Tag Archives: J.S. Bach Foundation

Trombones and altos from heaven (a guide to BWV 2)

26 Thursday Mar 2020

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

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Ceiling painting installed around 1700 in Christian V’s Hall in Rosenborg Castle, Denmark. Possibly by Reinhold Timm, ca. 1620, originally for for a music pavilion in Kongens Have. *

Yesterday, Wednesday March 25, 2020, the J.S. Bach Foundation published their live video recording of Cantata 2 Ach Gott, vom Himmel sieh darein (Please God, look down from Heaven) on their YouTube channel. I thought it might be nice to provide a listening guide to go with this performance.

I love this cantata because it has trombones in the orchestra, doubling the choir parts, and because the altos have the cantus firmus (=they sing the chorale melody in long notes) in the opening chorus, which sounds incredibly good, and is unique within Bach’s writing.

Find the video recording by the J.S. Bach Foundation here on YouTube. Soloists are Alex Potter, alto; Georg Poplutz, tenor; and Markus Volpert, bass.

Find the German texts with English translations here, and the full score here.

This cantata was the second in Bach’s 1724 series of Chorale Cantatas. He most probably intended for the first four cantatas in that series to form a set, or at least to present some kind of order,  if you look at the composition form of the opening movement, and which voice has the cantus firmus of the chorale tune in that chorus:

  1. Cantata 20 O Ewigkeit, du Donnerwort: French Overture, with cantus firmus in the soprano (find my blog post about this cantata here)
  2. Cantata 2 Ach Gott, vom Himmel sieh darein: Chorale motet, cantus firmus in alto (the cantata discussed here)
  3. Cantata 7 Christ unser Herr zum Jordan kam: Italian concerto, cantus firmus in tenor. (find my blog post about this cantata here)
  4. Cantata 135 : Ach Herr, mich armen Sünder: Chorale fantasia, cantus firmus in bass. (find my blog post about this cantata here)

We know that Bach liked to use order and symmetry when he wanted to impress other people with a composition. But perhaps he was also thinking of his legacy. When he started composing cantatas at the Weimar court in 1714, albeit on a monthly instead of weekly basis, his first four cantatas formed a similar portfolio of composition styles in the opening choral movements:

  1. Cantata 182 Himmelskönig, sei wilkommen: Choral fugue
  2. Cantata 12 Weinen, klagen, sorgen, zagen: Passacaglia
  3. Cantata 172 Erschallet, ihr Lieder, erklinget, ihr Saiten!: Concerto
  4. Cantata 21 Ich hatte viel Bekümmernis: Motet.

Back to this Cantata 2 Ach Gott, vom Himmel sieh darein (Please God, look down from Heaven), and what to listen for.

Opening chorus:

The chorale, based on Psalm 12, is by Luther. For an idea what Luther’s original song would have sounded like, you can watch this video. For readers who understand German: Eduard van Hengel’s website (in Dutch) has a very insightful overview of the original German text of Psalm 12, the text of Luther’s chorale, and how Bach’s librettist changed that into the text for the cantata.  You can find it here.

Whenever Bach uses a chorale by Luther in a cantata, he often demonstrates his reverence for the father of his faith by using the archaic form of chorale motet as opening chorus combined with the equally archaic trombone quartet (1 cornetto and 3 trombones) to double the choir parts.

Giving the cantus firmus to the altos is however not something Bach does very often. If only he had! In this case it is especially wonderfully orchestrated, with doubling by one trombone, two oboes, and all second violins. Both on this video recording by the J.S. Bach Foundation as well on the Herreweghe audio recording I recommended back in 2017, Alex Potter’s voice significantly enhances this winning blend of alto voices and instruments, and on this J.S. Bach Foundation video recording he also sings the beautiful alto aria. It definitely made my day yesterday.

Alto aria:

Bach alto and tenor arias are at their prettiest, I find, when they are written as a trio sonata, and the alto aria Tilg, o Gott in this cantata is a beautiful example of that. Wonderful singing and playing by alto Alex Potter and violinist Renate Steinmann. The aria is a plea for help in fighting the “Rottengeister,” or the sectarians amidst the Lutherans. When the alto starts singing the word “Rottengeistern,” we realize we had heard this word already many times in the triplets of the violin part. As Eduard van Hengel says, it is the “popular easy talk of the sectarians, and that is also the reason why the other two parts don’t have this motive” [to further illustrate the schism].

Renate Steinmann, violin and Alex Potter, alto. Photo of Alex Potter by Annelies van der Vegt.

Bass recitative:

Definitely keep the text & translations handy for this one, because this movement contains a wealth of text illustrations in the music. On the word Armen  (the poor) sounds a sorrowful diminished seventh, the word seufzend (sighing) has a rest/sigh in the middle of the word, and more such things happening on the words Ach (sighing) and Klagen (complaining). In contrast to this, a few lines later, the chord on the word Gott (God) sounds open and liberating, after which God himself gets to speak, and the music turns to an arioso (similarly to how Bach does that in his much earlier Cantata 18 when God speaks). At the word heller Sonnenschein (bright sunshine) the light gets turned on in the music too: the harmony changes to C Major.

Tenor aria:

Here we have arrived at the solution/salvation part of the cantata, and so this music is more pleasant, easier to listen to. But Bach is still preaching: there are some crossing (!) lines in the music, and in the middle section, which tells the listeners to be patient (sei geduldig) and Bach stresses the words Kreuz und Not.

With many thanks to Eduard van Hengel and Rudolf Lutz for their explanations of this cantata,

Wieneke Gorter, March 26, 2020.

*more information about this painting and the other objects in Christian V’s Hall in Rosenborg Castle can be found here.

Pelting rain, growing crops, it is the low instruments that do it

16 Sunday Feb 2020

Posted by in Cantatas, Weimar

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Finally I get to write about Cantata 18 Gleichwie der Regen und Schnee vom Himmel fällt (“the same way rain and snow falls from heaven”), which Bach wrote for this Sunday (Sexagesima, or the 2nd Sunday before Lent) in Weimar in 1713 or 1714. I don’t remember this cantata from my childhood, but have been impressed with it since I purchased the American Bach Soloists’ CD in 2010.

Find the German text with English translations here, and the NBA score here (Neue Bach Ausgabe score, based on the original Weimar score, the same one used by the American Bach Soloists, without recorders in the orchestra).

There is so much happening in this cantata that I could write two or three blog posts about it. To start, I’d like to share three recordings that stand out to me.

My first love of this Cantata 18, the American Bach Soloists’ recording from 1994, can be found here on Spotify. Or purchase the CD or MP3 on Amazon USA, or on Amazon DE, or on iTunes. Soloists are: Julianne Baird, soprano; Benjamin Butterfield, tenor; James Weaver, bass. Violas: Anthony Marin, Lisa Grodin, Sally Butt, George Thomson; Violoncello: Warren Stewart; Bassoon: Andrew Schwartz; Archlute: Michael Eagan; Organ: John Butt.

Director Jeffrey Thomas chooses a slower tempo for the opening sinfonia than most others, which I like. It makes the music more dramatic, and it allows the instrumentalists to paint a truly cold, wintry rain, completely appropriate for this time of year in Germany. The sound of the four violas together is wonderful throughout, and I love Julianne Baird’s singing of Luther’s “litany” in the third movement.

The next two recordings use a later* version of the score, with the addition of recorders in the orchestra.

I highly recommend the recording by Ricercar Consort from 2004, available here on YouTube. With: Katharine Fuge (Soprano); Jan Kobow (Tenor); Stephan MacLeod (Bass); François Fernandez (Viola); Luis Otavio Santos (Viola); Philippe Pierlot (Viola da gamba); Kaori Uemura (Viola da gamba); Ageet Zweistra (Violoncello); Kees Boeke (Recorder); Gaëlle Lecoq (Recorder); Josep Borras I Rocca (Bassoon); Michele Zeoll (Double-bass); Francis Jacob (Organ).

What I like about this recording: the orchestration with two violas and two viola da gambas instead of four violas. The bass instruments do an absolutely fabulous and unrivaled job of bringing out Bach’s illustration of the text “und macht sie fruchtbar und wachsend” (and make it fruitful and fertile) in the second movement. You can truly hear plants growing and blossoming there. And bass Stephan MacLeod, whose singing I usually appreciate much more in Renaissance music than in Bach, is superb in that second movement. His voice is a beautiful “Voice of God” in the text from Isaiah 55: 10-12.

Final recommendation, for now: the live video recording by the J.S. Bach Foundation from 2009, available here on YouTube. With: Núria Rial, soprano; Makoto Sakurada; tenor; Dominik Wörner, bass; Recorders: Armelle Plantier, Gaëlle Volet; Bassoon: Nikolaus Broda; Violas: Susanna Hefti, Renate Steinmann, Martina Bischof, Joanna Bilger; Violoncello: Maya Amrein; Violone: Iris Finkbeiner; Organ: Norbert Zeilberger

What I enjoy most about this recording is Nuria Rial’s singing of the soprano aria (the fourth movement). The aria is incredibly difficult, but, as always, she makes it seem effortless, and her “Fort mit allen, fort, nur fort!” is the best of all recordings I have listened to. I also enjoy the choir sopranos’ singing of the “litany” in the third movement, and the mere fact that you can watch everyone make music, since this is a live video recording.

If you would like to read about another cantata for this Sunday, find my post about Cantata 126 here. Bach wrote that cantata also for Sexagesima Sunday, in 1725.

Wieneke Gorter, February 16, 2020.

*from 1724 in Leipzig, when Bach performed this cantata again.

Bach looking back (Belated 2nd Sunday after Epiphany)

01 Saturday Feb 2020

Posted by in Cantatas, Epiphany, Leipzig

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Wedding at Cana by Duccio di Buoninsegna, tempera on wood, between 1308 and 1311. Museo dell’ Opera dell’ Duomo, Siena, Italy. The “scene” from this story that Bach and his librettists prefer to focus on in all his cantatas for this Sunday, is also illustrated here: Jesus telling his anxious mother “Mine hour is not yet come.”

Two weeks ago I ran out of time writing this post, but I had discovered so much about Cantata 13 Meine Seufzer, meine Tränen (1726), that I would still very much like to share that cantata here. So I hope you don’t mind going back in time a little bit, to the Second Sunday after Epiphany, which fell on January 19 this year (2020), and on January 20 in 1726.

Before I prepare a new post, I always like to revisit previous posts I wrote about this same Sunday, and listen to those cantatas again. And it always thrills me when during this process I discover that Bach must have done this too: going back, either in his memory or in the physical stack of manuscripts, to the music he previously wrote for this same Sunday. Sometimes I only get a feeling that he did this, but other times, there’s an obvious quote either in the text or in the music.

This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? in Cantata 13 Meine Seufzer, meine Tränen. Bach had written Cantata 155 already in Weimar in 1716, but performed it again in Leipzig in 1724, also on the Second Sunday after Epiphany.

I invite you to listen to/watch the wonderful alto-tenor duet with bassoon from Cantata 155 Mein Gott, wie lang, ach lange? here, in a performance by the J.S. Bach Foundation, with alto Margot Oitzinger and tenor Julius Pfeifer. Note this theme in the voices:

After that duet is over, I would suggest turning off that recording for now. *

Now listen to/watch the entire recording of Cantata 13 Meine Seufzer, meine Tränen, also by the J.S. Bach Foundation here, with soprano Susanne Seitter, alto Jan Börner, tenor Jakob Pilgram, and bass Wolf Matthias Friedrich.

Find the German text with English translations here, and the score here. Please note that the English translation of the bass aria’s first line is incorrect: the translation of the German word “Sorgen” should be “worries” or “worrying”, not “care.” The correct translation is something like this:

Groaning and pitiful weeping
are no help to the sickness of worrying

Pay attention to the recorder parts in the opening movement. The music has a slower tempo, and a more drawn out rhythm, but the theme is the same as in that duet from Cantata 155 you just heard:

There is more in this opening chorus of Cantata 13 that gives us a peek into Bach’s referencing process. Bach often uses recorders to introduce sorrow. Early in his career he had done this in the opening movements of Cantata 106 Gottes Zeit ist die allerbeste Zeit (written in 1707) and Cantata 161 Komm, du süße Todesstunde (1716). Even during his first year in Leipzig, in 1723, he used this “tool” in the opening chorus of Cantata 46 Schauet doch und sehet, ob irgendein Schmerz sei (which would later form the basis for the Qui tollis from the Mass in B minor). And while from the mid 1720s most Baroque composers, including Bach himself, favored the more fashionable French transverse flutes over recorders, Bach still uses recorders to illustrate impending sorrow or death’s slumber in his Easter Oratorio (1725) and his St. Matthew Passion (1727). Click on the links to hear/watch recordings of all these examples on YouTube. Names of performers in all these are listed at the very end of this post.**

If, after listening to / watching Cantata 13 in its entirety, you are wondering why Bach’s illustration of a miracle (Jesus turning water into wine at the Wedding at Cana) is so incredibly sorrowful, read my blog post about Cantata 3 here.

Wieneke Gorter, January 31, 2020.

* read my blog post about Cantata 155, which now includes a link to the J.S. Bach Foundation recording, here.

** Performers in the YouTube recordings of cantata/oratorio movements with recorders are:

Opening movement of Cantata 106: Netherlands Bach Society; Jos van Veldhoven, conductor; Heiko ter Schegget and Benny Aghassi, recorders; Dorothee Mields, soprano; Alex Potter, alto; Charles Daniels, tenor; Tobias Berndt, bass.

Opening movement of Cantata 161: Collegium Vocale Gent; Philippe Herreweghe, conductor; Bart Coen and Koen Dieltiens, recorders; Matthew White, alto; Herman Stinders, organ.

Opening movement of Cantata 46: Collegium Vocale Gent; Philippe Herreweghe, conductor. Live recording from the Festival of Saintes, France, July 15, 2013. Recorder players not specified.

Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. Mark Padmore, tenor.

Tenor recitative with choir “O Schmerz, hier zittert das gequälte Herz” from St. Matthew Passion, BWV 244: Collegium Vocale Gent; Philippe Herreweghe, conductor. Colin Balzer, tenor.

Two Weimar cantatas for the fourth Sunday of Advent

21 Saturday Dec 2019

Posted by in Advent, Bach's life, Cantatas, Christmas, Leipzig, Weimar

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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.

Wieneke Gorter, December 21, 2019.

Second Sunday of Advent

07 Saturday Dec 2019

Posted by in Advent, Bach's life, Cantatas, Leipzig, Weimar

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Tomorrow is the second Sunday of Advent.

When Bach worked in Weimar, he wrote a cantata for each of the 4 Sundays in Advent. However in Leipzig, music (other than chorale singing) was not allowed in the churches in the period between the first Sunday of Advent and Christmas Day. In order to still use (and show off?) the Weimar Advent cantatas in Leipzig he reworked and expanded most of them for other times of the church year in Leipzig.

He truly mastered this rewriting process with cantata 70, Wachet! betet! betet! wachet!, originally written for 2nd Advent in Weimar in 1716, but now dramatically expanded for the 26th Sunday after Trinity, November 21, 1723. 

Read much more about the reworking process and about this particular cantata in this Weekly Cantata post from 2016, which now includes a new link to the excellent live video performance by the J.S. Bach Foundation.  

Wieneke Gorter, December 7, 2019.

Cantata movements in organ works

17 Saturday Feb 2018

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

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bach-schubler-titelblad

Title page of Schübler’s edition of six of Bach’s organ chorales based on cantata movements, known nowadays as the “Schübler Chorales.” The two last lines are instructions on where to purchase more of these: in Leipzig from Bach himself, from his sons in Berlin and Halle, and from the publisher [Schübler] in Zella.

There is no cantata for this Sunday, as no figural music was allowed in Leipzig in the 40 days before Easter, with the exception of the feast of the Annunciation (March 25).

For me this means I now finally have time to share some of what I learned during the Bach Festival in Bruges. On Friday January 26 I attended an all-day lecture by Professor Ignace Bossuyt about how Bach “reworked” his own music and the music of others in his compositions. The biggest eye-opener for me was that all Bach’s “Schübler Chorales” for organ (named after their publisher, Johann Georg Schübler) from 1747/1748 are actually arrangements of movements from Bach’s 1724/1725 cycle of cantatas I have been discussing on this blog since June 2017.

While I am not an organist at all, I did grow up in the land of organs and miss hearing them. My mother comes from a family of organists on her mother’s side. When other little boys dreamed of cars, my father dreamed of being an organist and built organ keyboards from blocks at home and would pretend to play them (sadly because of class perception his parents didn’t deem it appropriate to send him for lessons). Thus my parents were extremely picky where we went to church – there had to be a good organist. So I heard my share of Bach chorale preludes and Schübler Chorales, even before I knew what they were.

Because of the funeral service for my mother in the Kloosterkerk in The Hague I already referred to last week, I also have a soft spot for Bach’s “Schübler Chorale” BWV 645, Wachet auf, ruft uns die Stimme, because the incomparable Jan Hage (now organist at the Dom Church in Utrecht) played this at the end of the service, as we were walking out behind the coffin. This music, together with smiles of dear friends we passed by, gave me great comfort at a moment that could otherwise have been unbearable. Listen to this chorale, played by Jan Hage on that same organ of the Kloosterkerk in The Hague, here on YouTube. Another wonderful, and historically significant, performance of this chorale by Ton Koopman, on the Silbermann organ* (1714) in the Freiberg Cathedral, Germany, can be found here on YouTube. Bach and Silbermann knew each other, and Bach might have played on this organ too.

What I didn’t know until Professor Bossuyt’s lecture is that this piece of music was taken from the fourth movement of Cantata 140 with the same title. This cantata is officially not part of the 1724/1725 cycle, but in Bach’s head in 1747 it probably was. Bach wrote Cantata 140 Wachet auf, ruft uns die Stimme in 1731, most likely in an attempt to leave a complete chorale cantata cycle for posterity. During the chorale cantata cycle of 1724/1725, there had been no 26th or 27th Sunday after Trinity (by that time it was already Advent and it is of course no coincidence that Bach uses an Advent chorale in this cantata). Watch the tenor solo from this Cantata 140 Wachet auf, ruft uns die Stimme by all the tenors and baritones of the Amsterdam Baroque Choir (on a live recording conducted by Ton Koopman) here on YouTube.

I have two more beautiful examples of how Bach arranged an existing chorale cantata movements into his “Schübler Chorales”:

Bach turned the fourth movement of Cantata 93 Wer nur den lieben Gott lässt walten into the Schübler Chorale with the same title, BWV 647. Watch the duet from Cantata 93 by the J.S. Bach Foundation with soprano Miriam Feuersinger and alto Jan Börner here on Youtube. Watch the Schübler chorale played by Michael Schultheis on the organ of the Basilica in Seligenstadt, Germany, here on YouTube.

The last example is from a cantata that is nowadays not considered a true chorale cantata, but if Bach used it for the Schübler chorales, we can assume that he himself did regard it as such. It is Cantata 6 Bleib bei uns, denn es will Abend werden for Easter Monday in 1725. Hear Dorothee Mields sing the third movement from Cantata 6 live here on YouTube. Then listen here on YouTube to Dutch organist Wim van Beek play the Schübler Chorale with the same title, BWV 549, on the historic Schnitger-Hinsz organ (1740) in the Martini church in Groningen, The Netherlands.

Wieneke Gorter, February 17, 2018, links updated December 2, 2019.

*learn more about the Silbermann organ here.

Bonus Advent cantata

10 Sunday Dec 2017

Posted by in Advent, Cantatas, Leipzig

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Nuria Rial, my favorite interpreter of the soprano aria from Cantata 36.

In Leipzig in Bach’s time, the period between the first Sunday of Advent and Christmas was a “tempus clausum,” when no figural music was allowed in the churches. So if I would follow Bach’s cantata writing in 1724 very strictly, I would not have any music for you today.

So let’s take a detour to 1725. Sometime in that year, Bach wrote a congratulatory cantata for a teacher at the St. Thomas School in Leipzig. The cantata, with the title Schwingt freudig euch empor, had nine movements: an opening chorus, four recitatives and three arias. The cantata also featured a closing chorus alternated with recitatives for all the soloists, the way Bach would also use that in the before-last movement of his St. Matthew Passion. For the text of this cantata, please see this entry on Eduard van Hengel’s website. Scroll all the way down to find a table with all the different texts for the different cantatas.

In the fall of 1726, Bach received a request from his previous employer, prince Leopold of Köthen, to write a cantata for this birthday of his second wife, princess Charlotte Friederike Wilhelmine, on November 26 of that year. Scholars think that at the same time Bach was reworking this cantata from 1725 into this Birthday cantata, he was also reworking it into an Advent cantata. However the music of that particular cantata has not survived.

In 1731 Bach again, or finally, was able to make the original of 1725 into an Advent cantata, by replacing all the recitatives with chorales. This is cantata 36 Schwingt freudig euch empor, one of three cantatas for the first Sunday of Advent that have survived. (The other two are Cantata 61 I discussed last year, and Cantata 62 I discussed last week). Again please see Eduard van Hengel’s table of the different texts of all the various cantatas here. Find the English translations of Cantata 36 here, and find the score of Cantata 36 here.

My favorite recording of the entire cantata is the one by Herreweghe from 1997 (from the same album I discussed last week). I like this recording the best because of the most sparkling interpretation of the opening chorus, gorgeous singing by Christoph Prégardien in the tenor solos and by Peter Kooy in the bass aria, and a wonderful soprano/alto duet by Sybilla Rubens and Sarah Connolly. Find this recording here on YouTube. Or follow the links in my post from last week to purchase the entire album of Advent cantatas by Herreweghe. It is a great Christmas gift 🙂 !

If you prefer to watch a live recording, I recommend the one by the J.S. Bach Foundation. They just released the entire video recording of this cantata this week, and this performance contains my absolute favorite interpretation of the soprano aria by Nuria Rial.

Wieneke Gorter, December 9, 2017, links updated and photo added December 3, 2019.

The last weeks of Trinity = bass aria time for Bach (Trinity 23 & 24 in 1724)

26 Sunday Nov 2017

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

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Jacob Isaacksz van Ruisdael, ‘Landscape with a waterfall’, circa 1668, Rijksmuseum, Amsterdam.

Last week it was the 7th anniversary of my mother’s passing. I wasn’t sure what to write about that, so ended up not posting that day. If you would like to read more about the woman who still is my main inspiration for this blog, you can read my tribute to her here.

But as it turns out, it is not a bad thing to combine the cantatas Bach wrote for Trinity 23 & 24 in 1724 in one and the same blog post, since they both stand out for their bass arias. It is noteworthy that Bach ended both his 1723 and 1724 Trinity seasons in Leipzig with cantatas featuring impressive bass arias*. That the “End of Life/End of Time/Judgement Day” theme was on every Protestant’s mind in the 18th century around this time of year of course had a lot to do with this. Bach often associates the bass voice with this theme, see for example Cantata 20 O Ewigkeit du Donnerwort, discussed here on this blog.

Regarding Cantata 139 Wohl dem, der sich auf seinen Gott, for the 23rd Sunday after Trinity (which was last week), I prefer the recording by the J.S. Bach Foundation (Bachstiftung). Especially the tenor aria is very well done by tenor Johannes Kaleschke and violinists Renate Steinmann and Martin Korrodi. Update from 2019: when I first wrote about this performance in 2017, the cantata was not available on YouTube in full length, but now it is! You can find it here. For those who can understand (a little) German, there is also a terrific explanation by conductor Rudolf Lutz of everything that happens in the cantata available on YouTube here. You can even download the same worksheet (“Lutzogramm”) as the audience is looking at here.  Rudolf Lutz is at his best here, very clever, witty, and informative. He spent a lot of time prepping for this workshop, including entering entire orchestrations into his “Lady Yamaha,” which is very effective for understanding Bach’s incredible composition. Soloists are Susanne Frei, soprano; Antonia Frey, alto; Johannes Kaleschke, tenor; Ekkehard Abele, bass.

However, since the subject of this post is bass arias … the best interpretation of the extremely unusual bass aria appears on the Bach Collegium Japan recording. Peter Kooy does a fabulous job bringing out the different character for the 11 (!) different sections of the aria. I created a playlist on Spotify of this Bach Collegium Japan recording here. Soloists are Yukari Nonoshita, soprano; Robin Blaze, countertenor; Makoto Sakurada, tenor (he doesn’t convince me or capture my attention, and I find his pronunciation of the word “getrost” a bit distracting); Peter Kooy, bass.

Find the text of Cantata 139 here, and the score here.

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Peter Kooy

Peter Kooy/Bach Collegium Japan again wins “best interpretation of the bass aria” in Cantata 26 Ach wie flüchtig, ach wie nichtig for the 24th Sunday after Trinity in 1724. Listen to Bach Collegium Japan’s recording via a playlist I created here on Spotify. This cantata was released on the same album as Cantata 139, so the soloists are again Soloists are Yukari Nonoshita, soprano; Robin Blaze, countertenor; Makoto Sakurada, tenor; and Peter Kooy, bass. 

Find the text of Cantata 26 here, and the score here.

And what a bass aria this is! The calmly babbling brook from the lovely tenor aria earlier in the cantata has become a white water river in this bass aria. And the combination of bass voice with the oboes makes me think of Hades in Monteverdi’s Orfeo. Peter Kooy is great and my mother loved him very much, but in my humble opinion, the luckiest people today are those attending the cantata service in the Kloosterkerk in The Hague, Netherlands, where my good friend and favorite Bach bass Marc Pantus will be singing this aria. The Kloosterkerk was also my mother’s church for the last decade of her life, so I have now successfully circled back to her in this post, and miss her much more today than I did last week.

Wieneke Gorter, November 26, 2017, updated November 21 & 24, 2019.

*The first cantata Bach ever wrote for this particular time of year was Cantata 163 in Weimar. It contains a bass aria accompanied by two cellos, an instrumentation Bach never ever used after that.  The last two cantatas of the 1723 Trinity season were Cantatas 90 and 70. Read my post about Cantata 90 for the 25th Sunday after Trinity here and my post about Cantata 70 for the 26th Sunday after Trinity here.

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

30 Monday Oct 2017

Posted by in Cantatas, Leipzig, Trinity

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Bachsaal_Schloss_Koethen

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

A concert weekend, successful, but fueled almost exclusively by adrenaline; the overwhelming fatigue thus following; my favorite breakfast cook/violin practice coach/morning chauffeur/bedtime enforcer away on a business trip all week; much needed family hike on Saturday; me not being superwoman: It sometimes leads to a late blog post 🙂 Thank you for understanding.

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, 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.  The entire recording is only available on Amazon, but worth the extra trouble to get it. This is not a plug for Amazon at all, but for the artists. It was their choice to make their recordings available this way, and not offer them on Spotify or YouTube (except for one single track per cantata).

If you prefer to listen on YouTube, this recording by McCreesh/Gabrieli Consort & Players is a good alternative. (Ann Monoyios, soprano; Angus Davidson, counter-tenor; Charles Daniels, tenor; Peter Harvey, bass). The soprano aria on this recording is fabulous, but because of some–to me–distracting issues with pronunciation and text-expression in other movements, I prefer the Bach Foundation recording overall.

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 (in German, but the music examples are universal), 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 happiness, 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 an earlier cantata in which this Bible text was quoted literally: Cantata 61 Nun komm, der Heiden Heiland from Weimar. 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 Bach Founation recording. Another fabulous recording of this aria is the one by Cristoph Prégardien on the Christophe Coin CD. Listen to it here.

Christophe Coin is, by the way, also the guest artist on the Bach Foundation recording of this cantata, doing a fabulous job playing violoncello piccolo in the soprano chorale.  If you really can’t or don’t want to listen to that recording on Amazon, you can still catch a bit of it on Youtube: their video of the soprano aria only, with Maria Christina Kiehr. Sublime interpretation by all, with levity, freedom, and abandon in the orchestra and superb singing by Kiehr. If you wonder where you know here voice from: she appears on many Savall recordings alongside Montserrat Figueras.

Wieneke Gorter, October 30, 2017

** 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.

Dutch memories, Dutch discoveries

06 Saturday Feb 2016

Posted by in Cantatas, Leipzig, Septuagesima

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Opnamedatum: 2012-04-06
Parabel of the Laborers in the Vineyard by Jan Luyken, print, 1703

A number of Dutch things converged for me when writing this post. Whenever I think about the parable of the Laborers in the Vineyard, the Bible story for this Septuagesima Sunday, or the third Sunday before Lent, I see the windows of my 3rd or 4th grade classroom.* I also have to think of my late grandfather reading this story from the Bible.  Quickly summarized, this story is: A landlord pays all his laborers equally, no matter how many hours they worked. Those that worked all day object.

My favorite recording of cantata 144 Nimm, was dein ist, und gehe hin (first performed on Sunday February 6, 1724) turns out to have two connections to my home country: It was recorded in the Grote Kerk in Naarden, during the Bach Pilgrimage tour of Gardiner/English Baroque Soloists, and it features Dutch singer Wilke te Brummelstoete as alto soloist. Counter-tenor fan that I am, I can safely state that I will mention no more than a handful of female altos on this blog each year, so this is pretty special.

Naarden, The Netherlands

The icing on the cake is the illustration I discovered when searching for a good picture to go with this blog post: an etching by Haarlem artist Jan Luyken as published in the Amsterdam Mortierbijbel (Bible published by Pieter Mortier) in 1703, from the collection of the Rijksmuseum in Amsterdam.

Listen to John Eliot Gardiner’s recording of cantata 144 on Spotify

Listen to John Eliot Gardiner’s recording of cantata 144 on Youtube

Soloists: Miah Persson, soprano; Wilke te Brummelstroete, alto;
James Oxley, tenor; Jonathan Brown, bass.

As I’m updating this post on February 8, 2020, the J.S. Bach Foundation has just released their entire live video recording of this cantata, and that one is wonderful too, especially because Nuria Rial sings the soprano aria. Find that video here on YouTube. Soloists are Nuria Rial, soprano; Markus Forster, alto; Raphael Höhn, tenor.

Read the German text with English translation of cantata 144

Find the score of cantata 144 here

What to listen for in cantata 144 Nimm, was dein ist, und gehe hin:

In the opening chorus: the illustration of the text gehe hin, gehe hin! (off you go!) with ascending figures, each gehe hin “retaken” so that the text really leaps off the page, more on the Gardiner recording than on other ones. Also listen how beautifully the sopranos and violins enhance each other’s sound in this movement. That happens too on the J.S. Bach Foundation recording.

In the alto aria:  The illustration of the grumbling workers by the repeated 8th-notes in the strings. The music on the text “Murre nicht” (Don’t grumble) is always low, the music with the text “Lieber Christ” (please note that this means “dear Christian,” not “dear Christ”) always goes up. Very well done in an appropriate style by Wilke te Brummelstoete on the Gardiner recording.

In the soprano aria: the glorification of the “Genügsamkeit” (being satisfied with what you have, a concept that must have been very important to Bach), and the wonderful voice of soprano Miah Persson on the Gardiner recording or the always radiant Nuria Rial on the J.S. Bach Foundation recording. Read more about Miah Persson in my blog post about cantata 179 and those about cantatas 186 and 186a. Read more about Nuria Rial in my posts about Cantata 36 and Cantata 89.

Thank you for reading! Please leave your email address in the “follow this blog” section on the left side of this blog post. You will receive an email by WordPress whenever I have posted a new story. Please note that the choice of words and spelling in their confirmation email is by WordPress, not me. My apologies for that, and many thanks to you for your patience while I work on a more elegant solution!

To support this blog, please consider purchasing Gardiner’s album featuring cantata 144 on Amazon. I receive a small percentage of every sale made through this link. And it would be so fun if someone would actually buy a CD through this link. So far (February 13, 2020), it hasn’t happened 😉 Thank you!

Wieneke Gorter, February 6, 2016, updated February 8 and 13, 2020.

*Though a protestant school, it was pretty moderate in its teachings, and I don’t really remember Bible reading in the classroom. However, we learned a hymn every week and the reason I have to think of the classroom when reading this parable probably has to do with the hymn “De eersten zijn de laatsten” (The first will be the last) which is based on this same story.