In my opinion, one of the absolute best background videos on AllofBach is the one in which countertenor Alex Potter explains the different layers of solo cantata 170 Vergnügte Ruh, beliebte Seelenlust from 1726. I remember how happy and impressed I was when I first found this video. So instead of offering you my own discussion, I suggest you watch Alex Potter’s here on YouTube.
Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube.
A lot more information, including the German text with English translations, a list of all participating instrumentalists, the staff that made this beautiful document possible, and a short but insightful interview (in text only) with organist Leo van Doeselaar, can be found here on AllofBach.
Bach’s first two cycles in Leipzig didn’t include a cantata for this Sunday (the 6th after Trinity). My speculations for why this might have happened in 1723 are mentioned in this blog post. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Because later in his life, Bach most probably wrote Cantata 9 Es ist das Heil uns kommen her for this moment in the church year, in an effort to fill the gaps within his 1724/1725 chorale cantata cycle.
There’s a wonderful live performance of Cantata 9 on YouTube, by the J.S. Bach Foundation under direction of Rudolf Lutz. Watch it here. My favorite part of this cantata is the glorious duet Herr, du siehst statt guter Werke, beautifully sung by soprano Julia Doyle and alto Alex Potter. I love how well their voices and singing style match for this! This performance also features exquisite music-making by flutist Marc Hantaï, violinist Amandine Beyer, and tenor Charles Daniels.
For the fourth Sunday of Advent, Bach wrote two cantatas in Weimar: Cantata 132 Bereitet die Wege, bereitet die Bahn in 1715, and Cantata 147a Herz und Mund und Tat und Leben in 1716.
Bach rewrote Cantata 147, the same way he did that with cantatas 70 and 186, into a cantata for another time of the year in Leipzig, in this case the feast of the Visitation on July 2, 1723. Read more about that here in my post from 2016. I have now updated that post with a link to the wonderful live performance of Cantata 147 by the J.S. Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, bass.
Cantata 132 was not transformed into a cantata for another time in the church year in Leipzig, so today’s performances of this cantata still reflect the Advent cantata from Weimar. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. Soloists are Julia Doyle, soprano; Tim Mead, alto; Jan Kobow, tenor; and Dominik Wörner, bass.
Find the German text with English translations here, and the score here.
As I already pointed out in my Advent Calendar earlier this week, the text of the joyful opening aria refers to the story of John the Baptist, who was believed to have come to prepare the way for Jesus, and includes the Isaiah quote as it appears in the scripture: “Messias kömmt an!” (The Messiah is coming). Bach gives this text to the soprano three times, and to give it extra emphasis, each time omits all instrumental accompaniment on those three words.
The rest of the cantata stays close to the story of John the Baptist. The bass aria refers to the Pharisees interrogating John, but then Bach’s text writer (Salomo Franck, who was also the Weimar court librarian) projects the question “Wer bist du?” (Who are you?) onto the believer: ask your conscience: are you a true person or a false person?
As a child, I was enormously impressed by this bass aria, even more than by the wonderful soprano aria at the beginning of the piece. I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. You can find that recording, and read more about those childhood memories, in this blog post from 2016. I had no idea at the time that in those very cool opening notes Bach is quoting this organ piece by Buxtehude. I only learned that this week, by watching the “extra videos” the Netherlands Bach Society provides along with their live recordings on All of Bach.
If you are not following this blog yet, please consider signing up (on the left of this text if you are on a desktop computer, at the bottom of this post when you are reading on a smartphone). This way you won’t miss any posts about the many cantatas Bach wrote for all three Christmas Days (yes there were three in his time), New Year’s Day, and the Sundays after those feast days.
To find the Weekly Cantata Advent Calendar, please click here.
Several people have asked me what made me start writing for this blog again. The answer is simple: Shunske Sato’s violin playing in the “Mein Verlangen” tenor aria from Cantata 161 Komm, du süsse Todesstunde. I had already heard that Sato was “a good one” from people with authority on the matter, and had enjoyed listening to his recordings, but it took these live concerts to experience the magic that happens when he is a soloist in a Bach aria.
During a visit to my home country, the Netherlands, I attended the Netherlands Bach Society’s “All Souls” concerts on October 31 in the Grote Kerk in Naarden and on November 3 in the Nieuwe Kerk in The Hague. I had been unsure how to talk about these concerts in the framework of this blog, especially now that it’s more than a month ago and we’re in Advent already (yes there is Advent music in this post, please keep reading) and there is no recording of these concerts.
Solo sonatas and partitas on All of Bach
But it turns out that this week is the perfect time for a spotlight on Shunske Sato, because this Thursday December 5, 2019, the Netherlands Bach Society will publish the final episode of his series of solo violin sonatas and partitas on All of Bach, their online video archive of Bach performances. Just click on this link and the entire series is right there, under “recently added.”
Sato was appointed concertmaster of the Netherlands Bach Society in 2013, and became their artistic director in June 2018. For the concerts I attended, he was concertmaster only, having invited alto Alex Potter to program and lead this production. (Alex Potter deserves a blog post too, but that will come later). By inviting a different guest director for each program, Sato has breathed fresh air into the he group of musicians I feel.
Instead of the standard biographies, the program booklet featured personal stories from Sato and the four vocal soloists. As a person who’s produced many program books in her lifetime, I felt this was a breath of fresh air too. And as a mom of two teenagers who are finding their way through school and life, I especially liked this part from Sato’s story:
“Things got tricky in my teens: I began spending lots of time away from school playing concerts, and my grades at school were impressively low (except for French and Maths). Giving up on school, I often spent my weekdays at my favorite bookstore instead and read about history, computer programming and linguistics, and composed string quartets. Saturdays always came as a relief: classes and lessons at the Juilliard School in New York, where hung out with my “real” friends.”
Playing Weimar style
Back to what happened in the concert in Naarden on October 31. For this entire program, the violinists were playing one-on-a-part, the same way it was probably done in Weimar, where Bach first performed Cantata 161 on the small organ loft in 1716. This meant that Sato was thus the instrumental soloist in the tenor aria “Mein Verlangen,” and with the rest of the ensemble completely in sync with him, he could truly do his own thing.
And then there was light
And boy, did he do that! Every time he played the “Mein Verlangen” theme, he stretched the tempo just a little bit, every time slightly differently. It created a halo over the entire aria. Even though the tenor wasn’t singing yet, the text was already there: the longing (“Verlangen”) but also the pure radiance (“reiner Schein”) of the soul and the image of angels. He truly brought light into the music, and also for me personally into my heart and mind. It made all my frustrations and worries melt away, and it made the other instrumentalists play and tenor Thomas Hobbs sing with even more inspiration than they already had in this concert.
“The more I let go, the more I risk, the more I dare to really tell the story”
Witnessing Sato communicate the text of the aria before the singing started, I was immediately reminded of this wonderful interview with him for All of Bach. It is specifically about the “Erbarme dich” aria from the St. Matthew Passion, but his message “The more I let go and the more I risk, the more I dare to really tell the story…” applies just as well to this aria that I saw him play.
I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. Sato’s playing there was possibly even more moving and the effect on those on stage and in the audience possibly stronger too. Several people had tears in their eyes.
Watch for yourself in this Advent aria
See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. Never did I enjoy a “da capo” this much. To read more about this cantata, the third one Bach wrote (or adapted) for the first Sunday of Advent, read my blog post from 2017 here.
With special thanks to Marloes Biermans and Annelie Bulsing of the Netherlands Bach Society for their generosity in providing photos and copy for me to use,
Wieneke Gorter, December 3, 2019.
To find the Weekly Cantata Advent Calendar, please click here.