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The watermark on the paper, however, is consistent with those seen on Bach’s Cöthen instrumental music, which makes scholars wonder whether Bach actually wrote the work earlier, or whether the paper was simply left over from an earlier time. Daw believes that Bach wrote for a memorial service for the Queen of Poland. Yes, but consider the circumstances of her life: she spent the last thirty years of her life in exile from the Polish court after she, unlike her husband, refused to renounce Lutheranism for Roman Catholicism.
She was seen by many German Protestants – Bach included – as a Lutheran martyr.
There are wonderful moments of word painting here, most notably: Another interesting musical twist gets somewhat lost in the shuffle, so to speak; this is the fugue on “die Kinder Zions sei’n fröhlich über ihren König,” which begins in choir one (SATB entrances) while choir two returns to the opening material.
After a time, the two choirs switch roles, with the fugue beginning again in choir two, this time in reverse order of voices (BTAS). The two choirs are still treated as independent entities, but choir two takes on a distinct character, performing a chorale.
Of course, we might still see this as Bach’s personal message.
As a comparison, let’s see these two fugue subjects side by side: Both are in 3/8 meter; both contain sixteenth-note melismas; both use some syncopation; and both create a lively, festive mood.
Wolfgang Amadeus Mozart was reportedly deeply moved when he heard a performance of this work in 1789, so much so that he requested permission to see the music and proceeded to copy out the parts.
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Although I don’t know exactly the source, it reminds me very much of the famous setting of Psalm 100, known as “Old Hundredth” or “Praise God from Whom All Blessings Flow.” Here are both: (In , Bach actually wrote a measure rest between the two phrases, where Choir one sings, but I took that out here so you could see the similarity in the chorales.) This chorale melody is presented by choir two homophonically, alternating with choir one, which sings a completely different text, melody, and texture.
The third section is spirited and dance-like; here, the two choirs are used antiphonally, with the second choir imitating the first.