While I have been silent on this blog since Palm Sunday this year, of course Bach’s life in Leipzig was far from quiet. In fact, Easter was a time of non-stop work on cantata compositions for him, perhaps even more intense than the Christmas season.*
Today is the second Sunday after Easter, for which Bach wrote Cantata 104 in 1724, and Cantata 85 in 1725, all on the theme of Jesus as “The Good Shepherd.” I have updated the posts I wrote about those cantatas in 2016 and 2017, making sure all the links work, and adding a link to the live performance of Cantata 85 by the J.S. Bach Foundation. If you have some extra time, you can listen to the beautiful sub-group of cantatas Bach wrote after Easter in 1725: BWV 6, 42, and 85. Just follow in the links in my post about Cantata 85.
If you can afford to financially support the artists (especially important now, while they have no income from performances!) please consider purchasing their recordings. I have included links for that too in every post.
Wieneke Gorter, April 26, 2020.
*Before Christmas in Leipzig, he would have the four-week break of Advent, while before Easter he would have been busy rehearsing, rewriting, and performing whichever Passion he performed that year.
We’re on Day 20 of “shelter in place” here in the San Francisco Bay Area. We’re counting our blessings, trying to figure out how we can be most helpful to others while also taking good care of ourselves, and trying to wean ourselves off spending too much time on social media. I definitely need my “church” of regular check-ins with family and friends, daily mindfulness exercises, and lots of yoga classes to stay sane through all of this.
Back to Bach’s church. Today is Palm Sunday! Bach never officially wrote a cantata for this Sunday, since no music was to be performed in the churches during Lent. However, in 1714, Palm Sunday fell on the same day as the feast of the Annunciation of Mary, March 25. This way, while specifying “for the feast of the Annunciation of Mary” on the title page of the cantata manuscript, Bach could still write music for Palm Sunday with cantata 182 Himmelskönig, sei wilkommen! (Welcome, King of Heaven!)
If you’re not in the mood for a long story and would just like to listen to a short piece of calming music, I recommend the live performance of the opening sinfonia of this cantata on the YouTube channel of Voices of Music, with two fabulous soloists: Hanneke van Proosdij on recorder and Rachel Podger on violin. You can find that video here.
Many of Bach’s Weimar cantatas start with an elaborate instrumental ouverture or sinfonia.* There are two possible reasons for this. First of all, it was in Weimar that Bach studied lots of French and Italian compositions, and he might have wanted to “show off” that he could also write such a fashionable ouverture. But there might have also been a more practical reason: such an opening movement was the perfect piece of music during which the Duke and his entourage would slowly walk into the chapel and take their seats, and not miss anything of the cantata itself.
For the entire cantata, my all-time favorite still is the recording by Montreal Baroque. Listen here on Spotify, or here on YouTube. Their one-on-a-part performance is similar to how this would have sounded from the small organ loft in Weimar, and features fabulous singing all around (soprano Monika Mauch, countertenor Matthew White, tenor Charles Daniels, bass Harry van der Kamp).
Find the text of cantata 182 here, and the score here.
If you would like to learn more about Bach’s time in Weimar, please visit my post about Bach in Weimar I wrote in 2016. I’ve just updated it with some new photos, including a picture of the organ loft, and it has all the same links for the recording, text, and score as mentioned here.
In Leipzig in 1724, Bach performed this cantata again, on the feast of the Annunciation of Mary, which that year fell eight days before Palm Sunday.