Tag Archives: Dietrich Henschel

Historic Churches and a Comforting Duet – Third Day of Christmas 2023

27 Wednesday Dec 2023

Posted by in Cantatas, Christmas, Leipzig, Weimar

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Photos from my visit to Weimar in April 2022: The famous altarpiece by Cranach in the St. Peter and Paul church or Herder church and the view over Weimar from the bell tower of St. James church. In the righmost photo you can see on the left the tower of the Bastille where Bach was held prisoner for a month, and on the right the Herder church. In addition to his job at the Duke’s castle, Bach played the organ at both St. James church and Herder church.

I hope you all had a meaningful Advent season and a merry Christmas. I needed to be with friends and family this month, and craved to hear music in old churches. It all worked out and I had one of the best Christmas seasons ever in recent years. I’m sorry that because of spending my time this way, I did not get to share any thoughts or music on this blog. If you went searching in my archives on your own, please let me know in the comments what you listened to. If you ever find youtube links that no longer work, please comment under the specific post or simply send me an email.

Why the photos of Weimar at the top of this blog post?

It’s because of a video I would like to share here today.

One of the best pieces of music I heard in an old church this month was the duet “Herr, dein Mitleid, dein Erbarmen” (Lord, your compassion, your mercy) from the third cantata of Bach’s Christmas Oratorio, written for today, the Third Day of Christmas. On December 10, I heard this excellently performed by soprano Agnes van Laar and bass Marc Pantus in the stunning Saint Martin’s church in Bolsward, the Netherlands.

This duet doesn’t usually appear among the “greatest hits” of Bach’s Christmas Oratorio but I just love the way the instrumental and vocal parts move together, and I am also moved by the text. I was searching for a good live video performance of this duet to share here today, and liked Gardiner’s the best, with soprano Claron McFadden and bass Dietrich Henschel. Please find that video here. Here is the text:

Herr, dein Mitleid, dein Erbarmen
Tröstet uns und macht uns frei.
Deine holde Gunst und Liebe,
Deine wundersamen Triebe
Machen deine Vatertreu
Wieder neu.

Lord, your compassion, your mercy
console us and make us free.
Your gracious favour and love,
your wondrous desires
make the love you have for us as a father
again new.

While watching this video, I realized that MacFadden and Henschel are singing at the Herder church in Weimar, directly in front of the famous Cranach altarpiece. I cannot really describe in words how thrilling it was for me to finally set foot in that church in April 2022. Watching the video and looking at the photos also inspired me to share more stories about my travels to Thuringia in April 2022 on this blog, and to hopefully visit the region again in the new year.

Further exploring:

Read my post from 2020 about all Bach’s other cantatas for the Third Day of Christmas here.

Find a very nice overview of Bach’s time in Weimar on the website of the Thuringia Bach Festival here.

Wieneke Gorter, December 27, 2023.

Bach’s Music for Ascension Day

13 Thursday May 2021

Posted by in Ascension, Cantatas, Leipzig

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The Ascension, from the illuminated 15th-century manuscript Les Très Riches Heures du duc de Berry, Folio 184r – Musée Condé, Chantilly, France.

Today was Ascension Day. In Bach’s time this was a very important holiday in the churches. Many countries in Europe have a four-day weekend starting on this Thursday. I did too as a kid growing up in the Netherlands. But we didn’t go to church on this day, and I don’t remember my mother playing the Ascension cantatas or the Ascension Oratorio on the turntable at home on this day. Instead we went for a bike ride, visit grandparents, or go camping. I didn’t know Bach’s music for Ascension Day at all until we performed BWV 11 and 43 with California Bach Society in the early 2000s. The choruses from these compositions are among the most fun I have every sung in a choir. I love the syncopated rhythms.

Here is an overview of Bach’s music for Ascension Day, as far as we know, in order of creation:

In 1724, Bach wrote Cantata 37 Wer da gläubet und getäuft wird (Whoever believes and is baptised). Listen to it here. Soloists in this recording by Ton Koopman/Amsterdam Baroque Orchestra are Sibylla Rubens, soprano; Bernhard Landauer, alto; Christoph Prégardien, tenor; and Klaus Mertens, bass.

In 1725, as part of the series of cantatas on texts by Christiane Mariane von Ziegler, Bach wrote Cantata 128 Auf Christi Himmelfahrt allein (On Christ’s ascension alone). Listen to it here. Soloists on this live recording by John Eliot Gardiner/English Baroque Soloists are Lenneke Ruiten, soprano; Meg Bragle, mezzo soprano; Andrew Tortise, tenor; and Dietrich Henschel, bass. Find my blog post from 2018 about this cantata, which includes a different recording by Gardiner here.

The last Bach cantata we have for this holiday is from 1726: Cantata 43 Gott fähret auf mit Jauchzen (God ascends with shouts of joy). Listen to it here. Soloists in this live recording by Rudolf Lutz/J.S. Bach Foundation are Miriam Feuersinger, soprano; Annekathrin Laabs, alto; Charles Daniels, tenor; and Wolf Matthias Friedrich, bass.

Nine years later, Bach wrote his Ascension Oratorio, BWV 11 Lobet Gott in seinen Reichen (Praise God in His kingdoms), incorrectly labeled as a cantata in the 19th century. Bach might have been inspired by the Christmas Oratorio he had written only five months before that.

On that Ascension Day, Thursday, May 19, 1735, this oratorio was performed in the morning service in the St. Nicholas Church, and again in the afternoon service in the St. Thomas Church. Watch the wonderful opening chorus here in a live performance by Philippe Herreweghe/Collegium Vocale Gent from 2014 from the Chapelle de la Trinité in Lyon, France. Or listen to the entire oratorio by Philippe Herreweghe/Collegium Vocale Gent on a CD recording from 1993 here. Soloists on that 1993 recording are Barbara Schlick, soprano; Catherine Patriasz, alto; Christoph Prégardien, tenor; and Peter Kooij, bass.

Wieneke Gorter, May 13, 2021.