J.S. Bach / Wo soll ich fliehen hin, BWV 5 (Harnoncourt)

Johann Sebastian Bach (1685-1750)

Cantata BWV 5: Wo soll ich fliehen hin (15 October 1724)

1. Wo soll ich fliehen hin (Chorus)
2. Der Sünden Wust hat mich nicht nur befleckt (Recitative: B) 03:57
3. Ergieße dich reichlich, du göttliche Quelle (Aria: T) 05:00
4. Mein treuer Heiland tröstet mich (Recitative: A) 11:39
5. Verstumme, Höllenheer (Aria: B) 13:27
6. Ich bin ja nur das kleinste Teil der Welt (Recitative: S) 21:19
7. Führ auch mein Herz und Sinn (Chorale) 22:08

Soloists:
Boy Soprano: Soloist of the Wiener Sängerknaben
Alto: Paul Esswood
Tenor: Kurt Equiluz
Bass: Max van Egmond

Performed by the Wiener Sängerknaben & Chorus Viennensis (Chorus Master: Hans Gillesberger), and by the Concentus Musicus Wien under the direction of Nikolaus Harnoncourt. Recorded by Teldec in 1971.

"Wo soll ich fliehen hin (Whither shall I flee) (BWV 5), which belongs to the chorale cantata year, was first performed on the 15th October 1724. It is based on the eleven verse hymn by Johann Heermann (1630), whose inner verses have been paraphrased into an alternation of three recitatives and two arias. The choice of this hymn for the 19th Sunday after Trinity, with its Gospel reading on the healing of the man sick of the palsy, is explained by the words of Jesus 'Thy sins be forgiven thee' (Matthew 9:2). They awaken a personal consciousness of sin, but also the certainty that through Jesus's death the congregation of the faithful is freed from its sins.

"The opening movement follows the plan usually found in the chorale cantatas. The independent orchestral writing, which nevertheless has thematic material developed from the beginning of the chorale, incorporates the chorale melody ('Auf meinem lieben Gott') line by line, sung by the sopranos (+ slide trumpet) and supported by the other voices. The two arias are characterized by contrasted 'affects'; the first (3rd movement) with obligato viola, is dominated by the flowing motion depicting the 'divine spring', the second (5th movement), by a passionate, sharply accentuated rhythm interspersed with 'eloquent' rests ('fall silent'). Of the recitatives, the fourth movement stands out through its combination with the chorale melody (oboe). This emphasizes the decisive turning point in the content, from consciousness of sin to comfort, thus also forming the central axis of the work and dividing it up symmetrically. A simple chorale setting, cast in the usual form, brings the cantata to a close." - Alfred Dürr

Painting: Still Life with Skull, Mask, Globe, and Bubbles (Vanitas), Hendrick Andriessen

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