Jesus nahm zu sich die Zwölfe, BWV 22
Jesus nahm zu sich die Zwölfe, 22, is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723.
The work, which is in five movements, begins with a Gospel passage in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless. The closing chorale is a stanza from Elisabeth Cruciger's hymn "". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, Du wahrer Gott und Davids Sohn, BWV 23. He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office.
The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative... as a dramatic scena".
History
Background, Mühlhausen, Weimar and Köthen
The earliest known cantatas of Johann Sebastian Bach were performed in Mühlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and the Easter chorale cantata Christ lag in Todes Banden, BWV 4.Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. He was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche. The first cantatas he composed in the new position were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, for Pentecost. Mostly inspired by texts by the court poet, Salomo Franck, they contain recitatives and arias. When Johann Samuel Drese, the Kapellmeister, died in 1716, Bach hoped in vain to become his successor. Bach looked for a better position and found it as Kapellmeister at the court of Leopold, Prince of Anhalt-Köthen. However, the duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December 1717.
In Köthen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including Die Zeit, die Tag und Jahre macht, BWV 134a. He later parodied some of them as church cantatas without major changes, for example Ein Herz, das seinen Jesum lebend weiß, BWV 134.
Audition in Leipzig
Bach composed this cantata as part of his application for the position of in Leipzig, the official title being . As cantor, he was responsible for the music at four Lutheran churches, the main churches Thomaskirche and the Nikolaikirche, but also the Neue Kirche and the Peterskirche. As director of music, the Thomaskantor was Leipzig's "senior musician", responsible for the music on official occasions such as town council elections and homages. Functions related to the university took place at the Paulinerkirche. The position became vacant when Johann Kuhnau died on 5 June 1722. Bach was interested, mentioning as one reason that he saw more possibilities for future academic studies of his sons in Leipzig: "...but this post was described to me in such favorable terms that finally I cast my lot, in the name of the Lord, and made my journey to Leipzig, took my examination, and then made the change of position."By August 1722, the town council had already chosen Georg Philipp Telemann as Kuhnau's successor, but he declined in November. In a council meeting on 23 November, seven candidates were evaluated, but no agreement was reached on whether to prefer a candidate for academic teaching abilities or musical performance. The first council document with Bach named as a candidate dates from 21 December, together with Christoph Graupner. Of all candidates, Bach was the only one without a university education.
The decision to invite Bach was made by the council on 15 January 1723. The council seemed to have preferred Bach and Graupner because they were invited to show two cantatas each, while other candidates were requested to show only one. Two candidates even had to present their work in the same service. Graupner's performance took place on the last Sunday after Epiphany, 17 January 1723. Two days before the event, the town council agreed to offer him the position.
Christoph Wolff assumes that Bach received an invitation for the audition together with the texts, probably prescribed to the candidates and drawn from a printed collection, only weeks before the date. In Köthen Bach composed two cantatas on two different themes from the prescribed Gospel for the Sunday, Du wahrer Gott und Davids Sohn, BWV 23, on the topic of healing the blind near Jericho, and Jesus nahm zu sich die Zwölfe, about Jesus announcing his suffering which his disciples do not understand.
Bach had to travel to Leipzig early because he was not familiar with the location and the performers. Wolff assumes that Bach was in Leipzig already on 2 February for the Marian feast of Purification when candidate Georg Balthasar Schott presented his audition piece at the Nikolaikirche. Bach brought the scores and some parts, but additional parts had to be copied in Leipzig by students of the Thomasschule. Bach led the first performance of the two audition cantatas on 7 February 1723 as part of a church service at the Thomaskirche, this cantata before the sermon, and Du wahrer Gott und Davids Sohn after the sermon. The score of BWV 22 bears the note "This is the Leipzig audition piece".
Wolff notes that Bach employed the three lower voices in BWV 22 and the upper three voices in BWV 23, and presents a list of the different compositional techniques Bach employed in the two audition cantatas; they displayed "a broad and highly integrated spectrum of... vocal art".
| Cantata/Movement | Style |
| BWV 22/1B | Concerted choral fugue with solo exposition |
| BWV 23/3 | Concerted choral movement |
| BWV 22/5 | Hymn setting |
| BWV 22/3 | Secco recitative |
| BWV 23/2 | Recitative with instrumental cantus firmus |
| BWV 22/1A | Dialogue |
| BWV 22/2 | Aria in trio setting |
| BWV 23/1 | Duet in a five-part setting |
| BWV 22/4 | Aria with full string accompaniment |
| BWV 23/4 | Chorale fantasia |
A press review reads: "On Sunday last in the morning the Hon. Capellmeister of Cöthen, Mr. Bach, gave here his test at the church of St. Thomas's for the hitherto vacant cantorate, the music of the same having been amply praised on that occasion by all knowledgeable persons..."
Bach left Leipzig without hope for the position because it had been offered to Graupner, but then Graupner was not dismissed by his employer, Ernst-Ludwig of Hesse-Darmstadt. After a meeting on 9 April 1723, with incomplete documentation containing "...since the best could not be obtained, a mediocre one would have to be accepted..." Bach received an offer to sign a preliminary contract.
Thomaskantor
Bach assumed the position of on 30 May 1723, the first Sunday after Trinity, performing two ambitious cantatas in fourteen movements each: Die Elenden sollen essen, BWV 75, followed by Die Himmel erzählen die Ehre Gottes, BWV 76. They form the beginning of his attempt to create several annual cycles of cantatas for the occasions of the liturgical year.He performed Jesus nahm zu sich die Zwölfe again on 20 February 1724, as a printed libretto shows, and probably did so again in later years.
Composition
Occasion and words
Bach composed his cantata in 1723 for the Sunday Estomihi, the last Sunday before Lent. In Leipzig, tempus clausum was observed during Lent, therefore it was the last Sunday with a cantata performance before a celebration of the Annunciation, Palm Sunday and the vespers service on Good Friday and Easter. The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love", and from the Gospel of Luke, healing the blind near Jericho. The Gospel also contains the announcement by Jesus of his future suffering in Jerusalem, and that the disciples do not understand what he is saying.The cantata text is the usual combination of Bible quotation, free contemporary poetry and as closing chorale a stanza from a hymn as an affirmation. An unknown poet chose from the Gospel verses 31 and 34 as the text for movement 1, and wrote a sequence of aria, recitative and aria for the following movements. His poetic text places the Christian in general, including the listener at Bach's time or any time, in the situation of the disciples: he is pictured as wanting to follow Jesus even in suffering, although he does not comprehend. The poetry ends on a prayer for "denial of the flesh". The closing chorale is stanza 5 of Elisabeth Cruciger's "", intensifying the prayer, on a melody from the Lochamer-Liederbuch.
Stylistic comparisons with other works by Bach suggest that the same poet wrote the texts for both audition cantatas and also for the two first cantatas which Bach performed when taking up his office. The poetry for the second aria has an unusually long first section, which Bach handled elegantly by repeating only part of it in the da capo.