Johann Sebastian Bach Soul and spirit are astounded

Cantata for the 12th Sunday after Trinity BWV 35, 1726

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The alto cantata "Geist und Seele wird verwirret" has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arranged for organ. There is also an obbligato organ part in all the three arias, sometimes including virtuosic writing. Lehms takes the Gospel reading for the 12th Sunday after Trinity, which deals with the healing of a deaf and dumb person, and makes it apply more universally: God wants to open the ears of the faithful soul and loosen its tongue, so that it can praise his wonderful works. Unlike most of the other cantatas, in line with the text model Bach avoids the use of a choir for the concluding movement of the work.
The cantata was written for the 12th Sunday after Trinity which fell on 8 September 1726 in the year of its first performance. The text comes from the collection Gottgefälliges Kirchen-Opffer by Georg Christian Lehms, who was court poet and court librarian in Darmstadt. From his Weimar period onwards, Bach set several texts from this collection.

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  • Part I 1 Concerto 2 Aria

    Soul and spirit are astounded
    when your might, my God, I see.
    All the wonders now beholding
    which the folk with joy are greeting,
    wholly deaf and dumb are made.

    3 Recitativo

    I stand in awe;
    for ev’ry thing we see
    does give us cause to wonder.
    I look at you,
    oh precious Son of God;
    then understanding and all reason flees.
    You are so strong,
    you make a miracle seem but an easy task,
    you are in duty,
    name and deed so truly wonderful;
    there is no thing on earth that can compare to you.

    ...

  • Erster Teil 1 Concerto 2 Aria (Alto)

    Geist und Seele wird verwirret,
    wenn sie dich, mein Gott, betracht't.
    Denn die Wunder, so sie kennet
    und das Volk mit Jauchzen nennet,
    hat sie taub und stumm gemacht.

    3 Recitativo (Alto)

    Ich wundre mich;
    denn alles, was man sieht,
    muss uns Verwundrung geben.
    Betracht ich dich,
    du teurer Gottessohn,
    so flieht
    vernunft und auch Verstand davon.
    Du machst es eben,
    dass sonst ein Wunderwerk vor dir was Schlechtes ist.
    Du bist dem Namen,
    Tun und Amte nach erst wunderreich,

    ...

  • Foreword of the Edition Carus 31.035/03

    Ulrich Leisinger
    Translation: David Kosviner

    Johann Sebastian Bach’s contralto cantata Geist und Seele wird verwirret (Soul and spirit are astounded) BWV 35 was composed for the 12th Trinity Sunday which, in the year of its fi rst performance, in 1726, fell on 8 September. The text was taken from the 1711 collection Gottgefälliges Kirchen-Opffer by Georg Christian Lehms, a court poet and court librarian in Darmstadt. Since his time in Weimar, Bach had set several texts from this collection.

    The cantata has seven movements. The opening movements of the two sections of the cantata seem, by all appearances, to consist of the first and last movements of a Bach concerto which in its original form has been lost and which he arranged for organ in this cantata. Bach also intended to arrange the concerto – possibly an oboe concerto from his Cöthen years – for piano and orchestra (BWV 1059), but discontinued work on this project after only a few measures. In all three arias of the cantata, the organ is also deployed as an obbligato instrument, with some virtuoso passages.

    Lehms’s comparatively old but nevertheless tasteful cantata text universalizes the gospel reading

    ...

  • Vorwort der Ausgabe Carus 31.035/03

    Ulrich Leisinger

    Die Alt-Kantate Geist und Seele wird verwirret BWV 35 von Johann Sebastian Bach ist für den 12. Sonntag nach Trinitatis bestimmt, der im Jahr der ersten Aufführung, 1726, auf den 8. September fiel. Der Text stammt aus der Sammlung Gottgefälliges Kirchen-Opffer aus dem Jahr 1711 von Georg Christian Lehms, der Hofpoet und Hofbibliothekar in Darmstadt war. Aus dieser Sammlung hat Bach seit seiner Weimarer Zeit mehrfach Texte vertont.

    Die Kantate ist siebensätzig. In den Eingangssätzen der beiden Teile der Kantate sind allem Anschein nach Anfangsund Schlusssatz eines in seiner Originalform verschollenen Konzerts von Bach überliefert, das er hier für die Orgel eingerichtet hat. Bach wollte dieses Konzert, möglicherweise ein Oboenkonzert der Köthener Jahre, auch für Klavier und Orchester bearbeiten (BWV 1059), brach die Arbeit dort aber bereits nach wenigen Takten ab. Auch in allen drei Arien der Kantate wird die Orgel obligat und zum Teil sehr virtuos eingesetzt.

    Lehms’ zwar vergleichsweise alte, aber geschmackvolle Kantatendichtung verallgemeinert die Evangelienlesung für den 12. Sonntag nach Trinitatis, die von der Heilung eines Taubstummen

    ...

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  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

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