Weekly Cantata

~ Memories, musings, and movie script fantasies inspired by Bach cantatas, along with recommendations for recordings

Weekly Cantata

Monthly Archives: May 2018

Trinity 1725

27 Sunday May 2018

Posted by cantatasonmymind in Cantatas, Chorale cantatas 1724/1725, Leipzig

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Collegium Vocale Gent, Gustav Leonhardt, Knabenchor Hannover, Leonhardt Consort, Matthias Echternach, Max van Egmond, Paul Esswood

Crijn_Hendricksz

Jesus and Nicodemus, by Dutch painter Crijn Hendricksz Volmarijn 

Today’s Cantata 176 Es ist ein trotzig und verzagt Ding, written for Trinity Sunday in 1725, marks the end of Bach’s 1724/1725 cycle of cantatas as well as the end of his series of nine cantatas on texts by Leipzig poet Christiana Mariana von Ziegler.

My favorite recording of this cantata is by Gustav Leonhardt, with the Leonhardt Consort, Knabenchor Hannover, and Collegium Vocale Gent. Vocal soloists are Matthias Echternach (boy soprano, soloist of the Knabenchor Hannover); Paul Esswood, countertenor; and Max van Egmond, bass. Find it here on YouTube.

Find the texts & translations here, and the score here.

The Gospel story for this day is the story Jesus’ nighttime conversation with Nicodemus, stating that only those who are reborn through water baptism and the Spirit (or Holy Ghost) can reach eternal life, hence the reference to Trinity. Find the text of that part of the Gospel of John here.

However, Von Ziegler doesn’t talk about the water baptism or any other aspects of the conversation between Jesus and Nicodemus at all, but instead focuses, four movements long, on the fact that Nicodemus comes to Jesus at night. The highlight of the cantata is the soprano aria “Dein sonst hell beliebter Schein,” which very poetically embellishes on Nicodemus’ wish for the sun to go under.

Only in the last aria do the words “was Jesus verspricht” (what Jesus promises) turn up, and is there a short reference to the Holy Trinity.  To make the reference more clear, the closing chorale ends with the following text, almost as a Roman doxology, so that everyone is clear that it is indeed Trinity today:

Gott Vater, Sohn und Heilger Geist,
Der Frommen Schutz und Retter,
Ein Wesen drei Personen.

(God the Father, son and holy spirit
protector and saviour of the devout
one being, three persons.)

Wieneke Gorter, May 27, 2018.

Pentecost 1725

20 Sunday May 2018

Posted by cantatasonmymind in After Easter, Cantatas, Chorale cantatas 1724/1725, Leipzig

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Bach, Bachstiftung, cantatas, Christiane Mariana von Ziegler, Harnoncourt, Peter Jelosits

IMG_0015
The Descent of the Holy Ghost by Titian, circa 1545. Altarpiece in Santa Maria della Salute, Venice, Italy.

 

In Bach’s time, Pentecost was a three-day-long feast, as important in the church year as Christmas and Easter. Most of the Pentecost cantatas have trumpets, timpani, and more pull-out-all-the stops instrumentation, as was appropriate for  feast days. They don’t get performed often today, because Pentecost is not such an important feast anymore, and cantatas with Baroque trumpets and timpani are expensive.

In 1725 Bach performed the following cantatas. All these three cantatas are part of the series of nine cantatas on poetry by Christiana Mariana von Ziegler Bach wrote after Easter that year. Click on the links to find recordings on YouTube.

Sunday May 20, Whit Sunday, or First Day of Pentecost: Cantata 74 Wer mich liebet, der wird mein Wort halten.

Find the text of Cantata 74 here, and the score here.

Monday May 21, Whit Monday, or Second Day of Pentecost: Cantata 68 Also hat Gott die Welt geliebt, with the famous soprano aria Mein glaübiges Herze – gloriously sung by Peter Jelosits on the Harnoncourt recording.

Tuesday May 22, Whit Tuesday, or Third Day of Pentecost: Cantata 175 Er rufet seinen Schafen mit Namen. (complete cantata by the Bach Foundation).

Find the text of Cantata 175 here, and the score here.

Bach might have remembered from a year before that writing three cantatas in three days was going to be too much, so he reworked the opening of cantata 59 (a soprano-bass duet) from 1724 into an opening chorus for four voice parts and full orchestra in cantata 74 in 1725. He also transformed the bass-aria with violin solo from cantata 59 into a soprano aria with oboe da caccia in cantata 74.

Wieneke Gorter, May 20, 2018.

Exaudi Sunday 1725

13 Sunday May 2018

Posted by cantatasonmymind in After Easter, Cantatas, Chorale cantatas 1724/1725, Leipzig

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Bach Collegium Japan, oboe d'amore, oboe da caccia, violoncello da spalla

P1030690

For today, Exaudi Sunday, or the sixth Sunday after Easter, or the Sunday after Ascension, in 1725 Bach wrote Cantata 183 Sie werden euch in den Bann tun. When I started listening to this cantata I realized I had already written about this one, recommending a golden recording by Bach Collegium Japan, and highlighting the beautiful, unusual instrumentation of this cantata. You can read that post here.

It was a pleasant discovery on a day where I thought I still needed to write two posts (including the belated one for Ascension Day). I can actually spend some time outdoors with my family now. But at the same time it is a bit shocking to me that I’ve apparently now written so many blog posts that I don’t necessarily remember all of them! Up until now I knew if I had written about a cantata or not. It probably means that it is time for me to slow down some more, and then create a good index on this website …

Wieneke Gorter, May 13, 2018.

Ascension Day 1725

13 Sunday May 2018

Posted by cantatasonmymind in After Easter, Cantatas, Chorale cantatas 1724/1725, Leipzig

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Christoph Genz, Friedemann Immer, Harnoncourt, John Eliot Gardiner, Kurt Equiluz, Max van Egmond, Reinhard Hagen, René Jacobs, Robin Blaze

giotto_ascension

The Ascension of Our Lord by Giotto di Bondone, 1305. Fresco in the Capella Scrovegni, Padua, Italy.

In the Netherlands, where I grew up, most people have a four-day weekend for Ascension Day (Thursday May 10 this year as well as in 1725). The traditional thing to do was go for a long bike ride very early in the morning on the Thursday, and then spend the rest of the weekend doing the first serious gardening of the season, putting annuals in the ground, filling window boxes, etc.

Here in the United States, Ascension Day goes by unnoticed, nobody gets that Thursday day off, never mind the four-day weekend. And here in California we already started gardening a while ago. So, while still digging out from an extremely busy several weeks/months, I forgot about it. I only remembered when my sister, who lives in France, told me they were away for the long weekend.

Following Bach’s writing in 1725, the cantata for Ascension Day 1725 is Cantata 128 Auf Christi Himmelfahrt allein. It has a fantastic bass solo with trumpet (the designated instrument to illustrate “heaven”) and a beautiful alto-tenor duet.

My favorite recording of this cantata is from 1993 by Gardiner, with Robin Blaze, countertenor; Christoph Genz, tenor; and Reinhard Hagen, bass. Unfortunately the name of the trumpet player is not published. Listen to it here on Spotify. This recording is not available on YouTube. Please note that this is a completely different interpretation than Gardiner’s crazy high tempo recording from 2012 (a “make-up” recording for the missing one from the Cantata Pilgrimage cycle from 2000).

If you don’t have access to Spotify, you can listen to Harnoncourt’s 1983 recording here on YouTube, with soloists René Jacobs, coutertenor; Kurt Equiluz, tenor; Max van Egmond, bass; and Friedemann Immer, natural trumpet.

Find the text of Cantata 128 Auf Christi Himmelfahrt allein here, and the score here.

While the opening chorus is very similar to the great chorale fantasias from January 1725, this cantata is not a true “chorale cantata” anymore. By this time, after Easter 1725, Bach doesn’t follow the same structure that he religiously adhered to for all his cantatas from Trinity, June 11, 1724 to the Annunciation, March 25, 1725. None of the cantatas after March 25 have the chorale tune or text throughout the entire cantata: the closing chorale is a different one than the chorale in the opening chorus, and the inner recitatives and arias are no longer based on the text of the chorale from the opening chorus either.

This cantata is the fourth in the series of nine consecutive cantatas on poetry by Christiana Mariana von Ziegler (103, 108, 87, 128, 183, 74, 68, 175, and 176). Because Von Ziegler’s texts were published, we can see how many changes Bach made to her texts. In the case of this cantata, the most striking change is Bach deleting the planned recitative between the bass aria and the alto-tenor duet. It seems that Bach wanted to increase the musical contrast between the two movements, while at the same time clarifying the connection of the text from one movement (bass aria) to the next (alto-tenor) duet.

Thus he adds Von Ziegler’s original recitative text to the text of the bass aria, starting with an extra line “wo mein Erlöser lebt.” The line doesn’t rhyme with anything, and Von Ziegler must not have been happy with this. However, this way Bach can repeat the instrumental opening of the aria after what was originally the recitative text, and create more contrast between the movements.

He also adds two more lines at the end of that bass aria:

So schweig, verwegner Mund,
Und suche nicht dieselbe zu ergründen!

Thus making it more clear how the text of this movement is related to the next movement.

Below is an overview of all the changes Bach made in this particular libretto, courtesy of Eduard van Hengel.

Wieneke Gorter, May 13, 2018.

text comparison
BACH

1. Auf Christi Himmelfahrt allein
Ich meine Nachfahrt gründe
Und allen Zweifel, Angst und Pein
Hiermit stets überwinde;
Denn weil das Haupt im Himmel ist,
Wird seine Glieder Jesus Christ
Zu rechter Zeit nachholen.

2. Ich bin bereit, komm, hole mich!
Hier in der Welt
Ist Jammer, Angst und Pein;
Hingegen dort, in Salems Zelt,
Werd ich verkläret sein.
Da seh ich Gott
von Angesicht zu Angesicht,
Wie mir sein heilig Wort verspricht.

3. Auf, auf, mit hellem Schall
Verkündigt überall:
Mein Jesus sitzt zur Rechten!
Wer sucht mich anzufechten?
Ist er von mir genommen,
Ich werd einst dahin kommen,
Wo mein Erlöser lebt.
Mein Augen werden ihn
in größter Klarheit schauen.
O könnt ich im voraus
mir eine Hütte bauen!
Wohin? Vergebner Wunsch!
Er wohnet nicht auf Berg und Tal,
Sein Allmacht zeigt sich überall;
So schweig, verwegner Mund,
Und suche nicht dieselbe zu ergründen!

4. Sein Allmacht zu ergründen,
Wird sich kein Mensche finden,
Mein Mund verstummt und schweigt.
Ich sehe durch die Sterne,
Dass er sich schon von ferne
Zur Rechten Gottes zeigt.

5. Alsdenn so wirst du mich
Zu deiner Rechten stellen
Und mir als deinem Kind
Ein gnädig Urteil fällen,
Mich bringen zu der Lust,
Wo deine Herrlichkeit
Ich werde schauen an
In alle Ewigkeit.

Christiana Mariana von Ziegler

1. Auf Christi Himmelfarth allein
ich meine Nachfarth gründe
und allen Zweifel, Angst und Pein,
hiermit stets überwinde:
Denn weil das Haupt im Himmel ist,
wird seine Glieder JEsus Christ
zu rechter Zeit nachhohlen.

2. Ich bin bereit, komm hohle mich.
Hier in der Welt
Ist nicht, als Jammer, Angst und Pein;
Hingegen dort in Salems Zelt
Wird ich verklähret seyn.
Da seh ich dich
von Angesicht,
Wie mir dein heilges Wort verspricht.

3. Auf! Jubiliert mit hellen Schall,
Verkündiget nun überall,
Mein JEsus sitzt zur Rechten,
Wer sucht mich anzufechten?
Wird er mir gleich weggenommen,
Wird ich doch dahin auch kommen.
………………………………………..
Mein Auge wird ihn einst
in gröster Klarheit schauen.
O! könt ich schon allda
mir eine Hütte bauen;
Jedoch vergebner Wunsch,
Er wohnet nicht auf Berg und Thal.
Sein Allmacht zeigt sich überall.
………………………………………………..
………………………………………………….

4. Dein Allmacht zu ergründen,
Wird sich kein Mensche finden,
Mein Mund verstummt und schweigt
Ich sehe durch die Sterne,
daß er sich schon von ferne
Zur Rechten seines Vaters zeigt.

5. Alsdenn so wirst du mich
zu deiner Rechten stellen,
und mir als deinen Kind
ein gnädig Urtheil fällen,
mich bringen zu der Lust,
wo deine Herrlichkeit
ich werde schauen an
in alle Ewigkeit.

Needing to slow down

06 Sunday May 2018

Posted by cantatasonmymind in Cantatas

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I already received some important signs in the past few days that told me I need to slow down. Sometimes I am too busy and try to do too much, and then I make mistakes. The attentive reader might have noticed that last week, the fourth Sunday after Easter, in my eagerness to tell you about the female librettist, I shared a post about Cantata 87 from two years ago that was actually for the fifth Sunday after Easter, which is today 🙂

The good news is that this Thursday, May 10, it will be Ascension Day, so I’ll be discussing the cantata Bach wrote for that day in 1725, Cantata 128 Auf Christi Himmelfahrt allein, on that day.

It of course also means that I still owe you a post about Cantata 108 Es ist euch gut, daß ich hingehe for the fourth Sunday after Easter in 1725, which I will write sometime in the next few weeks.

Wieneke Gorter, May 6, 2018.

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