Monthly Archives: May 2016

The Leipzig Debut

29 Sunday May 2016

Posted by in 1723 Trinity season special series, Bach's life, Cantatas, Leipzig, Trinity

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Echternach_Lazarus_Dives

Lazarus and the Rich Man / Lazarus and Dives, Codex Aureus of Echternach, 11th century

On this First Sunday after Trinity (for short:Trinity 1), Sunday May 30, 1723, Bach started his first cycle of weekly cantatas in Leipzig. It was two days before his official installation, and one week after he and his family had arrived in the city.

Trinity is also the start of the part of the church year that deals exclusively with issues of faith and doctrine, instead of celebrating events from Jesus’ life, as was done in the period between Advent and Pentecost. This change must have been important to Bach too, because all three surviving cantatas for Trinity 1 are large-scale, musically ambitious works.

The composition with which Bach made his debut in the St. Nicholas Church (he would not perform in the St. Thomas Church until one week later) was cantata 75 Die Elenden sollen essen, a piece of considerable length, containing no less than 14 movements, seven before the sermon, seven after.

I prefer the recording by Herreweghe, which appears on the same CD as cantata 12 Weinen, Klagen, Sorgen, Zagen.

Listen to Herreweghe’s recording of cantata 75 Die Elenden sollen essen (with soloists Carolyn Sampson, Daniel Taylor, Mark Padmore, and Peter Kooy) on YouTube

Purchase Herreweghe’s recording of cantata 75 Die Elenden sollen essen and two other cantatas on Amazon

Find the complete German text with English translation of this cantata here.

The text of the opening chorus is from Psalm 22, but it is strongly related to the Gospel of the day: the story of Lazarus (a poor leper, who lies in front of the door of a rich man’s house, asking the rich man for food every day) and Dives (the rich man, who ends up in hell when he dies because he didn’t share his blessings/wealth with those in need).

When I listen to the opening chorus, I keep wondering if Bach wrote a Kyrie in Köthen which he never finished or which got lost for another reason. This is not backed up by any of the commentary about this cantata, but in these first measures I can’t stop myself from hearing “Ky-ri-e-e-le–”  in my head when the choir sings “Die-ie E-e-le–.” The music accents the second syllable of the word Elenden, while in the spoken language the stress would be on the first syllable. I find it strange that Bach would have ignored word stress in such an important composition, which he spent extra time on, and probably already wrote before he arrived in Leipzig (Gardiner notes that the paper of the manuscript was not from Leipzig, and that the handwriting was extremely neat). So I’m hoping something will turn up in my lifetime to substantiate this hunch I have ….

Wherever the opening chorus originated from, it is beautifully written,  as are all the arias. The soprano aria has a tender, plaintive oboe d’amore accompaniment, the alto aria floats on a rich blanket of strings, and the bass aria is a show-off piece with virtuosic music for the singer as well as the trumpeter.

There is a symmetry to the order in which the recitatives and arias appear in the cantata which is rarely seen in other Bach cantatas.

In the first half:

Bass recitative – Tenor aria – Tenor Recitative – Soprano Aria – Soprano Recitative

in the second half this pattern is mirrored for the remaining voices:

Alto recitative – Alto Aria – Bass recitative – Bass Aria – Tenor Recitative

But of course it is typical for Bach to use mathematical design when wanting to make a lasting  impression with a composition (such as with the St. Matthew Passion and the Mass in B minor). Also the fact that there are 14 movements to this cantata is not a coincidence: it is the sum of the numbers B, A, C, and H in the alphabet.

There is more symmetry in the cantata: The text of the first half refers to the Gospel story from Luke about Lazarus and Dives, and talks about earthly life and material possessions. In contrast to this, the second half of the cantata moves up to a spiritual level, and up to heaven. This change is illustrated by the introduction of the instrument that was associated with heaven: the trumpet. In the opening movement of the second half of this cantata the trumpet plays the chorale tune with which the first half had ended, Was Gott tut, das ist wohlgetan, and then later accompanies the bass in a stand-out virtuosic aria.

There is also more “showing off” in this cantata. As Gardiner points out, Bach seems to have wanted to make it clear that he was a skilled court composer (which he had been at Köthen before he took the position in Leipzig): after the French Ouverture of the opening chorus, all the arias together from a French Suite: The tenor aria is a Polonaise, the soprano aria a Minuet, the alto aria a Passepied, and the Bass aria a Gigue.

 

Wieneke Gorter, May 29, 2016

 

The Pentecost Treasure Trove

14 Saturday May 2016

Posted by in Cantatas

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Landsberg_Pentecost

A depiction of Pentecost from Herrad of Landsberg’s Hortus Deliciarum, 12th century

In Bach’s time, Pentecost was a three-day-long feast, as important in the church year as Christmas and Easter. There is thus a treasure trove of cantatas Bach wrote for these three days: No less than 10 in total! Several of them have trumpets, timpani, and more pull-out-all-the stops instrumentation, as was appropriate for  feast days. They don’t get performed often, because Pentecost is not such an important feast anymore, and cantatas with Baroque trumpets and timpani are expensive.

I am busy with several other projects this weekend, so have to be brief in this post. For those of you with lots of time, please explore all these Pentecost cantatas on your own:

Whit Sunday [1st Day of Pentecost]: BWV 172, BWV 59, BWV 74, BWV 34, BWV 218

Whit Monday [2nd Day of Pentecost]: BWV 173, BWV 68, BWV 174

Whit Tuesday [3rd Day of Pentecost]: BWV 184, BWV 175

(Thanks to the bach-cantatas.com website for this list – you can click on the links of the cantatas to find recordings)

As this was of course also a very busy time for Bach, he re-used some earlier work, but how he did this is remarkable. For a terrific example, please listen to cantata 59 by Harnoncourt (with my favorite boy soprano Peter Jelosists) and then to cantata 74 by Leonhardt, both written for Whit Sunday (1st day of Pentecost), both with the title Wer mich liebet, der wird mein Wort halten, but not with the same text. The first one is from 1723 or 1724, the latter from 1725, on a text by Von Ziegler.  Listen and notice how Bach brilliantly re-worked the opening of cantata 59 (a soprano-bass duet) into the opening of cantata 74 (an opening chorus for four voice parts and full orchestra), as well as the bass-aria with violin solo from cantata 59, now transformed into a soprano aria with oboe da caccia in cantata 74.

Read the German text with English translation of cantata 59.

Read the German text with English translation of cantata 74.

Wieneke Gorter, May 14, 2016

Glorious soprano arias and unusual instrumentation

08 Sunday May 2016

Posted by in After Easter, Cantatas, Leipzig

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BWV183titlepage

The title page of cantata 183 in Bach’s handwriting: Dominica Exaudi // Sie werden eüch in den Bann tun // à 4 Voci, 2 Hautb d’Amore, 2 Hautb da Caccia, 2 Violini, Viola, Violoncello piccolo e Continuo // di Joh. Sebas. Bach. Staatsbibiothek zu Berlin – Preußischer Kulturbesitz

There are two cantatas for this Sunday Exaudi, aka the Sunday after Ascension, or in the practical reality of the man who had to write the music and rehearse the choir: the Sunday in between Ascension and the three-day-long feast of Pentecost. Because they refer to the same Gospel text, the cantatas share the title Sie werden euch in den Bann tun, but except for the fact that they each contain a glorious soprano aria, they have nothing in common.

Let’s first look at the one Bach wrote in 1724: cantata 44 Sie werden euch in den Bann tun:

The soprano aria from this cantata, Es ist und bleibt der Christen Trost, sung by the amazing Peter Jelosits on the Harnoncourt recording from 1975 is among the most happiest music memories of my childhood. I suspect my mom loved it so much that she played it more often than just on this Sunday. I didn’t realize how well this aria is engraved in my brain until I surprised myself during a choir carpool, singing the entire thing from memory, illustrating a story about how some of these boy sopranos could sing very complicated arias.

Es ist und bleibt der Christen Trost,
The consolation of Christians is and remains
Dass Gott vor seine Kirche wacht.
God’s watchful care over his church.
Denn wenn sich gleich die Wetter türmen,
For even though at times the clouds gather,
So hat doch nach den Trübsalstürmen
yet after the storms of affliction
Die Freudensonne bald gelacht.
the sun of joy has soon smiled on us.

If you would like to listen to the entire cantata, I recommend Herreweghe’s recording from 2013. The opening tenor/bass duet is the best here, with bass Peter Kooij singing out much more than on their 1993 recording of this same cantata, and his and Thomas Hobbs’ voice matching better than his and Christoph Prégardien’s (as much as I love Prégardien’s voice!). Also, Herreweghe’s interpretation of the soprano aria on this 2013 recording is the most musical and the most cheerful, not in the least because it has the highest tempo of all recordings I listened to. That this proves a bit of a challenge for the always fabulous soprano Dorothee Mields is only audible in the text: after she comes out of the expertly executed but super tricky long runs, she slips back into the edition she probably studied from, which uses the more modern “für seine Kirche”  instead of the edition they’re performing from, which uses the archaic “vor seine Kirche,” so it ends up being a mix of the two texts. While this bugs me a little bit, a retake of the recording would probably have been at the expense of the magic that happens in this aria, so it is probably a good thing that they left it in.

Purchase the Herreweghe recording of cantata 44 on Amazon. (This album also features the beautiful recording of cantata 73 discussed here).

Find the entire German text of cantata 44 with English translations here.

Cantata 183 from 1725 is noteworthy because it uses a text by Christiane Mariana von Ziegler and features a striking instrumentation: two oboi d’amore and two oboi da caccia in the bass recitative; a violoncello piccolo in the tenor aria; again the two oboe pairs in the alto recitative; two oboi da caccia in the soprano aria; all these instruments in the closing chorale.

My absolute favorite recording of this cantata is the one by Bach Collegium Japan. They struck gold with this recording, thanks to the combination of  Badiarov playing the violoncello piccolo da spalla, fabulous oboe players, and terrific vocal soloists: soprano Carolyn Sampson, countertenor Robin Blaze, tenor Gerd Türk, and bass Peter Kooij. I think the entire album (also featuring the recording of cantata 85 discussed here) is very inspired, and it has become one of my favorite Bach cantata CDs.

Listen to this Bach Collegium Japan recording of cantata 183 on Spotify.

Purchase this Bach Collegium Japan recording of cantata 183 (and 85!) on Amazon.

(Not available on Youtube at this time).

Why is this scoring for the oboes so unusual? In Bach’s time there were “regular” oboes (to the right on this photo), oboes d’amore (with a bell-like widening in the wood at the end, second from left), and oboes da caccia (or “hunting” oboes, completely curved, and with a trumpet-like brass bell at the end, far left).

Oboes

From left to right: oboe da caccia, oboe d’amore, oboes. Photo courtesy of Marianne Richert Pfau; instruments built after 18th century examples by Sand Dalton, Harry van Dias, and Paul van der Linden, respectively.

Bach often used the oboe da caccia, but only on a handful of occasions would he write for two da caccias. And even if he would write for two da caccias or two d’amores and “regular” oboes in the same cantata (or passion) they would not all be playing at the same time. On most occasions there were between one or two oboe players in the orchestra, sometimes three, alternating between the different instruments from one movement to the next. The only times Bach needed four oboists in one cantata, playing two da caccias and two d’amores at the same time, was in cantata 2 of the Christmas Oratorio (1734) and in this cantata 183. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725.

The four oboes can be heard clearly in the alto recitative, where Bach has each of them repeat the four-note theme from the “ich bin bereit”-text in the vocal part:

Screenshot 2016-05-08 10.16.33

When I hear this, I immediately have to think of the tenor recitative in Bach’s beautiful  Trauer Ode, cantata 198, this time reduced to a 3-note theme and without the da caccias:

Screenshot 2016-05-08 10.28.17

Or listen to this recitative from cantata 198 on YouTube

It is of course not exactly the same composition, but I wonder if Bach had to think back of this cantata from 1725 when he wanted to illustrate life  and death in one and the same piece of music in the Trauer Ode of 1727.

After this alto recitative comes the most glorious soprano aria, richly scored with the two oboes da caccia playing the oboe part in unisono, as well as parts for violin 1, violin 2, and viola. Harnoncourt says that even though both da caccia have this aria written in, he says it is “clearly not intended to be chorally played” and on their recording they decide to have this part covered by only one oboe da caccia. Perhaps the original full score was not available to Harnoncourt at the time he made that decision, because it clearly says: “tutti gli Oboi in unisono:”

Screenshot 2016-05-08 12.34.13

excerpt from the soprano aria from cantata 183, with Bach’s indication for “all the oboes in unisono,” Staatsbibiothek zu Berlin, Preußischer Kulturbesitz

One would almost think Bach dreamt of all four oboes playing this, also the d’amores, but when his copyists double-checked with him, he decided that was just silly, it would overpower the poor boy who had to sing this, and they only wrote it into the parts for the da caccias (it says “Arie Tacet” in the parts for the oboi d’amore).

Wieneke Gorter, May 8, 2016

A female librettist and an inspired recording

01 Sunday May 2016

Posted by in After Easter, Cantatas, Leipzig

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ziegler-christiane-mariane-02

In 1725, between Easter and Pentecost, Bach set nine cantatas in a row to texts by Christiane Mariana von Ziegler. And it is in part thanks to her poetry that I’m favoring the cantata from 1725 over the one from 1724  for this “Rogate” Sunday – the fifth Sunday after Easter.

This cantata 87 from 1725, Bisher habt ihr nichts gebeten in meinem Namen, contains two jewels of arias: the alto aria (no 2) and the tenor aria (no 6). Von Ziegler’s poetry combined with Bach’s sublime scoring in those arias completely knocked me over when I first listened to this cantata this week. I found Gardiner’s recording of this cantata (which I happened upon by accident – read more about this at the very end of this post) the most moving.

Listen to Gardiner’s recording of cantata 87 on Spotify.

Listen to Gardiner’s recording of cantata 87 via a playlist I created on YouTube (there might be some ads in here – you can click to skip them after a few seconds).

Buy Gardiner’s live recording of cantata 86 and 87 on Amazon

(This album is absolutely worth purchasing –  cantata 86 is beautiful too, and the violin accompaniment in the alto aria of that cantata on this recording is the best)

About Christiane Mariana von Ziegler: A female librettist, who didn’t have to hide behind a male alias to get recognition or to get her works published? In 18th century Leipzig? When I first heard about this I could not believe it. But it turns out that by unusual circumstances, Christiane Mariane von Ziegler was as “free” as probably no other woman at that time was, at least between 1722 and 1741.

In that time period, there was no husband or other male relative by whose rules she had to live: her father had been in jail since she was 11, she had been twice widowed, and had lost both her children (one from each marriage). Despite all this, she was still in possession of her family’s house and fortune, and was well respected in Leipzig society. She wrote poetry, sang, and played many musical instruments. In 1722 she was appointed the official guardian of her family’s household, a position normally never awarded to a woman. For the next two decades her house served as the salon where many artists and intellectuals could meet. She would promote artists, poets and writers, and introduce them to representatives of the university who also attended her events.

In 1730, Von Ziegler became the first and only female member of Gottsched’s German Literary Society. She was named “poet laureate,” crowned by the emperor in 1733. In 1732 and 1734 she received the poetry prize from the German Literary Society. Her last published work appeared in 1739. In 1741, she married Professor Balthasar von Steinwehr and lived with him in Frankfurt an der Oder until her death in 1760. As far as we know, she did not write anything in this last period of her life.

In 1728, she published Versuch in gebundener Schreib=Art, which contains the texts for the nine 1725 Bach Cantatas (103, 108, 87, 128, 183, 74, 68, 175, 176). In 1729 she published In Gebundener Schreib-Art: Anderer und letzter Theil, which contains the rest of a complete yearly cantata cycle which Bach never set to music.

Since there is no correspondence between Von Ziegler and Bach left to us,  we don’t know why they started working together, we don’t know why the working relationship ended, nor why Bach never used the other texts she had provided for the rest of the cantata cycle. There are some theories that she must have been vexed about Bach altering her texts on several occasions in 1725. However, the only proof we have for what her “original” texts would have been are her publications from several years later. She might have changed them herself between Bach first using them and her later publishing them. We do know that Bach first worked with Picander, the poet with whom he would later collaborate extensively (including for the St. Matthew Passion) in February 1725.

Back to this cantata. It was Bach’s life goal to not only praise God, but also educate “his neighbor” (the congregation, his fellow believers) with his church music, and it seems that Von Ziegler definitely shared this vision. To not make this post too long, I’ll only highlight the alto aria, since it is the piece that impressed me most, but the rest of the cantata is well worth listening to, especially the tenor aria.

The Gospel reading for this Sunday was the last part of Jesus’ speech to his disciples, from John. Note verse 24 (quoted in the bass arioso opening) and the overall stress on speaking in proverbs versus speaking plainly.

23. Und an demselbigen Tage werdet ihr mich nichts fragen. Wahrlich, wahrlich, ich sage euch: So ihr den Vater etwas bitten werdet in meinen Namen,so wird er’s euch geben.

[23] And in that day ye shall ask me nothing. Verily, verily, I say unto you, Whatsoever ye shall ask the Father in my name, he will give it you.

24. Bisher habt ihr nichts gebeten in meinem Namen. Bittet, so werdet ihr nehmen, daß eure Freude vollkommen sei.

[24] Hitherto have ye asked nothing in my name: ask, and ye shall receive, that your joy may be full.

25. Solches hab’ ich zu euch durch Sprichwörter geredet. Es kommt aber die Zeit, daß ich nicht mehr durch Sprichwörter mit euch reden werde, sonderneuch frei heraus verkündigen von meinem Vater.

[25] These things have I spoken unto you in proverbs: but the time cometh, when I shall no more speak unto you in proverbs, but I shall shew you plainly of the Father.

26. An demselbigen Tage werdet ihr bitten in meinem Namen. Und ich sage euch nicht, daß ich den Vater für euch bitten will;

[26] At that day ye shall ask in my name: and I say not unto you, that I will pray the Father for you:

27. denn er selbst, der Vater, hat euch lieb, darum daß ihr mich liebet und glaubet, daß ich von GOtt ausgegangen bin.

[27] For the Father himself loveth you, because ye have loved me, and have believed that I came out from God.

28. Ich bin vom Vater ausgegangen und kommen in die Welt; wiederum verlasse ich die Welt und gehe zum Vater.

[28] I came forth from the Father, and am come into the world: again, I leave the world, and go to the Father.

29. Sprechen zu ihm seine Jünger: Siehe, nun redest du frei heraus und sagest kein Sprichwort.

[29] His disciples said unto him, Lo, now speakest thou plainly, and speakest no proverb.

30. Nun wissen wir, daß du alle Dinge weißt und bedarfst nicht, daß dich jemand frage. Darum glauben wir, daß du von GOtt ausgegangen bist.

[30] Now are we sure that thou knowest all things, and needest not that any man should ask thee: by this we believe that thou camest forth from God.

After the Vox Christi bass arioso opening (beautifully scored as an opening “chorus” for strings, oboes, and bass voice), Von Ziegler doesn’t hold back in communicating what the believers should take away from this lesson, and writes this text for the alto recitative:

O Wort, das Geist und Seel erschreckt!
O word, that terrifies spirit and soul!
Ihr Menschen, merkt den Zuruf, was dahinter steckt!
You people, notice the call hidden behind these words!
Ihr habt Gesetz und Evangelium vorsätzlich übertreten;
You have deliberately transgressed the law and gospel;
Und dies möcht’ ihr ungesäumt in Buß und Andacht beten.
And because of this you should pray without delay in repentance and devotion.

And then gives them the prayer they should be saying in the alto aria, and this is the part that bowled me over, because of the combination of the music, the text, and the humble interpretation of it on the Gardiner recording:

Vergib, o Vater, unsre Schuld
Forgive, O Father, our guilt
Und habe noch mit uns Geduld,
and still have patience with us,
Wenn wird in Andacht beten
when we devoutly pray
Und sagen: Herr, auf dein Geheiß,
and say: Lord, at your command,
Ach, rede nicht mehr sprichwortsweis,
Ah, speak no more proverbs,
Hilf uns vielmehr vertreten.
Instead help us represent ourselves.

Here’s the story of how I happened upon the Gardiner recording of this cantata, and this aria in particular: I was only familiar with cantata 86, not with 87. When comparing several recordings of the alto aria in cantata 86 (because of the stunningly beautiful and very virtuosic violin accompaniment), I decided I liked the violin playing on Gardiner’s recording the best. Satisfied that I had found this and knew what my blog post was going to be about, I took a break while letting the album play, and of course cantata 87 was next. I was on the floor on my yoga mat and I just lay there, letting the music wash over me, unable to do anything else.

I am rarely so physically moved by a Gardiner recording, so I went and looked up his journal of the live performances (and recordings) in question, and found this:

“In addition to our habitual position of “bringing coals to Newcastle,” the potential impertinence of interpreting Bach to the Germans, we faced the far pricklier issue of performing Bach in the city [Dresden] whose cultural treasure had been wantonly destroyed by British bombs in one mad night towards the end of the war and with colossal loss of life.”

So there it was: the prayer for forgiveness and better representation had been as meaningful to the British musicians in the German city at the time of this recording as it was to me this week.

Wieneke Gorter, May 1, 2016