Gott, wie dein Name, so ist auch dein Ruhm, BWV 171

Gott, wie dein Name, so ist auch dein Ruhm
BWV 171
Church cantata by J. S. Bach
Thomaskirche, Leipzig
Related	Patrem omnipotentem of the Mass in B minor
Occasion	New Year's Day
Performed	1 January 1729 (1729-01-01)?: Leipzig
Movements	6
Cantata text	Picander
Bible text	Psalms 48:10
Chorale	"Jesu, nun sei gepreiset" by Johannes Hermann
Vocal	SATB choir and solo
Instrumental	3 trumpets timpani 2 oboes 2 violins viola continuo

Gott, wie dein Name, so ist auch dein Ruhm (God, as Your name is, so is also Your praise),^[1] BWV 171,^{[lower-alpha 1]} is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and probably first performed it on 1 January 1729.

Bach composed the cantata years after the complete cantata cycles from the beginning of his tenure as Thomaskantor in Leipzig in 1723. The text by Picander appeared in a 1728 collection of texts for all occasions of the liturgical year. The feast day also celebrated the circumcision and naming of Jesus. Picander focused on the naming, beginning with a psalm verse mentioning God's name. He used for the conclusion the second stanza from Johannes Hermann's hymn "Jesu, nun sei gepreiset".

Bach structured the cantata in six movements, an opening choral fugue, alternating arias and recitatives and closing chorale. He scored the work for four vocal soloists, a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani, two oboes, strings and continuo. The oboes and strings play with the voices in motet style in the choral sections, while the trumpets add the style of a new time.

Background and words

Bach had taken up his tenure as Thomaskantor in Leipzig in 1723. During his first year there he composed a first cantata cycle for almost all occasions of the liturgical year. The second year he composed a cycle of mostly chorale cantatas, based on Lutheran hymns. The third year, Bach began a third cycle but wrote the works more irregularly. Gott, wie dein Name, so ist auch dein Ruhm was from a later incomplete cycle, which the Bach scholar Christoph Wolff calls the Picander cycle, after the librettist Picander with whom Bach had collaborated already for the St Matthew Passion, and worked together for several years. The preface of Picander's 1728 collection of cantata texts written for Bach said that "lack of poetic elegance would be compensated for by the sweetness of the incomparable Kapellmeister Bach".^[2]

The prescribed readings for New Years Day, which also celebrated the naming of Jesus eight days after his birth, were from the Epistle to the Galatians, "by faith we inherit" (Galatians 3:23–29), and from the Gospel of Luke, the Circumcision and naming of Jesus (Luke 2:21). The text was written by Picander and published in 1728 in a collection of texts for all occasions of the liturgical year.^[3] Picander included for the first movement a verse from Psalm 48 (Psalms 48:10 in the King James version, otherwise verse 11). He used as the closing chorale the second stanza from Johannes Hermann's hymn "Jesu, nun sei gepreiset".^[3] Picander's poetry is focused on the name of Jesus, similarly to Bach's later cantata for the same occasion, Part IV of his Christmas Oratorio. The biblical quotation from the Old Testament already mentions the name of God. The first recitative adds the thought that the name of Jesus is a gift for the New Year. The second aria contemplates that the name of Jesus, being the first word in the new year, should also be the last in the hour of death. The last recitative refers to John 16:23, of Jesus saying: "Whatsoever ye shall ask the Father in my name, he will give it you." The final movement combines prayers and hopes for the new year.^[3]

Bach led the Thomanerchor in the first performance. The earliest possible date is 1 January 1729, but it could have been also a year later or two.^[3]

Structure and scoring

Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating arias and recitatives. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T), bass (B)), a four-part choir and a festive Baroque instrumental ensemble of three trumpets (Tr) and timpani (Ti), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.^[4]^[5] The heading of the autograph score reads: "J.J. Festo Circumcisionis Xsi. Concerto . à 4 Voci. 3 Trombe, Tamburi, 2 Hautb. 2 Violini, Viola e Contin: di Bach", which means "Jesus help. Feast of the circumcision of Christ. Concerto for 4 voices, 3 trumpets, timpani, 2 oboes, 2 violins, viola and continuo".^[6] The duration is given as 22 minutes.^[3]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.^[5] The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2).^[3] The continuo, playing throughout, is not shown.

Movements of *Gott, wie dein Name, so ist auch dein Ruhm*, BWV 171
No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Gott, wie dein Name, so ist auch dein Ruhm	Psalm	Chorus	SATB	3Tr Ti 2Ob	2Vl Va	D major	2/4
2	Herr, so weit die Wolken gehn	Picander	Aria	T		2Vl	A major
3	Du süßer Jesus-Name du	Picander	Recitative	A
4	Jesus soll mein erstes Wort	Picander	Aria	S		Vl solo	D major	12/8
5	Und da du, Herr, gesagt	Picander	Recitative	B	2Ob		A major	3/8
6	Laß uns das Jahr vollbringen	Herman	Chorale	SATB	3Tr Ti 2Ob	2Vl Va	B minor	3/4

Music

1

The first movement, "Gott, wie dein Name, so ist auch dein Ruhm bis an der Welt Ende." (God, as Your name is, so also Your praise is to the ends of the world.),^[1] deals with universal praise of God's name is a choral fugue. While the trumpets are independent, the strings and oboes mostly double the voices in the style of Bach's motets. The first trumpet even plays the fugue theme.^[3] The Bach scholar Alfred Dürr argues that the work is probably no new composition but the reworking of an older lost movement, which forms the basis of both this movement and the later second part of the Credo of this music to the Mass in B minor, Patrem omnipotentem, factorem coeli et terrae ([I believe in the] almighty father, maker of Heaven and Earth). The idea of both is the "world-embracing almighty power of God".^[3]

conductor John Eliot Gardiner at work in rehearsal, looking to the left

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, summarized:

there is something old-fashioned and motet-like about the way the fugue unfolds with colla parte strings and oboes doubling. But then after twenty-three bars Bach brings in his first trumpet for a glittering restatement of the theme and the music suddenly acquires a new lustre and seems propelled forwards to a different era for this assertion of God's all-encompassing dominion and power.^[7]

2

The tenor aria, "Herr, so weit die Wolken gehen" (Lord, as far as the clouds stretch),^[1] is accompanied by two instruments not specified in the manuscript score, perhaps violins, according to the range.^[3]

3

An alto recitative, "Du süßer Jesus-Name du" (O You sweet name of Jesus),^[1] is secco.^[8] The musicologist Julian Mincham notes the development from the initial F-sharp minor, illustrating "introverted contemplation", to "confident assertion" in D major.^[9]

4

The soprano aria, "Jesus soll mein erstes Wort in dem neuen Jahre heißen" (Jesus shall be my first word uttered in the new year),^[1] is a parody of an aria from the secular Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205, in which a virtuoso solo violin represents a gentle wind, while in the church cantata solo it serves the praise of the name Jesus.^[4]

5

A tripartite bass recitative, "Und da du, Herr, gesagt" (And as You, Lord, have said),^[1] begins as an arioso, only accompanied by the continuo, leading to prayers, accompanied by two oboes, concluding in an arioso with the oboes.^[3]^[2]

6

The final chorale,"Laß uns das Jahr vollbringen" (Let us complete the year),^[1] is taken from Jesu, nun sei gepreiset, BWV 41, written for the same occasion in 1725. While the earlier cantata used the third stanza, this one has a setting of the second^[4] and is transposed up a step.^[7] It matches the opening chorus with a support of the voices by oboes and strings, while trumpets and timpani play interludes which add weight to the movement.^[2]

Selected recordings

The listing is taken from the selection on the Bach-Cantatas website.^[10] Choirs and orchestras 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, wie dein Name, so ist auch dein Ruhm*, BWV 171
Title	Conductor / Choir / Orchestra	Soloists	Label	Year	Choir type	Instr.
J. S. Bach: Cantatas BWV 171 & BWV 127	Gönnenwein, WolfgangWolfgang Gönnenwein Süddeutscher Madrigalchor South West German Chamber Orchestra	Herrad Wehrung Emmy Lisken Georg Jelden Jakob Stämpfli	Cantate	1961 (1961)		Period
Die Bach Kantate Vol. 20	Rilling, HelmuthHelmuth Rilling Gächinger Kantorei Bach-Collegium Stuttgart	Arleen Augér Julia Hamari Aldo Baldin Walter Heldwein	Hänssler	1983 (1983)
Bach Cantatas Vol. 1 – Advent and Christmas	Richter, KarlKarl Richter Münchener Bach-Chor Münchener Bach-Orchester	Edith Mathis Hertha Töpper Peter Schreier Dietrich Fischer-Dieskau	Archiv Produktion	1971 (1971)	Bach	Bach
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 40 – BWV 170–174	Harnoncourt, NikolausNikolaus Harnoncourt Tölzer Knabenchor Concentus Musicus Wien	soloist of the Tölzer Knabenchor Kurt Equiluz Robert Holl	Teldec	1987 (1987)	Boys	Period
Bach Edition Vol. 12 – Cantatas Vol. 6	Leusink, Pieter JanPieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium	Ruth Holton Sytse Buwalda Marcel Beekman Bas Ramselaar	Brilliant Classics	1999 (1999)	Boys	Period
Bach Cantatas Vol. 17: Berlin / For New Year’s Day / For the Sunday after New Year	Gardiner, John EliotJohn Eliot Gardiner Monteverdi Choir English Baroque Soloists	Ruth Holton Lucy Ballard James Gilchrist Peter Harvey	Soli Deo Gloria	2000 (2000)		Period
J. S. Bach: Complete Cantatas Vol. 19	Koopman, TonTon Koopman Amsterdam Baroque Orchestra & Choir	Sandrine Piau Bogna Bartosz Christoph Prégardien Klaus Mertens	Antoine Marchand	2003 (2003)		Period
J. S. Bach: Cantatas Vol. 49 – BWV 156, 159, 171, 188	Suzuki, MasaakiMasaaki Suzuki Bach Collegium Japan	Rachel Nicholls Robin Blaze Gerd Türk Peter Kooy	BIS	2010 (2010)		Period

Notes

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

References

1 2 3 4 5 6 7 Dellal, Pamela. "BWV 171 - "Gott, wie dein Name, so ist auch dein Ruhm"". Emmanuel Music. Retrieved 1 September 2014.
1 2 3 Wolff, Christoph (2003). "The cantatas of the period 1726-1731 and of the Picander cycle (1728-29)" (PDF). Bach-Cantatas. pp. 12–13. Retrieved 19 December 2015.
1 2 3 4 5 6 7 8 9 10 Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. pp. 41, 154–157. ISBN 0-19-929776-2.
1 2 3 Hofmann, Klaus (2010). "BWV 171 Gott, wie dein Name, so ist auch dein Ruhm / According to Thy Name, O God, So Is Thy Praise" (PDF). Bach-Cantatas. pp. 7–8. Retrieved 19 December 2015.
1 2 Bischof, Walter F. "BWV 171 Gott, wie dein Name, so ist auch dein Ruhm". University of Alberta. Retrieved 19 December 2015.
↑ Grob, Jochen (2014). "BWV 171 / BC A 24" (in German). s-line.de. Retrieved 23 December 2015.
1 2 Gardiner, John Eliot (2008). "Cantatas for New Year's Day / Gethsemanekirche, Berlin" (PDF). Bach Cantatas. pp. 7–9. Retrieved 28 December 2013.
↑ Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 155–156. ISBN 3-423-04080-7.
↑ Mincham, Julian (2010). "Chapter 39 BWV 171 Gott, wie dein Name, so ist auch dein Ruhm / God, as is Your Name, so is Your Renown.". jsbachcantatas.com. Retrieved 19 December 2015.
↑ Oron, Aryeh. "Cantata BWV 171 Gott, wie dein Name, so ist auch dein Ruhm". Bach-Cantatas. Retrieved 19 December 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

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