Rogation days are days of prayer, and formerly also of fasting and processions, instituted by the Church to appease God's anger at man's transgressions, to ask for protection from calamities, and to obtain a good and bountiful harvest. Farmers often had their crops blessed by a priest at this time. The major annual rogation is held on April 25, and the minor rogations are held from Monday to Wednesday before Ascension Thursday. The word rogation comes from the Latin verb rogare, which means "to ask," "to pray". As is often the case, the custom of rogation was introduced to counteract ancient pre-Christian rites such as the Roman Robigalia, which involved processions and petitions to the gods.
[Blessing the Fields on Rogation Sunday at Hever, Kent in 1967]
There are two cantatas for this Sunday. The text continues Jesus' farewell to his disciples of the previous week. Crucial passages are: “Whatsoever ye shall ask the Father in my name, He will give it you,” and “The time cometh when I shall no more speak unto you in parables.”
Readings:
James 1:22–27, "Doers of the word, not only listeners"
John 16:23–30, "Farewell discourse, prayers will be fulfilled"
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
Cantatas:
- Wahrlich, wahrlich, ich sage euch, BWV 86, 14 May 1724
Arioso (bass): Wahrlich, wahrlich, ich sage euch
Aria (alto): Ich will doch wohl Rosen brechen
Chorale (soprano): Und was der ewig gütig Gott
Recitativo (tenor): Gott macht es nicht gleichwie die Welt
Aria (tenor): Gott hilft gewiß
Chorale: Die Hoffnung wart' der rechten Zeit
("Verily, verily, I say unto you")
Text & translation
Scored for three vocal soloists (alto, tenor, bass), a four-part choir, two oboes d'amore), two violins, viola and basso continuo.
The unknown poet begins the text with a quotation from Jesus' farewell discourse. He uses a stanza from the hymn "Kommt her zu mir, spricht Gottes Sohn" by Georg Grünwald in the third movement and a stanza from "Es ist das Heil uns kommen her" by Paul Speratus (1524) as the final chorale. Bach composed the cantata in Leipzig as part of his first annual cycle as Thomaskantor for the Fifth Sunday after Easter, called Rogate. The theme of the cantata is a quotation from the Gospel, the promise of Jesus: "Truly, truly, I say to you, whatever you ask the Father in my name, he will give you".
A triple fugue introduces a melodious bass aria (Vox Christi singing the above lines from the Gospel of John). The poet alludes to the question of how to understand the promise in light of the reality of life - the promise will be kept, but only God knows the right time.
This is followed by an alto aria, "I will yet indeed pluck roses, though they prick me with thorns," in which the frenetic violin figurations may symbolize the thorns - the image of a rose with thorns is used to illustrate two conflicting aspects.
In the third movement, the soprano sings a chorale strophe, while two oboes d'amore and the basso continuo seem to be playing a fast movement from a trio sonata.
A short recitative is followed by a lively aria for tenor, a carefree celebration of faith in God. The four-part chorale affirms that while the Almighty does not guarantee when, He does know what is best for us.
Video: Netherlands Bach Society - Interview alto Robin Blaze and violinist Shunske Sato / J.S. Bach-Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Bisher habt ihr nichts gebeten, BWV 87, 6 May 1725
Arioso B: Bisher habt ihr nichts gebeten in meinem Namen
Rezitativ A: O Wort, das Geist und Seel erschreckt!
Arie A: Vergib, o Vater, unsre Schuld
Rezitativ T: Wenn unsre Schuld bis an den Himmel steigt
Arioso B: In der Welt habt ihr Angst
Arie T: Ich will leiden, ich will schweigen
Choral: Muß ich sein betrübet
("Hitherto have you asked nothing in My Name")
Text & translation
Scored for three vocal soloists (alto, tenor and bass), a four-part choir only for the closing chorale, two oboes, two oboes da caccia, two violins, viola and basso continuo.
This cantata is the third of nine for the period between Easter and Pentecost, based on texts by Christiana Mariana von Ziegler. Her cantatas for this period deal with understanding the suffering of Jesus in the context of victory and love, increasingly articulating how the tribulation of the world is overcome.
The text begins, as do several others of the period, with a bass solo as the vox Christi delivering a quotation from the Gospel. The poet interprets it as a reproach. Indeed, this cantata focuses on the darker aspects of humanity's guilt and fear. The text "Hitherto you have asked nothing in my name" is a warning to pray for forgiveness in the recitative and aria of the alto - and that is what happens.
The strangely chromatic alto aria is accompanied by two oboes da caccia; the word "Forgive" is repeated countless times and illustrated by sighing motifs.
The tenor recitative is accompanied by the strings and ends in an arioso on the words "Drum suche mich zu trösten". The bass arioso uses another word of Jesus from the Gospel: "In the world you have fear; but be comforted, I have overcome the world". The music is solemn, the voice accompanied only by the continuo, referring to the Passion as the price of consolation. Bach reduces the accompaniment to the continuo to emphasize the meaning of Jesus' words.
In response, the final aria expresses joy in suffering. Its pastoral mood, created by a dotted rhythm in 12/8 time, has been compared to the sinfonia that begins Part II of Bach's Christmas Oratorio. The final chorale, set to the melody of "Jesu, meine Freude" by Johann Crüger, is scored for four voices.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)