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.
Fresco’s in the Brancacci Chapel of Santa Maria del Carmine, Florence, Italy, by Masolino, 1424-25. One of the miracles pictured is TheHealing of the Cripple, which was the Gospel story for the 19th Sunday after Trinity. Photo by the author.
At the end of a two-week trip to Italy in the summer of 2018 (my family’s first visit to that country), we would have only one afternoon and night in Florence. After booking our hotel in a neighborhood a good friend had recommended, I saw on Google maps that the hotel was around the corner from a church called Santa Maria del Carmine.
The name rang a bell, but I didn’t immediately realize why. Then I started searching my blog, and yes: there it was, the fresco of TheHealing of the Cripple, from the Brancacci Chapel in that church, in my blog post from 2016 about Cantata 48. After seeing a lot of art in other cities in Italy and with a big train trip ahead of us, we decided to have this be the only art we would go see in Florence, and save the rest for another trip. It was a good decision, because this way I could really let it sink in that I was seeing these frescos in real life, and this way we had some time left to eat ice cream, rest, see the sun set over the city, and enjoy a good meal.
In my blog post from 2016, I recommended Herreweghe’s recording of Cantata 48Ich elender Mensch. (from 1723), and I still stand by that choice. Find all the links to the recording, a comparison with the St. Matthew Passion, and my explanation of the silver lining in the opening chorus here.
One year later, in 2017, I wrote about Cantata 5, Wo soll ich fliehen hin? which Bach wrote for this same 19th Sunday after Trinity, in 1724. Since then, I have a new favorite recording of this cantata: the excellent 2018 performance by the J.S. Bach Foundation that was released to YouTube in April 2019. You can find that video here. Soloists are: Soprano: Mirjam Berli; Alto: Jan Börner; Tenor: Raphael Höhn; Bass: Manuel Walser; Violin: Eva Borhi; Tromba da tirarsi: Patrick Henrichs.
Find the German text with English translation of Cantata 5 here, and the score here.
For a list of the bass arias with trumpet the Leipzig congregations would have heard between June 1723 (when Bach started working in Leipzig) and October 1724 (when he wrote Cantata 5), including links for listening, read my blog post from 2017 here.
On Sunday October 8, 1724, Bach introduced a new instrument to his Leipzig cantata audiences: the flauto piccolo, or sopranino recorder, in Cantata 96 Herr Christ, der einge Gottessohn. He did this to illustrate the word “Morgenstern” (Morning Star) in the text of the opening chorus, creating a constellation over the highest notes of the choir sopranos with the even higher notes of the recorder.
Thanks to a videoby the J.S. Bach Foundation that was released to YouTube in 2018, you can now watch an excellent recorder player, Maurice Steger, in action on this instrument in this cantata.
Go to my blog post from 2017 (updated with the new recording and a few other things), to read why Bach needed a chorale with the word “Gottessohn” (son of God) for this cantata.
This 17th Sunday after Trinity has been connected to more discoveries than any other so far for me, and I keep making new ones:
In 2016, I wrote a post about Cantata148 Bringet dem Herrn Ehre seines Namens, then learned a lot of new information during the months that followed, which led me to completely revise the post in February 2017. It talks about Dresden concertmaster Johann Georg Pisendel and his influence on the violin solos Bach wrote in Leipzig. Read it here.
Marc Hantaï
In 2017, I realized that at least two arias Bach wrote for this Sunday make me cry, not because of the singers, but because of the instrumental solos that accompany those arias. Read it here, in a post that introduces Cantata 114 Ach, lieben Christen, seid getrost. At that time, the best recording I could find was a live radio registration of a performance led by Gustav Leonhardt in 1988. All this because of the tenor aria.* I knew who the tenor was (John Elwes), but could only make an educated guess about the extraordinary flute player, probably Marc Hantaï. That recording also had my first countertenor love, Gérard Lesne, singing the alto aria.
David Erler. Photo by Björn Kowalewsky
At the last gathering of the Berkeley Bach Cantata Group I attended before the Shelter In Place started (and all rehearsals and performances stopped) here in the SF Bay Area, I got to discuss Bach’s “Pisendel style” violin solos a bit with the first violinist of that group. In an email-exchange that followed, he pointed out a countertenor he liked, but who I had never heard of before: David Erler.
Then this week, while checking if any new recordings of cantatas 148 or 114 had come out since I wrote those blog posts, I discovered to my great delight that in September 2018 the J.S. Bach Foundation recorded Cantata 114 Ach, lieben Christen, seid getrostwith … Marc Hantaï playing flute in the tenor aria! (I now for sure know it was him in that 1988 Leonhardt recording) and … David Erler singing the alto aria (and doing an excellent job). While it doesn’t rival the energy of the soprano solo on the Gardiner recording (for this, please read my blog post from 2017 about this cantata), nor Peter Kooij’s solo on the Leonhardt recording, it is a fabulous and very moving performance, and you can see Marc Hantaï play. Find this live video recording by the J.S. Bach foundation here on YouTube. Soloists are: David Erler, alto; Georg Poplutz, tenor; and Wolf-Matthias Friedrich, bass.
Find the German texts with English translations of Cantata 114 here, and the score here.
In 2018, I realized that Bach reworked the incredibly moving tenor aria with flute from Cantata 114 into a faster tenor aria with oboe for Cantata 124, and that nobody else seemed to have noticed this yet. Read that here.
Resurrection of the Widow of Nain’s Son by Paolo Veronese. 1565-1570, oil on canvas. Kunsthistorisches Museum, Vienna, Austria.
This is an extended lesson, in several steps, but please bear with me, it’s worth it and you get to watch or listen to some excellent videos. Happy learning and listening!
This 16th Sunday after Trinity seems to be “chorale Sunday” for Bach. His cantatas for this Sunday (161, 95, 8, and 27) either contain a high number of chorales, or are centered around an important chorale. Read for example about the four (!) chorales in Cantata 95 Christus, der ist mein Leben from 1723 in this blog post. Already in 1716, in Weimar, Bach put great emphasis on the chorale in the first cantata he ever wrote for this Sunday, Cantata 161 Komm, du süße Todesstunde.
Why this stress on chorales? In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. Based on contemporary sermons, Yearsley concludes that this 16th Sunday after Trinity was seen as some sort of National Widow Day, and wonders why no Bach scholar ever discusses this in relation to these cantatas. On page 207 of his book, he says: “Even by Bachian standards, this group of cantatas is dense with chorales, the singing of which was one crucial way for widows to make their lives bearable; melodies and texts buttressed single women’s emotional well-being and held off melancholy.”
The crucial role the chorale Herzlich tut mich verlangen nach einem sel’gen End (My heart is filled with longing to pass away in peace) plays in Cantata 161 Komm, du süße Todesstunde from 1716 brings me to Part II of my review of the All Souls production by the Netherlands Bach Society in the Fall of 2019, guest-directed by Alex Potter. (Part I is here). That program included the absolute best performance of Cantata 161 I have ever heard. Unfortunately, none of the performances were recorded.
Alex Potter. Photo by Annelies van der Vegt.
I will discuss two good alternatives for recordings later, but first I would like to introduce* Alex Potter with this video by the Netherlands Bach Society. In this video, Potter talks about the countertenor voice, and explains how he came to be a countertenor. It’s a lovely and very accessible interview. But for me, the best are the snippets of rehearsals for the All Souls program. It’s cold comfort for the absence of a complete All of Bach recording, but for a few seconds, you can see Potter perform the alto recitative from Cantata 161 with the superb band he had put together for this : the dramatic so schlage doch section around 1’38” and the start of the recitative around 7’12”. Other singers in this recording are Dorothee Mields, soprano; Thomas Hobbs, tenor; and Stephan McLeod, bass.
The chorale Herzlich tut mich verlangen nach einem sel’gen End features prominently in the opening movement of Cantata 161, is referred to in the tenor aria, and then comes back in the final movement. It was an important chorale for Bach, and he used it often. Watch this 3-minute explanation by organist Matthias Havinga on how earthly misery gets replaced by heavenly paradise in the chorale prelude (BWV 727) of the same name, also written in Weimar. **
Potter wanted to make absolutely sure that the Netherlands Bach Society audience members, who all have St. Matthew Passion running through their veins, would not hear this tune as O Haupt voll Blut und wunden:
“It is NOT ‘O Haupt’ – indeed in hymnals from the time, ‘O Haupt’ is often listed to be sung to the melody of ‘Herzlich tut mich verlangen’,” he explained a few days after the concerts, when I had written him to ask about some of his choices.
By the time Bach repeated this cantata in Leipzig, probably sometime in the late 1720s or in the 1730s, O Haupt voll Blut und Wunden had become much better known, and Bach might have had a similar concern as Alex Potter had in 2019: he wanted to make sure the congregation would have the correct chorale, and thus the correct message in mind.
In the original Weimar version from 1716, the chorale melody in the opening chorus was played, without words, on the organ. Listeners would have heard the words in their heads. For a wonderful example of this version, listen to Herreweghe’s recording here on YouTube, or here on Spotify. Soloists on this recording are Matthew White, countertenor, and Hans Jörg Mammel, tenor.
Bach’s later Leipzig solution: He replaced the organ part with a soprano part, using the first verse of Herzlich tut mich verlangen. For an example of this version, with all sopranos singing the chorale, watch the live performance by the J.S. Bach Foundation here on YouTube. Please note another typical Leipzig change here: recorders were replaced by the more fashionable transverse flutes. Soloists in this recording are Alex Potter, countertenor, and Daniel Johanssen, tenor.
It makes that you hear these two texts at the same time, which is very special:
Komm, du süße Todesstunde, Da mein Geist Honig speist Aus des Löwen Munde; Mache meinen Abschied süße, Säume nicht, Letztes Licht, Dass ich meinen Heiland küsse.
Come, sweet hour of death, when my spirit feeds on honey from the lion’s mouth; make my departure sweet, do not delay, last light so that I may kiss my saviour.
Alto Aria
Herzlich tut mich verlangen nach einem sel’gen End; weil ich hie bin umfangen mit Trübsal und Elend. Ich hab Lust abzuscheiden von dieser argen Welt; sehn mich noch ew’gen Freuden: o Jesu, komm nur bald.
My heart is filled with longing To pass away in peace; For woes are round me thronging, And trials will not cease. O fain would I be hasting From thee, dark world of gloom, To gladness everlasting; O Jesus, quickly come!
Soprano chorale
Alex Potter’s 2019 solution: Use the soprano part from the Leipzig version, sung solo by the incomparable Dorothee Mields, but keep the recorders from the Weimar version.
A pragmatic solution, as Potter explained partly in the program book: recorder player Benny Aghassi was available; partly in his message to me: “I think that for a modern audience having the voice cut through a bit more makes it clearer – also with the text. I also think that any opportunity to hear more Dorothee Mields is worth it, and I got to sing with her as an added bonus.”
It turned out to be a brilliant one. If you have ever watched and heard Dorothee Mields and Alex Potter sing a duet, you know that that is pure heaven. I also truly prefer the somewhat more penetrating sound of recorders over the sweet tones of the flutes in all the movements of this cantata that they appear in (alto aria, alto recitative, chorus, and closing chorale), but especially in the illustration of the death bells in the text “so schlage doch, du letzter Stundenschlag!” (therefore sound, stroke of the last hour!)***
Dorothee Mields
And, in those concerts in the Netherlands in 2019, we got to hear even more Dorothee Mields. In an extra effort to set the audience up with the correct chorale, Alex Potter had her sing Johann Hermann Schein’s setting of Herzlich tut mich verlangen right before the cantata started. Especially in the Nieuwe Kerk in The Hague on Sunday November 3 this was an event: She stood in a very humble location behind the stage, almost tucked into a corner next to the stairs leading up to the pulpit, hidden from view for probably half the audience. Then, during the instrumental introduction to the Bach cantata, she very slowly climbed the stairs to the pulpit, and then sang the chorale from there during the opening aria. It was as Bach intended: to die for.
I mentioned before that Herzlich tut mich verlangen is also referenced in the tenor aria. It is not just with the word “Verlangen” in the text, but also with the “figura suspirans” (or longing in the music, as explained in the organ video of Matthias Havinga mentioned above) that is present here too, in the tenor part as well in the violin part. The effect Shunske Sato’s longing style of playing had on Thomas Hobbs’ singing in this aria was out of this world. Thomas Hobbs really needs a shout-out for his role in this All Souls production, even though I’m writing this so long after the fact. I’ve seen him several times in concerts with Herreweghe, and his stage presence has always been an inspiration to me, but I was especially impressed by his singing in these performances. The way he sang the sentence “Der blasse Tod ist meine Morgenröte” in the tenor recitative of Cantata 161 was unrivaled. And in the first half of the program, Hobbs and his laser-beam long notes were the star of Rosenmüller’s Dies Irea and the Gregorian Requiem that preceded it.
Alex Potter receiving applause in Naarden, October 31, 2019. To Potter’s right: tenor Thomas Hobbs, recorder player Benny Aghassi, and soprano Dorothee Mields. Photo by Hans van der Woerd, courtesy of The Netherlands Bach Society.
Wieneke Gorter, September 26, 2020.
* Since I first heard Alex Potter live in 2018, I have written many posts about his extraordinary interpretations of Bach’s music. You can find most of them by typing Alex Potter into the search bar at the top of this post. The top three, in my humble opinion, are here, here, and here.
** Find the video of the entire organ prelude (BWV 727) here.
***Bach illustrates death bells in instrumentation, often using flutes, but sometimes only pizzicato strings, in cantatas 73, 8, 95, 105, 127, and 198.
The Good Samaritan by Balthasar van Cortbemde, 1647. Oil on Canvas. Royal Museum of Fine Arts, Antwerp, Belgium. More about this painting at the end of this post.
Bach wrote three cantatas for this Sunday, the 13th after Trinity, all more or less related to the story of the Good Samaritan. In 1723 he writes the incredibly beautiful Cantata 77 Du sollt Gott, deinen Herren, lieben (You must love God, your Lord). Read about it in my post from 2016. Along with many fellow members of California Bach Society I had the pleasure of singing this cantata earlier this summer, each of us sitting in front of our computer in our own home. Even though we could only see each other on a computer screen and not hear each other sing, it was a beautiful and meaningful experience. And while I tend to focus on the opening chorus and the alto aria when thinking about this cantata, several of my friends pointed out that the texts are still, or again, very appropriate today. Take for example the text of the tenor recitative:
Gib mir dabei, mein Gott! ein Samariterherz, For this purpose, my God, give me the Samaritan’s heart Dass ich zugleich den Nächsten liebe so that I can at once love my neighbor Und mich bei seinem Schmerz and in his sorrow Auch über ihn betrübe, feel concern for him Damit ich nicht bei ihm vorübergeh so that I shall not pass him by Und ihn in seiner Not nicht lasse. and leave him in his distress. Gib, dass ich Eigenliebe hasse, Grant that I may hate self-love, So wirst du mir dereinst das Freudenleben then you will grant me one day a joyous life Nach meinem Wunsch, jedoch aus Gnaden geben according to my desire, from your grace.
In 1724, within the framework of the 1724/1725 series of chorale cantatas (his second year of cantata compositions in Leipzig)* Bach writes Cantata 33 Allein zu dir, Herr Jesu Christ (Solely towards you, Lord Jesus Christ). Because the libretto is based much more on the chorale text than on the Gospel text, it includes only one quote from the Bible story: “I may love my neighbour as myself.” But while it is just one line of text, Bach doesn’t let it go unnoticed, and turns that fifth verse of the libretto into a duet that has all the characteristics of a love duet from the Venetian operas of the time. At least the instrumentalists in the orchestra must have gotten the reference loud and clear. This also proves that the oh-so-cute soprano-alto duet from Cantata 78 (which Bach wrote one week later) didn’t come out of the blue. Here is the artists’ study for it, albeit written for tenor and bass. Read all this and more in my post from 2017.
From Trinity Sunday 1723 to Trinity Sunday 1725, Bach had provided the Leipzig churches with a cantata for almost every Sunday and Feast day. But for the Sundays between Trinity and Christmas 1725, we have only a handful of his cantatas left.** Cantata 164 Ihr, die ihr euch von Christo nennet (You, who take your name from Christ) is among these. Bach saw his church music as a means to “educate his neighbor” about Christian theology, and it seems that in this case, a third cantata for this Sunday was needed: he was not done educating his neighbors about the story of the Good Samaritan. In the parable, the priest and the Levite pass the wounded man without showing mercy. In the libretto of this cantata, this example is turned onto the Christian believers themselves:
You, who take your name from Christ, where is to be found the mercyby which people recognize members of Christ?
It is far, far away from you.Your hearts should be rich in love,but they are harder than a stone.
Because of the preaching character of that first text, it seems only fitting that Bach doesn’t set this as a chorus, but as a tenor aria, as if to better scold the congregation. The use of two flutes (in the alto aria) is unusual for a cantata, and makes me think of the St. Matthew Passion. Bach must have wanted to stress the loveliness of the text in that aria. Watch a live performance of this cantata by the J.S. Bach Foundation here on YouTube. Soloists in this performance are Monika Mauch, soprano; Jan Börner, alto; Jakob Pilgram, tenor; and Markus Volpert, Bass.
Find the texts & translations of this cantata here, and the score here.
Wieneke Gorter, September 5, 2020.
A little more about the painting:
At a distance, on the left, behind a tree, we see the Levite retreating. Still further away, reading a book, is the priest. This is the only known work of this painter, Balthasar van Cortbemde. It was most probably commissioned by the guild of surgeons in Antwerp in 1647, because it was displayed in their Chamber from 1647 to 1798. It became property of the Royal Museum of Fine Arts in 1810.
*to learn more about Bach’s series of chorale cantatas, start reading here
**we don’t know if the missing cantatas were composed but then were lost, or if they were simply never composed because Bach started to focus on other things.
Bach wrote three cantatas for this Sunday, and since my favorite recordings (for now)* of two of those feature my first and second countertenor loves, Gérard Lesne and Kai Wessel, I thought it might be nice to talk a bit about how I came to appreciate these singers.
Because I grew up listening to Bach cantatas from the cantata recording project by Leonhardt and Harnoncourt, hearing these every Sunday from when I was a small child, I was completely used to alto arias being sung by countertenors. I have become better at it, but sometimes I still feel as if I have to consciously switch something in my brain before I can listen to a female alto sing Bach and take it seriously.
However, none of the alto arias from that Leonhardt/Harnoncourt project (1970-1989), stayed with me the way many of the soprano, tenor, and bass arias did. The voices of René Jacobs or Paul Esswood just never blew me away nor did their singing truly move me. I remember enjoying Michael Chance’s singing on recordings of English Baroque composers and in the arias he sang in the live performance of Bach’s St. John Passion with Harnoncourt I mentioned in this post. But still, not blown away.
That all changed the summer of 1988 or 1989. Still a teenager, I had started volunteering for the Utrecht Early Music Festival in 1987. I did that for several years and then was on the summer staff for a few years as well, all this in the team that managed the Exhibition. The booth right around the corner from our own information booth was staffed by the best CD curator I’ve ever met, Joost. He went to all the concerts, and knew all the Early Music recordings, and I LOVED the recordings he recommended. It was through him that I learned about Gérard Lesne. The second or third year I was there, Joost was selling Lesne’s Vivaldi CD from 1988 to everyone with the words “Buy this. Listen to it. If you come back to me, look me in the eye, and can tell me without any sign of emotion that you didn’t like it, I’ll take it back.” (or, as he literally said in Dutch: “Als je me met droge ogen kunt vertellen dat je het niks vond, dan neem ik hem terug.”) I became a fan, and will never forget hearing Lesne live, singing Charpentier, in the Chapelle Royale of Versailles in the Holy Week of 1994.
Gérard Lesne is featured on a live audio recording from 1988 of Cantata 45 Es ist dir gesagt, Mensch, was gut ist which you can find here on YouTube. It is from a concert on October 25, 1988, in the Notre Dame du Travail church in Paris, by La Chapelle Royale (one of Herreweghe’s ensembles), conducted by Gustav Leonhardt. Other soloists are John Elwes, tenor; and Peter Kooij, bass.
Bach wrote this Cantata 45 in 1726 for the 8th Sunday after Trinity. Please find the score here, and the texts & translations here.
The Notre Dame du Travail church, in the Montparnasse neighborhood of Paris, where the 1988 concert took place
My blog post from 2016 about Cantata 136 Erforsche mich, Gott, und erfahre mein Herz spotlights my second countertenor love: Kai Wessel. His voice and interpretation was nothing short of a sensation for me when Ton Koopman’s recording of Bach’s St. Matthew Passion came out in 1993. That a countertenor could also have such a beautiful tenor quality to his voice was new to me, and I found his singing incredibly moving. Thanks to this, I gained new appreciation for the “Erbarme dich” aria. Because of Kai Wessel singing the alto aria, the Bach Collegium Japan recording I recommended in 2016 is still my favorite interpretation of Cantata 136, though the live performance by the J.S. Bach Foundation from 2011 is very well done too, and that video is exciting because you can see the corno da tirarsi** in action in the amazing opening chorus.
Wieneke Gorter, August 2, 2020.
*This might change soon, because Herreweghe recorded this cantata program, including BWV 45, at the end of January 2020. I will let you know when this recording comes out. It is the first time they have recorded BWV 45 and 118, and I can’t wait to hear Alex Potter in BWV 198, and look forward to hearing BWV 78 with Dorothee Mields and Alex Potter in the famous duet, and Thomas Hobbs in the gorgeous but often overlooked tenor aria.
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.
Cantata 93 Wer nur den lieben Gott lässt walten from 1724 is one of my favorite Bach cantatas, but because this one always falls in the summer vacation, I have never actually discussed it. I don’t have time to get into it this year either, but I have some interesting links for you.
In July 2017, I shared my favorite recording (Herreweghe) of this cantata along with some pictures of Greece where I was at the time. You can find that post here. Update: one day after I posted this, the J.S. Bach Foundation Made their full-length video of this cantata available on YouTube, and it’s a very good one. You can find it here: https://youtu.be/in5XDlJnrB8
Bach recycled the most splendid movement from this cantata, the soprano-alto duet, into one of his “Schübler Chorales” for organ. How exactly that works, you can read in my post from February 2018.
And if you understand a little German, watch Rudolf Lutz of the J.S. Bach Foundation explain everything about this Cantata 93 in this workshop on YouTube.
Wieneke Gorter, July 10, 2020, updated July 19, 2020.
In an effort to share some more personal thoughts with you, this has become quite a long post. If you prefer not to read it and go straight to the cantatas for this Exaudi Sunday, you can find my post about cantatas 44 and 183 here. It is a story with a wealth of information, gorgeous soprano arias, and recommendations for top-notch recordings. But since there’s always more to learn, I wanted to give some attention to Rudolf Lutz’ English spoken lecture about these cantatas. Find the link at the end of this post.
Over the past several months, while we’ve all been dealing with this global health crisis, I have often felt overwhelmed. Overwhelmed by piles of dishes, by potentially life changing decisions, by not knowing what my role is supposed to be in this crisis, but also by musicians and music organizations. While one is telling me to watch this YouTube video–available this week only!, another invites me to join a lecture on Zoom– please submit your questions ahead of time, yet another is showing me that singing while masked actually sounds pretty good (even though their images scare the * out of me), but wait … there’s a live Facebook Event STARTING NOW!
I understand the reasons behind it. An urge to share music with others, so strong they need to answer it or go insane. A fear of being forgotten by their patrons and thus losing even more income. Creative minds that keep exploring new possibilities. I also understand that there are probably millions of people for whom concert-going was their weekly bread, and that they are all eating this up. But it doesn’t calm me down.
My soul has been soothed much more by the images of sour dough rising, vegetable gardens being planned, blooming gardens, and nature. Two Instagram accounts I have especially enjoyed are those of Les Arts Florissants, who have been posting a wealth of pictures of William Christie’s gardens in France, and of Luc Barrière, a concert photographer who left Paris for the Alps before the strict lockdown happened in France. Yes, I know these are privileged people, and everyone can think of their living situations what they want. To me personally, these two accounts have given me examples of people taking care of themselves and slowing down, and that inspires me and calms me.
Of course stress is not caused by the acts of other people, but by your own reaction to these acts, and fortunately most of the live streams can be watched again at a later time. So I have watched some of them at my own pace (while doing those dishes, folding laundry, or cleaning vegetables) and have realized that amidst the overwhelm there are blessings, because every now and then something new and marvelous emerges that would not have happened without this crisis.
For me, the absolute best example of this has been the series of “one man shows” by Rudolf Lutz, the artistic director of the J.S Bach Foundation in Switzerland. Every month, on the day his choir and orchestra would otherwise have given a concert for an audience, recorded live on video, he has live streamed an excellent and very witty lecture about that same cantata, brilliantly combined with organ improvisations on the music in the cantata, and the meaning behind the cantata. Without the crisis, his international online audience of Bach lovers would never have known what a talented improvisor he is. Without the crisis, he would never have held his lectures in English. (Until now his excellent cantata lectures were only accessible to German speakers, with only a handful of them subtitled in English).
Find Rudolf Lutz’ wonderful lecture/improvisation about Cantata 44 and 183 (from May 19) here. Find my blog post about these same cantatas (highlighting completely different aspects of the pieces!) here.
To learn more about Rudolf Lutz, read his bio here. Find his lecture/improvisation about Cantata 106 (from March 20) here, and about Cantata 4 (from April 17) here.
