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When I wrote this post three days ago, I had been feeling pretty sad. I missed connections, I was once again shocked by how people in this world can behave towards one another, and baffled as always by the lack of empathy shown by the leader of my adopted country and his enablers. So I wrote:

“A word, or token of consolation amidst all the suffering. Don’t we all need that this year, this month, this week? I do. Maybe Bach did too during this week in October 1724.”

This is still true of course, but over the past two days my spirits were lifted in such a way that it felt strange to just post my somewhat somber message from Thursday. So now I’m typing again on a Sunday when I really wanted to be done writing before the weekend 🙂

Over the past two days I was inspired by creativity in my family, in my neighborhood, and in photos I saw posted by friends in other parts of the San Francisco Bay Area and the United States. It has to do with how many of us found new ways of celebrating Halloween. From contraptions for sliding candy down a rain gutter, outdoor movie screenings, extensive decorations in front yards and on front windows (so people just going for a walk would have something to look at), individually wrapped goody bags clipped to a laundry line, to treasure hunts for small groups, it was all there. And because of the email and text conversations with the neighbors beforehand, our family needing to work as a team for part of the day to execute our own plans, and my husband and I sitting by the fire pit in our front yard in the evening (to make sure our goody bags wouldn’t get swiped and to see some costumes), I think I felt a deeper connection to my community here than I have at some other times on this holiday.*

Back to Bach: my favorite cantata for this 21st Sunday after Trinity is Cantata 38 Aus tiefer Not schrei ich zu Dir (Out of the depths I cry to Thee). In my post from 2017 I recommended Herreweghe’s recording, and I still prefer that one for Peter Kooij’s singing of the bass part in the penultimate movement. But for all the other movements, I’m quite taken by the interpretation of the J.S. Bach Foundation. Find it here on YouTube. Soloists are: Guro Hjemli, soprano; Ruth Sandhoff, alto; and Johannes Kaleschke, tenor.

Please find the German text with English translations here, and the score here.

It is the tenor aria that brings the consolation, in text as well as in music. On this recording this exquisite piece of chamber music is beautifully performed by Johannes Kaleschke, tenor, and Meike GĂĽldenhaupt and Gilles Vanssons, oboes.

To read more about this cantata in the context of Bach’s reverence for Martin Luther (just as this year, in 1724 Reformation Day, October 31, almost coincided with the 21st Sunday after Trinity), and understand why there are four trombones standing amidst the choir, find my blog post from 2017 here. In that post, I compare the opening chorus of this cantata with the one from Cantata 2, which is for a different Sunday, but also celebrates a chorale by Luther. Since 2017, the J.S. Bach Foundation has released a very compelling video registration of that cantata as well. Find my listening guide for that specific recording here.

Wieneke Gorter, November 1, 2020.

*Last year I wasn’t even in California on Halloween, but attending concerts in the Netherlands. Read about that here and here.