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Jesus nahm zu sich die Zwlfe, BWV 22


From Wikipedia, the free encyclopedia

Jesus nahm zu sich die Zwlfe (Jesus gathered the


twelve to Himself),[1] BWV 22[a] , 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
scene from the Gospel reading 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 "Herr
Christ, der einig Gotts Sohn". 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.

Jesus nahm zu sich die Zwlfe


BWV 22
Church cantata by J. S. Bach

Thomaskirche, Leipzig (1885),


one of the major churches in Leipzig and location
of the first performance of the cantata as part of
the composer's audition for the post of
Thomaskantor
Related

performed with BWV 23

Occasion

Quinquagesima

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

Performed

7 February 1723 Leipzig

Movements

words"[2] and "the biblical narrative ... as a dramatic

Bible text

Luke 18:31,34

scena".[3]

Chorale

Herr Christ, der einig Gotts Sohn

Cantata text anonymous

Vocal

solo: alto, tenor and bass


SATB choir

Contents

Instrumental oboe 2 violins viola continuo

1 History
1.1 Background, Mhlhausen, Weimar and
Kthen
1.2 Audition in Leipzig
1.3 Thomaskantor
2 Composition
2.1 Occasion and words
2.2 Scoring and structure
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2.3 Music
2.4 Reception
2.5 Recordings
3 Notes
4 References
5 Bibliography

History
Background, Mhlhausen, Weimar and Kthen
Johann Sebastian Bach was an organist in Mhlhausen from 1706 to 1708. There 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 early chorale cantata Christ lag in Todes Banden,
BWV 4 for Easter.[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.[5] He initially concentrated on the
organ, composing major works for the instrument, [5] including the
Orgelbchlein, 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: [6] The first cantatas he
composed in the new position were Himmelsknig, sei willkommen, BWV
182, for Palm Sunday,[7] Weinen, Klagen, Sorgen, Zagen, BWV 12 for
Wilhelm Ernst,
Duke of Saxe-Weimar

Jubilate Sunday,[8] and Erschallet, ihr Lieder, BWV 172, for Pentecost.
Mostly inspired by texts by the court poet, Salomo Franck, they contain

recitatives and arias. [9] When Johann Samuel Drese, the Kapellmeister
(director of music), 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-Kthen. However, the
duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December
1717.[10]
In Kthen, Bach found an employer who was an enthusiastic musician himself.[10] 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.[10][11] 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 to church cantatas without major
changes, for example Ein Herz, das seinen Jesum lebend wei, BWV 134.[12]

Audition in Leipzig
Bach composed his cantata as part of his application for the position of
Thomaskantor in Leipzig,[13] the official title being Cantor et Director
Musices [14] (Cantor and Director of Music) of the city's main Lutheran
churchesthe Thomaskirche, the Nikolaikirche and the Paulinerkirche (the
church of the University of Leipzig). [15] The position became vacant when
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church of the University of Leipzig). [15] 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 (particularly since my sons seemed inclined to [university]
studies) 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." [16]
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

Nikolaikirche, Leipzig,
c.1850, one of the major
churches in Leipzig

university education. [17]


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

Telemann, the town


council's first choice

already agreed to offer him the position.[18]


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.[19] Bach
composed in Kthen 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,[15] Jesus nahm zu
sich die Zwlfe about Jesus announcing his suffering, which the disciples do not understand. [20]
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.[19] 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, [21] this cantata before the sermon, and Du wahrer Gott und Davids Sohn after the
sermon. [13] The score of BWV 22 bears the note "This is the Leipzig audition piece" (Das ist das ProbeStck fr Leipzig). [22]
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 composition techniques Bach employed in the two audition cantatas; they
displayed "a broad and highly integrated spectrum of ... vocal art". [23]
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

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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

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A press review reads: "On Sunday last in the morning the Hon. Capellmeister of Cthen, 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 ...". [21]
Bach left Leipzig without hope for the position because it had been offered to Graupner, but he was not
dismissed by his employer, Ernst-Ludwig of Hesse-Darmstadt.[21] 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. [24]

Thomaskantor
Bach assumed the position of Thomaskantor on 30 May 1723, the first Sunday after Trinity, performing two
ambitious cantatas in 14 movements each: Die Elenden sollen essen, BWV 75, followed by Die Himmel
erzhlen 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 Zwlfe again on 20 February 1724, as a printed libretto shows, and
probably did so again in later years.[22]

Composition
Occasion and words
Bach composed his cantata in 1723 for the Sunday Quinquagesima, the last Sunday before Lent. In the city
of Leipzig, tempus clausum was observed during Lent, therefore Quinquagesima 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.[25] The prescribed readings for the Sunday were taken from the First Epistle to the
Corinthians, "praise of love" (1 Corinthians 13:113), and from the Gospel of Luke, healing the blind near
Jericho (Luke 18:3143). 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. [15] The poetry ends on a prayer for "denial of the flesh". The closing chorale is stanza 5 of
Elisabeth Cruciger's "Herr Christ, der einig Gotts Sohn",[26] intensifying the prayer,[27] on a melody from
the Lochamer-Liederbuch.[28]
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. [29] 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.[30]
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of it in the da capo.[30]

Scoring and structure


The cantata has five movements and is scored for three vocal soloists (an alto (A), tenor (T) and bass (B)),
a four-part choir (SATB), and for a Baroque orchestra of an oboe (Ob), two violins (Vl), viola (Va) and
basso continuo.[31] The duration is given as c.20 minutes.[15]
In the following table of movements, the scoring, divided in voices, winds and strings, follows the Neue
Bach-Ausgabe. The continuo group is not listed, because it plays throughout. The keys and time signatures
are taken from Alfred Drr. The symbol
No.

Type

is used to denote common time (4/4).

Text (source)

Vocal

1 Arioso

Jesus nahm zu sich die Zwlfe (Bible)

2 Aria

Mein Jesu, ziehe mich nach dir (anon.) A

3 Recitativo

Mein Jesu, ziehe mich, so werd ich


laufen (anon.)

4 Aria

Mein alles in allem, mein ewiges Gut


(anon.)

5 Chorale

Ertt uns durch dein Gte (Cruziger)

SATB

Winds Strings

T B SATB Ob
Ob

Key

Time

2Vl Va G minor
C minor

9/8

E-flat major
B major
2Vl Va B major
Ob

3/8

2Vl Va B major

Music
1
The text of the first movement, Jesus nahm zu sich die Zwlfe (Jesus gathered the Twelve to Himself) is a
quotation of two verses from the prescribed Gospel for the Sunday (Luke 18:3143). The movement is a
scene with different actors, narrated by the Evangelist (tenor), in which Jesus (bass, as the vox Christi or
voice of Christ) and his disciples (the chorus) interact. An "ever-ascending" instrumental ritornello "evokes
the image of the road of suffering embodied by going up to Jerusalem". [20] The Evangelist begins the
narration (Luke 18:31). Jesus announces his future suffering in Jerusalem, Sehet, wir gehn hinauf gen
Jerusalem ("Behold, we go up to Jerusalem").[1] He sings, while the ritornello is played several times.[15]
After another repeat of the ritornello as an interlude, a choral fugue illustrates the reaction of the disciples,
following verse 34 from the Gospel (Luke 18:34): Sie aber vernahmen der keines ("However they
understood nothing").[1][15][22] The voices are first accompanied only by the continuo, then doubled by the
other instruments. Bach marks the voices in the autograph score as "concertists" for the first section and
"ripienists" when the instruments come in. [22] The movement is concluded by an instrumental postlude.[27]
The musicologist Julian Mincham notes that the fugue deviates from the "traditional alternating of tonic
and dominant entries ... as a rather abstruse indication of the lack of clarity and expectation amongst the
disciples, Bach is hinting at this in musical terms by having each voice enter on a different note, B-flat, F,
C and G and briefly touching upon various related keys. The music is, as always, lucid and focussed but the
departure from traditional fugal procedure sends a fleeting message to those who appreciate the subtleties
of the musical processes".[32]
The musicologist Richard D. P. Jones points out that "the biblical narrative is set as a dramatic scena
worthy of the Bach Passions" and that the "vivid drama of that movement has no real counterpart in Bach's
Cycle I cantatas." [3]

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2
In the first aria, Mein Jesu, ziehe mich nach dir ("My Jesus, draw me after You"), [1] the alto voice is
accompanied by an obbligato oboe, which expressively intensifies the text.[27]
An aria is, according to Johann Mattheson in Der vollkommene
Capellmeister (Part II, chapter 13, paragraph 10), "correctly described as a
well-composed song, which has its own particular key and meter, is usually
divided into two parts, and concisely expresses a great affection.
Occasionally it closes with a repetition of the first part, occasionally without
it." [33]
In this aria, an individual believer requests Jesus to make him follow, even
without comprehending where and why. Mincham observes a mood or
affekt of "deep involvement and pensive commitment", with the oboe
creating "an aura of suffering and a sense of struggling and reaching
upwards in search of something indefinable in a way that only music can
suggest."[32]
3

Johann Mattheson, music


theorist, 1746

The recitative Mein Jesu, ziehe mich, so werd ich laufen ("My Jesus, draw me, then I will run") [1] is not a
simple secco recitative, but is accompanied by the strings and leans towards an arioso, especially near the
end. [27] It is the first movement in a major mode, and illustrates in rapid runs the motion and the running
mentioned..[32]
4
The second aria, Mein alles in allem, mein ewiges Gut ("My all in all, my eternal good"),[1] again with
strings, is a dance-like movement in free da capo form, A B A'. The unusually long text, of four lines for
the A section and two for the B section, results in Bach's solution to repeat the end of the first line (my
eternal good) after all text of A, and then after the middle section B repeat only the first line as A', thus
ending A and A' the same way.[30] In this modified repeat, the voice holds a long note on the word Friede
("peace"), after which the same theme appears in the orchestra and again in the continuo.[27] The
musicologist Tadashi Isoyama notes the passepied character of the music, reminiscent of secular Kthen
cantatas.[20] Mincham describes: "Bach's expression of the joy of union with Christ can often seem quite
worldly and uninhibited", and summarises: "The 3/8 time signature, symmetrical phrasing and rapid string
skirls combine to create a sense of a dance of abandonment."[32]
5
The closing chorale is Ertt uns durch dein Gte ("Kill us through your
goodness" [1] or "Us mortify through kindness"[34] ), the fifth stanza of
Elisabeth Cruciger's "Herr Christ, der einig Gotts Sohn".[26] Its melody is
based on one from Wolflein Lochamer's Lochamer-Liederbuch, printed in
Nrnberg around 1455. It first appears as a sacred tune in Johann Walter's
Wittenberg hymnal Eyn geystlich Gesangk Buchleyn (1524).[28]
The usual four-part setting of the voices is brightened by continuous runs of
the oboe and violin I. [32] Isoyama thinks that Bach may have intentionally
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the oboe and violin I. [32] Isoyama thinks that Bach may have intentionally
imitated the style of his predecessor Johann Kuhnau in the "elegantly
flowing obbligato for oboe and first violin".[35] John Eliot Gardiner
describes the movement's bass line as a "walking bass as a symbol of the
disciples' journey to fulfilment.[36] Mincham comments that Bach "chose to
maintain the established mood of buoyancy and optimism with a chorale
arrangement of almost unparalleled energy and gaiety" and concludes:

The hymn printed in the


Erfurt Enchiridion, 1524

It would seem that Bach had not yet reached a conclusion, if indeed he ever did, as to the most
appropriate way of utilising the chorales in his cantatas. Certainly the quiet, closing moments
of reflection and introspection became the norm, particularly in the second cycle. But the
chorale could, as here, act as a focus of bounding energy and positivity. [32]

Reception
Jones summarises: "The audition cantatas ... show Bach feeling his way
towards a compromise between the progressive, opera-influenced and the
conservative, ecclesiastical styles."[2] He acknowledges the standard BWV
22 sets for later church cantatas:
"... places an ecclesiastical frame of biblical text and chorale
around the operatic forms of aria and recitative, a frame that
would become a standard in the cantatas of cycle I. Moreover,
the impressive opening movement incorporates two modes of
treatment that would recur regularly during Cycle I and beyond:
the fugal setting of biblical words and the use as the bass voice
as vox Christi, as in traditional Passion settings." [2]
Isoyama points out: "BWV 22 incorporates dance rhythms, and is written

John Eliot Gardiner, 2007,


who conducted the Bach
Cantata Pilgrimage in 2000

with a modern elegance." [20] Mincham interprets Bach's approach in both


audition works as "a fair example of the range of music which is suitable for worship and from which
others might learn", explaining the "sheer range of forms and musical expression in these two cantatas". [32]
Gardiner, who conducted the Bach Cantata Pilgrimage with the Monteverdi Choir and wrote a diary on the
project, comments on the disciples' reaction ("and they understood none of these things, neither knew they
the things which were spoken"): "One could read into this an ironic prophecy of the way Bach's new
Leipzig audience would react to his creative outpourings over the next twenty-six years in the absence,
that is, of any tangible or proven signs of appreciation: neither wild enthusiasm, deep understanding nor
overt dissatisfaction". [36]

Recordings
The listing follows the selection on the Bach-Cantatas website.[37]
Album

Conductor

Choir

Orchestra

The RIAS Bach


Cantatas Project
(19491952)

Karl
Ristenpart

RIASKammerchor

RIASKammerorchester

http://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Zwlfe,_BWV_22

Soloists

Label

Year

Lotte Wolf-Matthus
Helmut Krebs
Audite
Dietrich Fischer-Dieskau

1950

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J.S. Bach: Das


Kantatenwerk
Sacred Cantatas
Vol. 2
Die Bach Kantate
Vol. 28

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Gustav
Leonhardt

Tlzer
Knabenchor,
Leonhardt Consort
King's
College Choir

Paul Esswood
Kurt Equiluz
Max van Egmond

Teldec

1973

Helmuth
Rilling

Gchinger
Kantorei

Bach-Collegium
Stuttgart

Helen Watts
Adalbert Kraus
Wolfgang Schne

Hnssler

1977

J.S. Bach:
Ton
Complete Cantatas
Koopman
Vol. 3

Amsterdam
Baroque
Choir

Elisabeth von Magnus


Amsterdam Baroque
Paul Agnew
Orchestra
Klaus Mertens

J.S. Bach: Cantatas


Masaaki
Vol. 8 Leipzig
Suzuki
Cantatas

Bach
Collegium
Japan

Bach Collegium
Japan

Bach Edition Vol. 5 Pieter Jan


Cantatas Vol. 2
Leusink

Antoine
1995
Marchand

Yoshikazu Mera
Gerd Trk
Peter Kooy

BIS

1998

Holland Boys Netherlands Bach


Choir
Collegium

Sytse Buwalda
Nico van der Meel
Bas Ramselaar

Brilliant
Classics

1999

Bach Cantatas Vol.


21:
John Eliot
Cambridge/Walpole Gardiner
St Peter

Monteverdi
Choir, the
Choirs of
Clare and
Trinity
Colleges

Claudia Schubert
James Oxley
Peter Harvey

Soli Deo
2000
Gloria

J.S. Bach: Jesus


nahm zu sich die
Zwlfe, Kantate
BWV 22

Georg
Christoph
Biller

boy soloist of the


Thomanerchor
MDR
Thomanerchor Gewandhausorchester
Martin Petzold
Figaro
Wolf Matthias Friedrich

J.S. Bach: Jesus,


deine Passion

Philippe
Herreweghe

Collegium
Vocale Gent

Bach Cantatas
From Mhlhausen, James Bates
Weimar & Leipzig
J.S. Bach: Kantate
BWV 22 "Jesus
Rudolf Lutz
nahm zu sich die
Zwlfe"

English Baroque
Soloists

Carolina Baroque

Chor der J. S. Orchester der J. S.


Bach-Stiftung Bach-Stiftung

2005

Matthew White
Jan Kobow
Peter Kooy

Harmonia
Mundi
2007
France

Teresa Radomski
Lee Morgan
Richard Heard
Doug Crawley

Carolina
Baroque

2008

Markus Forster
Johannes Kaleschke
Ekkehard Abele

Gallus
Media

2010

Notes
a. ^ BWV is Bach-Werke-Verzeichnis, a thematical catalogue of Bach's works

References
1. ^ a b c d e f g Dellal 2012.
2. ^ a b c Jones 2013, p. 214.
3. ^ a b Jones 2013, p. 122.
4. ^ Arnold 2009, p. 37.
5. ^ a b Koster 2011.
6. ^ Wolff 2002, p. 147.
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7. ^ Wolff 2002, p. 156.


8. ^ Drr 1971, p. 262.
9. ^ Drr 1971, p. 29.
10. ^ a b c Randel 1996, p. 38.
11. ^ Loewe 2014, p. 5455.
12. ^ Jones 2013, p. 213.
13. ^ a b Wolff 1998, p. 19.
14. ^ Wolff 2002, p. 237.
15. ^ a b c d e f Drr 1971, p. 219.
16. ^ Wolff 2002, p. 221.
17. ^ Wolff 2002, p. 218221.
18. ^ Wolff 1991, p. 121.
19. ^ a b Wolff 1991, p. 120.
20. ^ a b c d Isoyama 1998, p. 4.
21. ^ a b c Wolff 1991, p. 128.
22. ^ a b c d Wolff 1998, p. 20.
23. ^ Wolff 1991, p. 135.
24. ^ Wolff 2002, p. 223.
25. ^ Boulder 2014.
26. ^ a b Browne & Oron 2009.
27. ^ a b c d e Drr 1971, p. 220.
28. ^ a b Browne & Oron 2008.
29. ^ Wolff 1991, p. 130.
30. ^ a b Crist 1989, p. 44.
31. ^ Bischof 2012.
32. ^ a b c d e f g Mincham 2010.
33. ^ Crist 1989, p. 36.
34. ^ Ambrose 2012.
35. ^ Isoyama 1998, p. 5.
36. ^ a b Gardiner 2006, p. 2.
37. ^ Oron 2014.

Bibliography
Scores
Jesus nahm zu sich die Zwlfe, BWV 22: Free scores at the International Music Score Library
Project
"Jesus nahm zu sich die Zwlfe BWV 22; BC A 48" (http://www.bachdigital.de/receive/BachDigitalWork_work_00000027). Leipzig University. 1992. Retrieved 30 May
2014.
Books
Arnold, Jochen (2009). Von Gott poetisch-musikalisch reden: Gottes verborgenes und offenbares
Handeln in Bachs Kantaten (http://books.google.co.uk/books?id=YtZu6mJnokoC&pg=PA37) (in
http://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Zwlfe,_BWV_22

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Handeln in Bachs Kantaten (http://books.google.co.uk/books?id=YtZu6mJnokoC&pg=PA37) (in


German). Vandenhoeck & Ruprecht. ISBN 3-647-57124-5.
Drr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (in German) 1. Brenreiter-Verlag.
OCLC 523584 (https://www.worldcat.org/oclc/523584).
Crist, Stephen A. (1989). Franklin, Don O., ed. Aria forms in the Cantatas from Bach' first Leipzig
Jahrgang in Bach Studies (https://books.google.co.uk/books?id=lT09AAAAIAAJ&pg=PA44) 1. CUP
Archive. ISBN 0-521-34105-1.
Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, Volume II: 1717
1750: Music to Delight the Spirit (http://books.google.co.uk/books?
id=0YwzAQAAQBAJ&pg=PA132&lpg=PA213). Oxford University Press. ISBN 0-19-969628-4.
Loewe, Arnold (2014). Johann Sebastian Bachs St John Passion (BWV 245): A Theological
Commentary (http://books.google.co.uk/books?id=wTJnAwAAQBAJ&pg=PA54). Brill. ISBN 9-00427236-4.
Randel, Don Michael (1996). The Harvard Biographical Dictionary of Music
(https://books.google.co.uk/books?id=jEGpMqRcQjIC&pg=PA38). Harvard University Press.
ISBN 0-674-37299-9.
Wolff, Christoph (1991). Bach: Essays on His Life and Music (http://books.google.co.uk/books?
id=8WFNr4EZk2cC&pg=PA129). Harvard University Press. ISBN 978-0-674-05926-9.
Wolff, Christoph (2002). Johann Sebastian Bach: The Learned Musician
(http://books.google.co.uk/books?id=NHpL3cQg0_UC&pg=PA147). W. W. Norton & Company.
ISBN 978-0-393-32256-9.
Online sources
Several databases provide additional information on each cantata, such as history, scoring, sources for text
and music, translations to various languages, discography, discussion and musical analysis.
The complete recordings of Bach's cantatas are accompanied by liner notes from musicians and
musicologists: Gardiner commented on his Bach Cantata Pilgrimage, Klaus Hofmann and Tadashi Isoyama
wrote for Masaaki Suzuki, and Wolff for Ton Koopman.
Ambrose, Z. Philip (2012). "BWV 22 Jesus nahm zu sich die Zwlfe"
(http://www.uvm.edu/~classics/faculty/bach/BWV22.html). University of Vermont. Retrieved
4 February 2013.
Bischof, Walter F. (2012). "BWV 22 Jesus nahm zu sich die Zwlfe"
(http://webdocs.cs.ualberta.ca/~wfb/cantatas/22.html). University of Alberta. Retrieved 4 February
2013.
Browne, Francis; Oron, Aryeh (2008). "Chorale Melodies used in Bach's Vocal Works / Herr Christ,
der einge Gottessohn" (http://www.bach-cantatas.com/CM/Herr-Christ-einge.htm). bachcantatas.com. Retrieved 4 February 2013.
Browne, Francis; Oron, Aryeh (2009). "Herr Christ, der einge Gottessohn / Text and Translation of
Chorale" (http://www.bach-cantatas.com/Texts/Chorale114-Eng3.htm). bach-cantatas.com. Retrieved
4 February 2013.
Dellal, Pamela (2012). "BWV 22 "Jesus nahm zu sich die Zwlfe" "
(http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv022.htm). Emmanuel Music.
http://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Zwlfe,_BWV_22

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Jesus nahm zu sich die Zwlfe, BWV 22 - Wikipedia, the free encyclopedia

2/7/15 6:44 AM

(http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv022.htm). Emmanuel Music.


Retrieved 4 February 2013.
Gardiner, John Eliot (2006). "Cantatas for Quinquagesima / Kings College Chapel, Cambridge"
(http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P21c%5Bsdg118_gb%5D.pdf) (PDF). bachcantatas.com. Retrieved 4 February 2013.
Isoyama, Tadashi (1998). "BWV 22: Jesus nahm zu sich die Zwlfe (Jesus called to Himself the
Twelve)" (http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C08c%5BBIS-CD901%5D.pdf)
(PDF). bach-cantatas.com. Retrieved 4 February 2013.
Koster, Jan (2011). "Weimar 17081717"
(http://www.let.rug.nl/Linguistics/diversen/bach/weimar2.html). let.rug.nl. Retrieved 16 December
2011.
Mincham, Julian (2010). "Chapter 44 BWV 22 Jesu nahm zu sich die Zwlfe / Jesus took the twelve
to Him." (http://www.jsbachcantatas.com/documents/chapter-44-bwv-22.htm). jsbachcantatas.com.
Retrieved 4 February 2013.
Oron, Aryeh (2014). "Cantata BWV 22 Jesus nahm zu sich die Zwlfe" (http://www.bachcantatas.com/BWV22.htm). bach-cantatas. Retrieved 4 February 2013.
Wolff, Christoph (1998). "From konzertmeister to thomaskantor: Bach's cantata production 1713
1723" (http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C03-1c%5BErato-3CD%5D.pdf)
(PDF). bach-cantatas.com. Retrieved 4 February 2013.
McCue, Edward (ed.). "The Liturgical Calendar at Leipzig" (http://boulderbachbeat.org/the-liturgicalcalendar-at-leipzig/). Boulder Bach Festival. Retrieved 6 December 2014.
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