Papageno and Papagena, a Mozartian impression, reinforced by the hint of Eine kleine Nachtmusik in the violin ritornelli".^[9]

6

The cantata ends with a four-part setting of the second chorale, "Erhalt uns in der Wahrheit" (Uphold us in the truth),^[1]^[11] asking for the gifts of truth and eternal freedom.^[8]^[10] The horns play again independently, but not in the rousing way of movement 3.^[8]

Selected recordings

The sortable table is taken from the selection on the Bach-Cantatas website with the addition of the recent recording by The Sixteen.^[12] Choirs are roughly marked as large (by red background); instrumental groups playing period instruments in historically informed performances are highlighted green under the header Instr..

Recordings of *Gott der Herr ist Sonn und Schild*, BWV 79
Title	Conductor / Choir / Orchestra	Soloists	Label	Year	Choir type	Instr.
The RIAS Bach Cantatas Project (1949–1952)	Ristenpart, KarlKarl Ristenpart RIAS Kammerchor RIAS-Kammerorchester	Agnes Giebel Lorri Lail Dietrich Fischer-Dieskau	Audite	1950 (1950)	Chamber	Chamber
J. S. Bach: CantataBWV 39 & BWV 79	Lehmann, FritzFritz Lehmann Berliner Motettenchor Berliner Philharmoniker	Gunthild Weber Lore Fischer Hermann Schey	Archiv Produktion	1952 (1952)		Symphony
J. S. Bach: Kantate 'Gott, der Herr, ist Sonn' und Schild	Richter, KarlKarl Richter Münchener Bach-Chor Members of the Bavarian State Opera Munich	Antonia Fahberg Beatrice Krebs Kieth Engen	Decca	1955 (1955)	Bach	Bach
J.S. Bach: Cantata No. 140, Cantata No. 57	Ristenpart, KarlKarl Ristenpart Chorus of the Conservatory of Sarrebruck Chamber Orchestra of the Saar	Ingeborg Reichelt Annelotte Sieber-Ludwig Jakob Stämpfli	Accord	1958 (1958)	Chamber	Chamber
Les Grandes Cantates de J.S. Bach Vol. 19	Werner, FritzFritz Werner Heinrich-Schütz-Chor Heilbronn Pforzheim Chamber Orchestra	Edith Selig Claudia Hellmann Jakob Stämpfli	Erato	1964 (1964)		Chamber
J. S. Bach: Cantatas BWV 80 & BWV 79	Gönnenwein, WolfgangWolfgang Gönnenwein Süddeutscher Madrigalchor Consortium Musicum	Elly Ameling Janet Baker Hans Sotin	EMI	1967 (1967)		Period
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Fol / Vol. 20 – BWV 76-79	Leonhardt, GustavGustav Leonhardt Knabenchor Hannover Collegium Vocale Gent Leonhardt-Consort	Soloist of the Knabenchor Hannover Paul Esswood Max van Egmond	Teldec	1980 (1980)	Boys	Period
Bach Made in Germany Vol. 4 – Cantatas X	Rotzsch, Hans-JoachimHans-Joachim Rotzsch Thomanerchor Gewandhausorchester	Arleen Augér Ortrun Wenkel Theo Adam	Eterna	1982 (1982)	Boys	Symphony
Lecture Concerts – New Recordings Cantatas	Rilling, HelmuthHelmuth Rilling Frankfurter Kantorei Gächinger Kantorei Bach-Collegium Stuttgart	Sibylla Rubens Ingeborg Danz Markus Marquardt	Hänssler	1997 (1997)
Bach Edition Vol. 15 – Cantatas Vol. 8	Leusink, Pieter JanPieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium	Ruth Holton Sytse Buwalda Bas Ramselaar	Brilliant Classics	2000 (2000)	Boys	Period
For the 19th Sunday after Trinity; For the Feast of Reformation	Gardiner, John EliotJohn Eliot Gardiner Monteverdi Choir English Baroque Soloists	Joanne Lunn William Towers Peter Harvey	Soli Deo Gloria	2000 (2000)		Period
J. S. Bach: Complete Cantatas Vol. 16	Koopman, TonTon Koopman Amsterdam Baroque Orchestra & Choir	Sandrine Piau Bogna Bartosz Klaus Mertens	Antoine Marchand	2001 (2001)		Period
J.S. Bach: Cantatas Vol. 40 – BWV 79, 137, 164, 168	Suzuki, MasaakiMasaaki Suzuki Bach Collegium Japan	Yukari Nonoshita Robin Blaze Peter Kooy	BIS	2007 (2007)		Period
J. S. Bach: Wo Gott der Herr nicht bei uns hält	Biller, Georg ChristophGeorg Christoph Biller Thomanerchor Gewandhausorchester	soloists of the Thomanerchor Gotthold Schwarz	Rondeau Production	2008 (2008)	Boys	Symphony
J.S. Bach Lutheran Masses, Vol. II	Christophers, HarryHarry Christophers The Sixteen Orchestra of The Sixteen	soloists of The Sixteen	Coro	2014 (2014)	Chamber	Period

Notes

↑ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References

1 2 3 4 5 6 7 8 Dellal, Pamela. "BWV 79 – Gott der Herr ist Sonn und Schild". Emmanuel Music. Retrieved 2 November 2014.
1 2 3 4 5 Wolff, Christoph (2001). Bach’s Third Yearly Cycle of Cantatas (1725−1727) − I(1725) (PDF). p. 7−10. Retrieved 5 November 2015.
1 2 3 Dürr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (in German). 1. Bärenreiter-Verlag. OCLC 523584.
↑ "Nun laßt uns Gott dem Herren / Text and Translation of Chorale". bach-cantatas.com. 2007. Retrieved 30 October 2012.
1 2 3 4 5 6 7 Hofmann, Klaus (2007). "Gott der Herr ist Sonn und Schild (For the Lord God is a Sun and a Shield), BWV 79" (PDF). bach-cantatas.com. p. 4. Retrieved 26 October 2012.
1 2 Bischof, Walter F. "BWV 79 – Gott der Herr ist Sonn und Schild". University of Alberta. Retrieved 3 November 2015.
↑ Grob, Jochen (2014). "BWV 79 / BC A 184" (in German). s-line.de. Retrieved 6 November 2015.
1 2 3 4 5 6 Mincham, Julian (2010). "Chapter 5 BWV 79 Gott der Herr ist Sonn und Schild / The Lord God is both our Sun and our Shield.". jsbachcantatas.com. Retrieved 26 October 2012.
1 2 3 Gardiner, John Eliot (2005). "Cantatas for the Feast of the Reformation / Schlosskirche, Wittenberg" (PDF). bach-cantatas.com. pp. 5−7. Retrieved 26 October 2012.
1 2 3 Rilling, Helmuth. "Gott der Herr ist Sonn und Schild (God the Lord is sun and shield), BWV 79". WKSU-FM. Retrieved 29 October 2012.
↑ "Chorale Melodies used in Bach's Vocal Works / Nun laßt uns Gott dem Herren". bach-cantatas.com. 2005. Retrieved 30 October 2012.
↑ Oron, Aryeh. "Cantata BWV 79 Gott der Herr ist Sonn und Schild". Bach-Cantatas. Retrieved 3 November 2015.

Sources

Church cantatas by Johann Sebastian Bach

Before Leipzig	Early: BWV 4 131 71 106 196 150 143 Weimar: BWV 61 70a 186a 132 174a 63 152 155 18 54 80a 182 31 12 172 165 21 185 199 161 162 163 Köthen: BWV Anh. 5

First cycle (1723–24)	Between Trinity and Advent: BWV 75 76 24 167 147 186 136 105 46 179 69a 77 25 138 95 148 48 109 89 60 90 70 From Advent to Trinity: BWV 40 64 190 153 65 154 73 81 83 144 181 22 23 66 134 67 104 166 86 37 44 59 184

Second cycle (& chorale cantatas)	Chorale cantatas between Trinity and Easter: BWV 20 2 7 135 10 93 107 178 94 101 113 33 78 99 8 130 114 96 5 180 38 115 139 26 116 62 91 121 133 122 41 123 124 3 111 92 125 126 127 1 Continuation of the second cycle: BWV 6 42 85 103 108 87 128 183 74 68 175 176 Later additions to the chorale cantata cycle: BWV 80 137 129 58 112 140 177 9 14 Other late chorale cantatas: BWV 117 192 100 97

Third cycle	After Trinity 1725: BWV 168 164 79 Liturgical year 1725–26: BWV 110 57 151 28 16 32 13 72 146 43 39 88 170 187 45 102 35 17 19 27 47 169 56 49 98 55 52 1727: BWV 82 84 34 173

Later and other	Picander cycle: BWV 149 188 197a 171 156 159 145 174 Late parodies: BWV 36 30 191 200 1083 Council election: BWV 119 193 Anh. 3 29 120 69 Wedding: BWV 34a 195 120a 197 Funeral: 157 244a Other: 194 190a 120b 51 158 50 248/VIa Doubtful: 53 142 189 217 220 221 223 224

Bach cantata List of Bach cantatas Discography: Monteverdi Choir/Koopman/Teldec

Cantatas by Johann Sebastian Bach by BWV number

1 2 3 4 5 6 7 8 9 10 11 (oratorio) 12 13 14 15^** 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 30a 31 32 33 34 34a 35 36 36a 36b 36c 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 (53)^* 54 55 56 57 58 59 60 61 62 63 64 65 66 66a 67 68 69 69a 70 71 72 73 74 75 76 77 78 79 80 80a 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 (motet) 119 120 120a 120b 121 122 123 124 125 126 127 128 129 130 131 (131a)^* 132 133 134 134a 135 136 137 138 139 140 ~~141~~^** (142)^* 143 144 145 146 147 147a 148 149 150 151 152 153 154 155 156 157 158 159 ~~160~~^** 161 162 163 164 165 166 167 168 169 170 171 172 173 173a 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 (189)^* 190 190a 191 192 193 193a 194 195 196 197 197a 198 199 200 201 202 203 204 205 205a 206 207 207a 208 208a 209 210 210a 211 212 213 214 215 216 216a (217)^* ~~218~~^ ~~219~~^ (220)^* (221)^* ~~222~~^** 223 224 244a 248a 249a 249b 1040 1045 1083 1127 Anh. 3 Anh. 5 Anh. 9 Anh. 11 Anh. 18 — ^(Doubtful) ^*~~Spurious~~

Lists: Compositions Cantatas ; Church cantatas: Chorale cantatas Early Weimar 1st cycle 2nd cycle 3rd cycle Picander cycle Late ; Secular cantatas

Authority control	WorldCat Identities VIAF: 176620455 BNF: cb139099076 (data)

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