A female librettist who could openly use her own name and get works published in 18th century Leipzig. Gardiner in a humble mood. It all seems impossible. Read more in my post from two years ago about Cantata 87 for the Fourth Sunday after Easter, 1725.
In 1725, between Easter and Pentecost, Bach set nine cantatas in a row to beautiful poetry by Christiane Mariana von Ziegler: Cantatas 103, 108, 87, 128, 183, 74, 68, 175, and 176. More about this multi-talented female librettist, arts benefactor, and fellow Lutheran “preacher” next week.
The first cantata in this series is Cantata 103: Ihr werdet weinen und heulen, for the third Sunday after Easter in 1725.
My favorite overall recording of this cantata is by Herreweghe, with vocal soloists Damien Guillon, Thomas Hobbs, and Peter Kooij, and Jan Van Hoecke on flauto piccolo. Listen to their opening chorus here on YouTube. Listen to the entire recording by Herreweghe here on Spotify.
However for the best energy and intensity in the tenor aria, I prefer Mark Padmore on the Gardiner recording. Listen to their interpretation of the tenor aria here on Spotify.**
Robin Blaze’s singing and Dan Laurin’s playing in the alto aria on the Bach Collegium Japan recording is exceptional, and perhaps more moving than Damien Guillon’s on the Herreweghe recording. Listen to that aria here on Spotify. And it is a good problem for me, not being able to choose between countertenors 🙂
Two noteworthy things about this cantata are the dramatic change from sadness to joy, and the use of the sopranino recorder, or “flauto piccolo” in the opening chorus and the alto aria.
The sadness on this “Jubilate” Sunday is because of the Gospel story for this Sunday: Jesus announces to his disciples that he is going to leave them, and that they will go through a period of hardship during which the rest of the world will mock them. Other cantatas Bach wrote for this Sunday are Cantata 12 Weinen, Klagen, Sorgen, Zagen and Cantata 146 Wir müssen durch viel Trübsal. But in the alto recitative (fourth movement), the turning point is announced: “dass meine Traurigkeit in Freude soll verkehret werden” (that my sorrow will be turned to joy). Bach makes a big deal here of illustrating the word “Freude” and then does that again, even more exuberantly in the tenor aria that follows: there the illustration of the word “Freude” is six measures and almost 100 notes long.
Since his arrival in Leipzig, Bach had used recorders in cantatas quite often (nine times, according to Nik Tarasov’s article “Bach and the recorder”), but this is only the third time he writes for sopranino recorder, or “flauto piccolo.” The first time was on October 8, 1724, in Cantata 96 Herr Christ der einige Gottessohn, and the second time on March 25, 1725, in Cantata 1 Wie schön leuchtet der Morgenstern.
In both cases, Bach used the sopranino part to illustrate the word “Morgenstern” (Morning Star) in the text, creating an extra constellation over the highest notes of the sopranos with the even higher notes of the recorder. It is not completely clear why Bach uses the sopranino this time, in Cantata 103. There are theories that the instrument is meant to illustrate the “mocking” of the outside world. But, as Bach always paints the entire story of a cantata already in the opening chorus, I think he perhaps might have used the recorder to convey the message of “there will be joy at the end” in the otherwise very sad opening chorus. But who knows, his reason for using the instrument might simply have been that the virtuoso player was in town again, since it was around the time of the big Easter Trade Fair that Bach was writing this music.
Whatever the reason, it is very likely that there was only one person in 1725 among Bach’s colleagues who could play this. When Bach performed the piece again in later years, he changed the accompanying instrument in the alto aria to violin. There are also parts for a transverse flute. Herreweghe, Koopman, and Suzuki use a sopranino recorder in the alto aria, while Gardiner uses violin, and Ponseele (on the Il Gardellino recording) uses transverse flute.
Wieneke Gorter, April 22, 2018.
Since I have recently been following Bach’s cantata writing in 1725, again I refer to a post I wrote two years ago, when I wasn’t discussing the cantatas in any particular order yet.
Wieneke Gorter, April 15, 2018.
Please read my blog post from 2016, slightly updated today, to learn more about Cantata 42 Am Abend aber desselbigen Sabbats, and to find a link to Herreghe’s recording of the cantata.
After the rewritten St. John Passion on Good Friday (read more about this in my post from this past Friday) and the “recycled” birthday cantata with new recitatives for the Easter-Oratorio (read more about this in yesterday’s post), Bach was now, in 1725, getting ready for performances of three new cantatas that form a beautiful sub-group within the cantatas of the 1724/1725 cycle.
Cantata 6 Bleib bei uns, denn es will Abend werden for Easter Monday (Bible story: Jesus appeared before two of his disciples while they were walking on the road to Emmaus).
Cantata 42 Am Abend aber desselbigen Sabbats, for the first Sunday after Easter (Bible story: while a small group of his disciples are inside a house in Jerusalem, with all the doors and windows locked, Jesus appears in their midst).
Cantata 85 Ich bin ein guter Hirt, for the second Sunday after Easter (Bible story: The Good Shepherd).
Gardiner believes that in Bach’s ideal plan, these cantatas were actually meant for the Easter season in 1724, not in 1725. In his book “Bach: Music in the Castle of Heaven,” he explains why cantata 6, 42, 67 and 85 share more characteristics with other 1724 cantatas, and were thus probably planned for that year. When Bach got behind with cantata composing because of the Passion according to St. John in 1724, he must have tabled the ideas for 6, 42, and 85 for 1725, and only wrote 67 in 1724.
My favorite recording of Cantata 6 Bleib bei uns, denn es will Abend werden is by Herreweghe, recorded live at a concert on June 12, 2014 in the Eglise Saint-Roch in Paris. Find the recording (audio only) here on YouTube.
Soloists are Dorothee Mields (soprano), Damien Guillon (countertenor), and Peter Kooij (bass).
Wieneke Gorter, April 2, 2018.
I’m in movie script mode again today. While I don’t know this for sure at all, I think that early in 1725, Bach had probably already decided to not to let things get as crazy as last year (in 1724) around Easter. That year, he had seriously run out of time, and had to adjust many of his plans. Gardiner thinks this happened because the writing, rehearsing, and performing of his Passion according to St. John had taken Bach much more time than he thought, and had forced him to make several shortcuts in the weeks ahead. Read more about all this in my post about Easter 1724 and subsequent posts.
So I imagine that this year, in 1725, Bach must have been planning ahead. Without any more “old” Easter cantatas in his portfolio, he had to have something else ready for the choir and orchestra to rehearse alongside the Passion for Good Friday, whatever that Passion was going to be.
So when the friendly Duke Christian von Sachsen-Weissenfels asked for some Tafelmusik to be performed for his 44th birthday on February 23, 1725, Bach might very well have thought from the beginning: perfect, that music can double as an Oratorio for Easter Sunday.
Listen to Herreweghe’s recording of the Easter Oratorio here on YouTube. Soloists are Barbara Schlick, soprano; Kai Wessel, alto; James Taylor, tenor; and Peter Kooy, bass.
The Tafelmusik for Duke Christian became Entfliehet, verschwindet, entweichet, ihr Sorgen, also known as Schäferkantate, BWV 249a. When recycling this into the Easter Oratorio, Kommt, eilet und laufet BWV 249, Bach kept the cheerful opening sinfonia and the exquisite, plaintive adagio, two instrumental movements that were probably originally from a concerto he wrote in Köthen. He also kept the music of the opening and closing chorus, and of all the arias, only changing the text.
Here you can see how little he did change the text in this table, courtesy of Eduard van Hengel:
|Schäferkantate (BWV 249a, 23/2/25)||Oster-oratorium (BWV 249, 1/4/1725)|
Entfliehet, verschwindet, entweichet, ihr Sorgen
verwirret die lustigen Regungen nicht!
Lachen und Scherzen
erfüllet die Herzen
die Freude malet das Gesicht.
5. Hunderttausend Schmeicheleien
7. Wieget euch, ihr satten Schafe,
9. Komm doch, Flora, komm geschwinde,
11. Glück und Heil
Kommt, eilet und laufet, ihr flüchtigen Füße,
Erreichet die Höhle, die Jesum bedeckt!
Lachen und Scherzen
Begleitet die Herzen,
Denn unser Heil ist auferweckt.
Seele, deine Spezereien
Sanfte soll mein Todeskummer,
Saget, saget mir geschwinde,
Preis und Dank
In order to tell the story of two Marys (yes I realize the painting I use here has three Marys – each Gospel has a different version of this story), Peter, and John finding the empty tomb, Bach added recitatives in between the arias. Note that he doesn’t write a part for an evangelist, the way he did that in his Passions and also in the Christmas Oratorio.
Wieneke Gorter, April 1, 2018.