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Category Archives: Köthen

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.

Playing with fugues & Bach’s harpsichord at Köthen

24 Thursday Aug 2023

Posted by cantatasonmymind in 1723 Trinity season special series, Bach's life, Cantatas, Köthen, Leipzig, Trinity

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Berlin, BWV 179, BWV 872, Charlottenburg Castle, Christine Schornsheim, Eduard van Hengel, fugue, harpsichord, Köthen, Leipzig, Michael Mietke, Netherlands Bach Society, Richard Atkinson, Trinity 11, Well Tempered Clavier

“The White Mietke,” a single manual* harpsichord built by Michael Mietke in Berlin, circa 1700. Lacquer artist: Gérard Dagly. Charlottenburg Castle, Berlin, Germany. In his last four years in Köthen, Bach played on a double manual harpsichord by the same builder, built especially for him in 1719.

This past Sunday was the 11th Sunday after Trinity, for which Bach wrote Cantata 179 Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei (See that your fear of God is not hypocrisy) in 1723 in Leipzig. 

Much has been written about the stunning fugue in the opening chorus of this cantata, and I happily refer you to my posts from 2016 and 2020 for more information and a link to my favorite recording. But last week I learned something completely new about this opening chorus, thanks to yet another fabulous video series that saw the light during the pandemic: Richard Atkinson’s Bach Analyses. Since I’m a visual learner, I truly love watching videos like these. At first I merely started watching Richard’s video on the opening chorus of Cantata 179 to see if it would perhaps make the complex structure of the composition a bit easier to understand than Eduard van Hengel’s written explanation I had discussed in 2016.

And indeed it really helped me understand the music better! But what’s more, in that video Richard points out that the fugue from Cantata 179 shares some unusual composition techniques as well as themes with another mind boggling fugue by Bach, namely that of his Prelude and fugue no. 3 in C-sharp major (BWV 872) from the Well Tempered Clavier, Book II. As far as I know, no other Bach scholar or commentator ever mentioned this. Listen to that fugue here, played by Christine Schornsheim. We don’t know when exactly Bach wrote the keyboard piece, because we only have the publication date of the collection in which it appeared (Well Tempered Clavier Book II, 1740). It is possible that the cantata came first, but it is just as likely that Bach would have written the keyboard work before the cantata, while still employed at Köthen.   

Thinking of Bach playing with fugues on the harpsichord in Köthen brings me to another bit about Bach’s life I learned last week, while watching the interview with Christine Schornsheim by the Netherlands Bach Society: that we actually know what kind of harpsichord Bach played in Köthen, from 1719 to 1723. To be clear: most harpsichord players and all harpsichord builders already know this, but I didn’t, and I thought it worth mentioning here.

Historical records show that the Prince of Köthen allowed Bach to order a harpsichord from the famous builder Michael Mietke in Berlin sometime in 1718, and got to pick it up in March 1719.

On March 1, 1719, the accounts read: “To the Capellmeister Bach for the Berlin-made harpsichord and travel expenses 130 Thaler”. On March 14, Gottschalk, the chamber servant, also received eight thalers in “wages for transporting the Berlin harpsichord.”

The instrument remained in the princely music chamber; Bach did not get to take it with him when he moved  to Leipzig in May 1723. In 1784, the instrument is still mentioned: “The large harpsichord or grand piano with 2 manuals, by Michael Mietke in Berlin, 1719, defect.”

Many harpsichord builders have created copies of Bach’s “Mietke harpsichord.” In the video registration of the Prelude and fugue no. 3 in C-sharp major (BWV 872), Christine Schornsheim plays a terrific copy by Bruce Kennedy. The Köthen Castle had a copy made in 1992 by Martin-Christian Schmidt, pictured here: 

For the picture at the top of this blog post I chose one of the very few original Mietke harpsichords that have survived to this day, the “White Mietke” at the Charlottenburg Castle in Berlin. It was built almost two decades earlier than Bach’s harpsichord, it only has one single keyboard, and it was decorated by the court painter at Charlottenburg. 

Wieneke Gorter, August 23, 2023. 

*manual = keyboard

About Weekly Cantata

I am a bilingual writer, publicist, choral singer, art and nature lover, happy wife, and blessed mother of two. I started this blog in 2016, inspired by my late mother’s love for Bach’s cantatas. After 23 years in the San Francisco Bay Area, I’m now back in the Netherlands.

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Merry Christmas!

25 Saturday Dec 2021

Posted by cantatasonmymind in Cantatas, Chorale cantatas 1724/1725, Christmas, Following Bach in 1725, Köthen, Leipzig

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Bach, Bachakademie Stuttgart, BWV 248/1, BWV 248/2, BWV 248/3, BWV 248/4, BWV 248/5, BWV 248/6, cantatas, Christmas 1, J.S. Bach Foundation, Rudolf Lutz

Merry Christmas! My sincere apologies if you are somewhere in the world where it is not Christmas Morning anymore.

I have two new videos for you today, that will last you until January 6, just in case I don’t manage to write another blog post between now and then.

The J.S. Bach Foundation has released all six cantatas of Bach’s Christmas Oratorio to YouTube. They released these on CD and DVD for purchase last year, but have now made them available to everyone. You can find that video recording here.

What is even better: they also made the effort to provide English subtitles for Rudolf Lutz’ lecture about Part I of the Oratorio, for Christmas Day. You can find that video here. I highly recommend watching this to better understand the meaning of the music, to learn how Bach reworked some of his secular cantatas into this Oratorio, and that he perhaps planned to do that all along.

There is also a good video of parts I, II, III, and VI of Bach’s Christmas Oratorio by Bach Akademie Stuttgart. The setting in which they perform is less festive looking than the beautiful Baroque church of the J.S. Bach Foundation, but it’s also well done. You can find it here.

If you would like to read and listen more, here’s an overview of my previous blog posts for this First Christmas Day:

Our Christmas Morning, from 2016, talks about how my mother used to wake my sister and me up with Bach’s Christmas Oratorio.

Three Days of Christmas, from 2017, gives you the three cantatas Bach wrote in 1724, all three brand-new, no reworking there.

My own favorite post is Bach and the Christmas Day Message, from 2019, about Cantata 110 from 1725.

And my post from last year is Angels – We Can Use Some This Week, in which I highlight one of the 1724 cantatas.

Happy listening and watching! And please let me know if any of the links don’t work.

Wieneke Gorter, December 25, 2021.

J.S. Bach Foundation with Nuria Rial review and live video

18 Thursday Nov 2021

Posted by cantatasonmymind in Cantatas, Köthen, Leipzig, Weimar

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Amy Power, Bach, Bachstiftung, BWV 199, bwv 202, BWV 82, cantatas, Daniel Rosin, Eva Borhi, J.S. Bach Foundation, J.S. Bach Stiftung, Manuel Walser, Nuria Rial, Rudolf Lutz, Sonoko Asabuki

The church in Trogen, Switzerland, where the 15th anniversary concert of the J.S. Bach Foundation was recorded on November 17, 2021. Find it here on YouTube.

Nuria Rial in Basel

This week, the J.S. Bach Foundation celebrated 15 years of recording Bach cantatas with a special anniversary program in three cities in Switzerland: Basel, Trogen, and Zürich. I am still pinching myself that I got to attend the concert in Basel on Tuesday November 16, sitting only 6 feet (2 meters) from the amazing soprano Nuria Rial, who sang Cantata 199 Mein Herze schwimmt im Blut and Cantata 202 Weichet nur, betrübte Schatten.

Her performance was everything I had been hoping for and more. Her voice pulls you in from the start, and the energy and joy she exudes are just extraordinary. And then there’s her playfulness. I will never forget how special it was to experience that from up-close. I also realized what a true ensemble member she is, always in contact with the instrumentalists.

Amy Power in Basel

And those instrumentalists really need to be mentioned! Oboist Amy Power’s playing was lyrical throughout, with beautiful ornamentations in the “da capo” parts of the arias. I especially enjoyed the call-and response between her and Nuria Rial in the first movement of Weichet nur, betrübte Schatten. Her accomplishments were even more impressive knowing that she had been summoned from Graz less than 8 days before the concert, when the J.S. Bach Foundation heard that oboist Andreas Helm had to isolate at home because of contracting Covid-19.

First violinist Eva Borhi’s sensitive playing was especially gorgeous in the “Tief gebückt” aria from Canatata 199 and “Schlummert ein” aria from Cantata 82 with Manuel Walser. But my favorite was her interaction with Nuria Rial in the “Wenn die Frühlingslufte streichen” aria from Cantata 202.

Violist Sonoko Asabuki had an exquisite solo in the Chorale “Ich, dein betrübtes Kind” from Cantata 199, and cellist Daniel Rosin did a great illustration of Phoebus’ speeding horses in the third movement of Cantata 202, which earned a “Bravo” cheer from the audience, as if we were at the opera. (Always better than the audience member who fell asleep during “Schlummert ein,” snoring and all, a few rows behind me).

Last but not least, Rudolf Lutz, who directed the others from the harpsichord, improvised tasteful and effective mini-preludes leading up to the recitatives in Cantata 199, and very sensitively employed the lute register in the da capo of “Schlummert ein,” which formed a beautiful accompaniment to the pianissimo playing strings. He was also his usual witty self, making audience and performers laugh with his short speeches. My sister mentioned that even though we were here together at the concert because of our mother, she was actually strongly reminded of our grandfather. Also a man who always appeared very proper and Calvinist, but would then surprise you with his terrific sense of humor.

Watch this same performance, recorded live in Trogen, a day later than the one I attended in Basel here on YouTube.

Wieneke Gorter, November 19, 2021.

Dorothee Mields in the spotlight – Third Sunday after Trinity

20 Sunday Jun 2021

Posted by cantatasonmymind in 1723 Trinity season special series, Cantatas, Chorale cantatas 1724/1725, Köthen, Leipzig, Trinity, Weimar

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Alex Potter, Bach Akademie Stuttgart, Bachstiftung, BWV 135, BWV 172, BWV 21, Dorothee Mields, Gaechinger Cantorey, Hans-Christoph Rademann, J.S. Bach Foundation, J.S. Bach Stiftung, Peter Kooij, Rudolf Lutz, Trinity 3

As far as we know, Bach wrote two cantatas for this Sunday, the third after Trinity: Cantata 21 Ich hatte viel Bekümmernis and Cantata 135 Ach Herr, mich armen Sünder.

Read my post from 2017 about Cantata 135 here. Since I wrote that post, a beautiful live video recording by the J.S. Bach Foundation has been released on YouTube. Find it here.

But now about Cantata 21. It is one of Bach’s most well-known cantatas and it gets programmed often because it features several exciting choruses. The version most of us know is with three soloists: a soprano, a tenor, and a bass. Bach first wrote it like that in Weimar and later performed a similar version in Leipzig in 1723, as part of his first year there. However, in 1720, he created a different version, which he performed in Köthen as well as in Hamburg. It is likely that this version was created for a special soprano soloist (possibly Anna Magdalena?), because in this version, Bach assigns all three tenor solos to the soprano as well, thus featuring the soprano in every solo movement. The bass joins her for two duets.

Dorothee Mields

It turns out that the J.S. Bach Foundation decided to perform this 1720 version for their live video series, with soprano Dorothee Mields and bass Peter Kooij. If I had been at that concert in person, I would have joined the whooping and clapping at the end, because it is an outstanding performance by both soloists but also by the chorus. I only discovered this video recording by accident tonight. I had completely missed it when it was released earlier this month. I meant to write a very short blog post today, quickly giving you some links to previous posts and then go to sleep, but I was completely mesmerized by Dorothee Mields’ singing and was unable to close my computer.

In my post from 2016 about Cantata 21, I show how similar the duet from this cantata is to the duet from Cantata 172 (also written in Weimar). When I watched the J.S. Bach Foundation video of Cantata 21 and witnessed Mields’ art of being in sync with her duet partner, I remembered there’s another wonderful video I have wanted to share. It is Dorothee Mields and Alex Potter singing the duet from Cantata 172 in this video by the Bach Akademie Stuttgart that came out at the end of May. I enjoy very much how sensitive Mields and Potter both are to the music and the text, and how beautifully and naturally their voices move together.

Wieneke Gorter, June 19, 2021.

Getting all Dressed Up in the Opening Chorus.

25 Sunday Oct 2020

Posted by cantatasonmymind in Bach's life, Cantatas, Chorale cantatas 1724/1725, Köthen, Leipzig, Trinity

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20th Sunday after Trinity, Akris, Bachstiftung, BWV 180, Electress of Saxony, Fabrice Hayoz, J.S. Bach Foundation, J.S. Bach Stiftung, Jan Börner, Julius Pfeifer, Leopold of Anhalt-Köthen, Maria Christina Kiehr, Princess of Anhalt-Köthen, Queen of Prussia, Rudolf Lutz, Trinity 20

  • Friederike Henriette, Princess of Anhalt-Köthen
  • Christiane Eberhardine, Electress of Saxony
  • Sophia Dorothea,
    Queen of Prussia

My absolute favorite recording of Cantata 180 Schmücke dich, o liebe Seele (Adorn yourself, beloved soul, from October 22, 1724) is the video registration by the J.S. Bach Foundation from 2009. I love how the entire ensemble truly brings luster into the opening chorus and the soprano aria, and how the instrumentalists illustrate the “knocking” in the tenor aria. Also: Rudolf Lutz’s lecture about this cantata is in my top five of all his lectures I’ve watched so far.

When I first wrote about this cantata, in 2017, only the soprano aria from this video registration was available on YouTube, and Lutz’s lecture didn’t have English subtitles yet. However, this has all changed, and the entire cantata is now available here on YouTube, and Lutz’s lecture, now with English subtitles, can be found here. Soloists in the performance: Maria Christina Kiehr, soprano; Jan Börner, counter-tenor; Julius Pfeifer, tenor; and Fabrice Hayoz, bass. 

Find the German text with English translation here, and the score here.

When I listened to Lutz’s lecture again this week, I noticed some things I had missed when listening to it in 2017. For example, around 2 minutes into the lecture, when talking about the opening chorus, Lutz says:

“I like to compare it to a flowing wedding garment of the noblest kind.”

The title of the cantata is “Schmücke dich” (Adorn yourself) and the 20th Sunday after Trinity was a Communion Sunday in Leipzig. As I mentioned in my post from 2017, it was normal in Bach’s time to compare the Communion between Jesus and the believer, or Jesus and the soul, to the marriage between groom and bride. So it makes sense to use this image of a bride dressing up for her wedding. In addition, the reading for this Sunday mentions wedding guests being sent away because they are not dressed for the occasion. So on this 20th Sunday after Trinity, we can pay a bit more attention to clothing.

Lutz being Lutz, a talented improvisor, and often one to throw in some local folklore to make his Swiss audience laugh, makes a joke about that “wedding garment of the noblest kind,” and adds: “Perhaps by Akris, or so.” I had to Google that one, and it turns out that Akris is a Swiss fashion house that still has its headquarters in St. Gallen (the same town where the J.S. Bach Foundation resides), and has been owned by the same family continuously. There’s a nice New York Times article about its current creative director Albert Kriemler here.

I started thinking: if Bach also paid more attention to clothing for this Sunday, what would he have had in mind on the words “Schmücke dich”?

We know that the Rhine wine was flowing at Bach’s own wedding to Anna Magdalena in 1721, but for the rest it would probably have been a simple affair, since it was held at home. There are no paintings of the weddings of his employers, nor of the weddings that would have taken place in Leipzig at the time. However there are paintings of noble dresses Bach might have seen on official occasions, worn by the Princess his employer in Köthen married a little later in December 1721*, and by the consorts of dignitaries Bach would have visited in Dresden and Berlin. See pictures at the top of this post. This would then also be the style in which the noblewomen of Leipzig would have dressed up to go attend church, especially on an important Sunday such as this one.

Read more about all the luster in this cantata, and about an impatient groom/Jesus in my blog post from 2017. I’m apparently always late in posting for this Sunday, whether there are choir performances going on in my life or not.

Wieneke Gorter, October 25, 2020.

*In a rare letter to a friend, Bach mentioned Friederike Henriette and the absence of her interest in music as one of his reasons for leaving Köthen in 1723. However it was probably for financial demands by the Prussian military that the Prince of Anhalt-Köthen had less and less funds to spend on music. Henriette died in April of 1723, 14 months after her marrying Leopold of Anhalt-Köthen. Bach moved to Leipzig in May 1723.

Wedding music for the 20th Sunday after Trinity, with a gorgeous soprano aria

30 Monday Oct 2017

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

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Advent, Bach, Bachstiftung, BWV 140, BWV 180, BWV 21, BWV 61, Christoph Prégardien, Christophe Coin, duet, Fabrice Hayoz, flute, J.S. Bach Foundation, Jan Börner, Julius Pfeifer, Köthen, Leipzig, Maria Christina Kiehr, parable of the Wedding Banquet, recorder, Rudolf Lutz, Trinity, Trinity 20, violin, Weimar

Bachsaal_Schloss_Koethen

The mirror-hall, now called “Bach hall” in Köthen, where Bach worked from 1717 to 1723.

The 1724 cantata for yesterday, Cantata 180 Schmücke dich, o liebe Seele (Adorn yourself, beloved soul) is full of luster, with an opening chorus, a tenor/flute aria and a soprano/orchestra aria that make me think of the orchestral suites Bach wrote at the court of Köthen between 1717 and 1723. With all this joy already from the beginning, it sounds like a wedding cantata.

The recording I appreciate most is the one by the Swiss J.S. Bach Foundation from 2009, because I feel they bring the most light into the opening chorus and the soprano aria, illustrate the “knocking” the best in the tenor aria, and the singers do a great job bringing out the text. Soloists: Maria Christina Kiehr, soprano; Jan Börner, counter-tenor; Julius Pfeifer, tenor; and Fabrice Hayoz, bass.  Update from 2020: When I first wrote about this cantata, in 2017, only the soprano aria from this recording was available on YouTube, but in 2018 they made it available in full length. You can find it here.

Find the German text with English translation here, and the score here.

Why all this luster in this cantata? In Bach’s time, the Gospel reading for this Sunday, the parable of the Wedding Banquet (Matthew 22: 1-14) was seen in relation to the union of the faithful with Christ, both during communion as well as during the heavenly banquet in the afterlife. If you then realize that that union between the soul of the faithful and Christ was in that time often compared to the marriage between bride and groom, it was not unusual to present something that sounds like wedding music on this communion Sunday.  Expressing the love-like relationship of Jesus and the soul was not a foreign concept for Bach. He did it beautifully in the duet in Cantata 21 from Weimar (read my post about that cantata here) and later also in Cantata 140 Wachet auf, ruft uns die Stimme.**

In addition to this important link to the Bible texts, I think Bach might have an ulterior motive to bring so much splendor in a cantata for a Communion Sunday. On those Sundays, the congregations in the Leipzig churches would have been larger, and more prominent (read: wish-to-be-seen) families would have been present. Having followed Bach’s cantata compositions in the order he wrote them in Leipzig for almost two years now, I am seeing this pattern around large events in Leipzig: important audience = time to show off his star players and singers and his composition skills.

In his lecture (2020 update: now with English subtitles!), Rudolf Lutz, the director of the J.S. Bach Foundation, points out all the musical elements that make the opening chorus so utterly joyful and full of splendor. If you start watching at 19 minutes, you can see/hear how he shows that the bass notes are already signs of glory, similar to the way how Bach expresses that in his Magnificat from 1723 and his Cantata 140. He then goes on to explain how the recorders build a “dome” over all of it, and the unisono violins and viola express the utter pleasure of lovers, or as Lutz says: “I love you, I love you, I say it to you again! Oh! Ah!”

In the tenor aria Christ is knocking on the door of the believer. This is a reference to the Revelations chapter from the Bible. When Bach received the libretto for this cantata, he must have thought back to Cantata 61 Nun komm, der Heiden Heiland from Weimar, in which this Bible text was quoted literally. In that cantata, the “Vox Christi” bass sings:

Siehe, ich stehe vor der Tür und klopfe an.
So jemand meine Stimme hören wird und die Tür auftun,
zu dem werde ich eingehen
und das Abendmahl mit ihm halten und er mit mir.

 

See, I stand before the door and knock.
If anyone will hear my voice
and open the door
I shall go in
and have supper with him and he with me.

This recitative/arioso is accompanied by staccato continuo, illustrating the knocking. Bach uses this feature again in the continuo for this tenor aria from Cantata 180. Except this Christ is more impatient than the one from Cantata 61. For the rest it is pure blissful music, again putting Bach’s fabulous flute player in the spotlight. The theme of the flute part is likely based on the first three notes of the chorale melody. Julius Pfeifer does a great job singing this on the J.S. Bach Foundation recording.*** 

Note Christophe Coin on violoncello piccolo in the soprano chorale.  My most favorite part of this recording by the J.S. Bach Foundation is the soprano aria. Sublime interpretation by all, with levity, freedom, and abandon in the orchestra and superb singing by Maria Christina Kiehr. If you wonder where you know her voice from: she appears on many Savall recordings alongside Montserrat Figueras.

Wieneke Gorter, October 30, 2017, updated October 21, 2023.

** Wachet auf, ruft uns die Stimme was really also a Trinity, almost Advent, cantata, but is nowadays better known as “The Wedding Cantata” (incorrectly suggesting that Bach wrote only one Wedding cantata) because of that subject matter.

***Another fabulous recording of this aria is the one by Cristoph Prégardien on the Christophe Coin CD. Listen to it here.

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