Weekly Cantata

Weekly Cantata

Monthly Archives: June 2024

Trip to Köthen – Saturday, June 8 – Part One

20 Thursday Jun 2024

Posted by cantatasonmymind in Bach's life, Cantatas, Köthen, Leipzig

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Anna Magdalena Bach, Bach, Bach Travel, Bachfest Leipzig, Brandenburg concertos, cello, cello-suites, Elbe-Saale, Hop farms, Leipzig courtyards, Reisen, Sachsen, Sachsen-Anhalt, Saxony, Viabundus, violin-partitas

View of the city of Köthen. Copper engraving from around 1720. Bach-Archiv Leipzig.

This is the second post about my experience at Bachfest Leipzig 2024. Please find my first post, about Friday, June 7, here. Find the program for Bachfest Leipzig 2025 here.

7 am walk through Leipzig’s historic center

Because of the back-to-back activities on Friday I hadn’t made it to a supermarket before 10 pm, so I went on a grocery run at 7 am on Saturday. I took a little detour past the Thomaskirche, just to be sure where to locate the “main portal” where the bus to Köthen would leave from at 9:30. Something I forgot to mention in my earlier post: this time of year there are blooming linden trees everywhere in Leipzig! So many more than in Amsterdam. The blossoms provide a delightful and calming fragrance.

I’m so glad I listened to the Reisen reisen podcast before traveling to Leipzig, otherwise I wouldn’t have known to walk into the many courtyards one finds in this city. I found the one pictured here on Saturday morning, and another gorgeous one on Sunday. There are several others I missed, so I will have to come back! Walking in these courtyards I could imagine a bit better how the city must have looked in Bach’s time.

On the way back to my apartment I even found a friendly fruit and vegetable seller setting up early for the weekly open market, so I was all set for making breakfast and a sandwich to take on the bus to Köthen.

On the bus to Köthen

Around 9 am I found a seat on the festival bus to Köthen, together with 49 other Bach fans from all over the world. Köthen is where Bach lived and worked from 1717 to 1723, between his time in Weimar and his time in Leipzig. It was here that he wrote his Brandenburg concertos, cello suites, his sonatas and partitas for solo violin, and several other instrumental works. He had an appreciative employer and got to work with probably the best orchestra he ever had in his life. He retained his title of “Court Capellmeister” even after leaving his post. His wife Anna Magdalena had been a singer at this court for two years before they moved to Leipzig, and together they made the journey from Leipzig to Köthen at least three times to perform for the Prince together.

I visited Arnstadt, Mühlhausen, and Weimar in 2022, but had never been to Köthen, so it was a no-brainer for me to join this “Bach out and about” trip.* The landscape between Leipzig and Köthen, at least as seen from the freeway, is much less interesting than that of Thuringia, the region where Bach spent the first part of his life, and where I traveled in 2022. This was actually a good thing, so there were no spectacular views to distract me from our guide Gerlinde Kämmerer’s stories about Bach’s life in Köthen and his travels between Leipzig and Köthen.

Something new I learned during this bus trip: roads used by carriages in this area in the early 18th century were stone roads (“Steinwege” in German), which we should not understand as cobblestone or gravel, but a bit more like this one pictured here, rough stones hammered into sand or clay, but not as clean-looking – Gerlinde explained there would have been all kinds of dirt sticking to the surface. All this made for very uncomfortable travel and the carriage would have had to make several stops along the way. Looking it up on the fantastic new interactive map by Viabundus, a carriage-trip from Leipzig to Köthen would have taken more than one whole day in Bach’s time.

When we got close to Köthen and turned off the highway we saw fields of poppies and several hop farms. Hops have been grown in this Elbe-Saale region for centuries. The first written records date to the 9th century. Today this hop growing region is the second-largest in Germany, with around 1550 hectares (about 3830 acres).

Hop farm. Plants reach full height at the end of June

More about this trip, and what we actually saw and heard in Köthen, in the next post.

Wieneke Gorter, June 20, 2024. Links updated November 29, 2024.

*Each year the festival organizes a handful of these trips to other towns in the region. It is a combination of city and/or museum tour in the morning and organ or chamber music concert in the afternoon. The concert is usually in collaboration with a local organization, so there will be more people attending the concert than just you and your fellow travelers. But for the rest of the day you are with your travel group only. Once at the destination, the groups gets split into English-speakers and German-speakers. The trips are well organized, you travel in a comfortable coach, and there are knowledgeable guides and excellent translators on board (more about this in the next post). There is a lunch break long enough to eat at a local restaurant or go for a walk. On the way there, you get a lecture about what you are going to see, and on the way back you can take a nap, chat with new friends you made on the trip, or organize all the photos you took. This year these trips cost €88 each and I found it well worth it.

Bachfest Leipzig 2024 – Friday June 7

11 Tuesday Jun 2024

Posted by cantatasonmymind in Cantatas

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Bach, Bachfest Leipzig, benedikt-kristjansson, chorale-cantatas, johann-sebastian-bach, lydia-vroegindeweij, Michael Maul

This is the first post in a longer series about my experience at the Bachfest Leipzig 2024. I was there for only four days, and wished I could have stayed longer and could have traveled more in the region, but it was enough to get a taste of the wonderful atmosphere, the camaraderie, and to hear some fabulous concerts in Leipzig and Freiberg. Find the program for Bachfest Leipzig 2025 here.

I’m really here!

On Friday, June 7, I took a crazy early train from Amsterdam and arrived at the Leipzig main station (Hauptbahnhof) in the early afternoon. Both at the station and on the short walk to my apartment I saw enormous Bachfest posters, see the pictures above (left photo at the station, right photo at the Evangelisch Reformierte Kirche, which is one of the concert venues). No doubt about it: I was really here!

Participating in a Flash Mob

View from the rehearsal room

At 3:15 pm I made my way to a pretty rehearsal room around the corner of the St. Thomas church (Thomaskirche), to rehearse for the not-so-secret-anymore Flash Mob. The festival’s artistic director Michael Maul had announced the Flash Mob on Facebook and picked a good time and place for it: right before the festival’s official opening concert, on St. Thomas Square. To give you an idea of how busy it was: the cafe we sat down at afterwards asked us to move or wait 10 minutes, because they had run out of glasses.

We sang the two chorales from Cantata 147 Herz und Mund und Tat und Leben: “Wohl mir, dass ich Jesum habe” and the famous “Jesus bleibet meine Freude.” To get an idea of what that sounded like, watch this video by the Bachfest on Facebook, with many thanks to David Chin for filming and creating the video.

I had met up with my friend Lydia Vroegindeweij. Thanks to her groundbreaking research into chorale cantatas and her and Ellen van der Sar’s all-encompassing Luther300-Bach500 project, Michael Maul now calls her “Die Choralkantatenexpertin” (the chorale cantata expert) when he introduces her to a fellow Bach scholar, and rightfully so. We had fun participating in the Flash Mob, and met three lovely women from a local a capella choir. Afterwards (while the opening concert was taking place in the church) the others enjoyed a “Bach Kaffee” (yes that is a German thing, to drink coffee late in the afternoon), while I ate an early dinner.

Lydia Vroegindeweij (middle) and our fellow choir members
on St. Thomas Square (me on the right)

Singing along with chorales

The theme of this year’s Bachfest is Chorale Cantatas, and in 16 concerts over the course of one week, all of Bach’s chorale cantatas* will get performed during this festival. I only attended the first one of these, on the evening of Friday, June 7, in the beautiful St. Nicholas church (Nikolaikirche), which has great acoustics.

Carus’ special festival edition

To make the audience fully aware of the chorale on which Bach based his cantata, the festival came up with a formula for each of these cantata concerts. For each cantata on the program, the formula is as follows:

  1. The church’s organist plays an organ prelude (by Bach if he wrote one) on the chorale melody
  2. The audience sings the first two stanzas of the chorale. To aid with this, the festival and Carus Verlag created a free edition of all the chorales (you can download it too, just click on the link!)
  3. After the closing chorale of each cantata (sung by the ensemble performing the concert), the audience also gets to sing that closing chorale.

I very much appreciated this for this first concert, and I happened to sit next to a friend who is also an avid choral singer, so we enjoyed it. However it made for an extremely long concert, and I felt a bit for the people who had bought tickets to *all* chorale cantata concerts, as I couldn’t really see myself doing this seven days in a row, sometimes three times a day.

Benedikt Kristjánsson

Benedikt Kristjánsson, photo by Angela Árnadóttir

The tenor soloist you see and hear singing first in the Flash Mob video is Benedikt Kristjánsson, whom Bach fans still know best for singing an entire St. John Passion by himself during the pandemic.

Kristjánsson was my hero of this first festival day, yes a bit because of the Flash Mob, but mainly thanks to his singing in this first chorale cantata concert.

For me, his aria “Des Vaters Stimme ließ sich hören” from Cantata 7 Christ unser Herr zum Jordan kam, which also features two gorgeous flute parts, was the absolute highlight of that concert.

Full Nikolaikirche for the first chorale cantata concert
Nikolaikirche after the concert

After this concert it was time for bed for me, because I would have to get up at 6:30 the next morning. More about that in the next episode.

Thank you for reading! Please feel free to share with anyone you think might like to read this too.

Wieneke Gorter, June 11, 2024, updated November 29, 2024.

*Bach’s chorale cantatas = the cantatas he wrote during his second year in Leipzig, from June 1724 to March 1725. For nine and a half months, including the entire Christmas season, Bach would write every cantata according to this same template: the opening movement is a chorale fantasia on the first stanza of an existing Lutheran hymn or chorale, with the tune appearing as a cantus firmus. The last movement has the last stanza of the same hymn as text, in a four-part harmonization of the tune. The text of those choral, outer movements was used verbatim, while the text of the solo, inner movements was paraphrased, but still based on the inner stanzas of the same hymn.

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