Tag Archives: Mark Padmore

Third Sunday after Easter, 1725

22 Sunday Apr 2018

Posted by in After Easter, Cantatas, Leipzig

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Christ Taking Leave of the Apostles by Duccio di Buoninsegna, between 1308 and 1311. Tempera on wood. Museo dell’Opera del Duomo, Siena, Italy.

In 1725, between Easter and Pentecost, Bach set nine cantatas in a row to beautiful poetry by Christiane Mariana von Ziegler: Cantatas 103, 108, 87, 128, 183, 74, 68, 175, and 176. More about this multi-talented female librettist, arts benefactor, and fellow Lutheran “preacher” next week.

The first cantata in this series is Cantata 103: Ihr werdet weinen und heulen, for the third Sunday after Easter in 1725.

My favorite overall recording of this cantata is by Herreweghe, with vocal soloists Damien Guillon, Thomas Hobbs, and Peter Kooij, and Jan Van Hoecke on flauto piccolo. Listen to their opening chorus here on YouTube. Listen to the entire recording by Herreweghe here on Spotify.

However for the best energy and intensity in the tenor aria, I prefer Mark Padmore on the Gardiner recording. Listen to their interpretation of the tenor aria here on Spotify.**

Robin Blaze’s singing and Dan Laurin’s playing in the alto aria on the Bach Collegium Japan recording is exceptional, and perhaps more moving than Damien Guillon’s on the Herreweghe recording. Listen to that aria here on Spotify. And it is a good problem for me, not being able to choose between countertenors 🙂

Find the texts & translations here, and the score here.

Two noteworthy things about this cantata are the dramatic change from sadness to joy, and the use of the sopranino recorder, or “flauto piccolo” in the opening chorus and the alto aria.

The sadness on this “Jubilate” Sunday is because of the Gospel story for this Sunday: Jesus announces to his disciples that he is going to leave them, and that they will go through a period of hardship during which the rest of the world will mock them. Other cantatas Bach wrote for this Sunday are Cantata 12 Weinen, Klagen, Sorgen, Zagen and Cantata 146 Wir müssen durch viel Trübsal. But in the alto recitative (fourth movement), the turning point is announced: “dass meine Traurigkeit in Freude soll verkehret werden” (that my sorrow will be turned to joy). Bach makes a big deal here of illustrating the word “Freude” and then does that again, even more exuberantly in the tenor aria that follows: there the illustration of the word “Freude” is six measures and almost 100 notes long.

Since his arrival in Leipzig, Bach had used recorders in cantatas quite often (nine times, according to Nik Tarasov’s article “Bach and the recorder”), but this is only the third time  he writes for sopranino recorder, or “flauto piccolo.” The first time was on October 8, 1724, in Cantata 96 Herr Christ der einige Gottessohn, and the second time on March 25, 1725, in Cantata 1 Wie schön leuchtet der Morgenstern.

In both cases, Bach used the sopranino part to illustrate the word “Morgenstern” (Morning Star) in the text, creating an extra constellation over the highest notes of the sopranos with the even higher notes of the recorder. It is not completely clear why Bach uses the sopranino this time, in Cantata 103. There are theories that the instrument is meant to illustrate the “mocking” of the outside world. But, as Bach always paints the entire story of a cantata already in the opening chorus, I think he perhaps might have used the recorder to convey the message of “there will be joy at the end” in the otherwise very sad opening chorus. But who knows, his reason for using the instrument might simply have been that the virtuoso player was in town again, since it was around the time of the big Easter Trade Fair that Bach was writing this music.

Whatever the reason, it is very likely that there was only one person in 1725 among Bach’s colleagues who could play this. When Bach performed the piece again in later years, he changed the accompanying instrument in the alto aria to violin. There are also parts for a transverse flute. Herreweghe, Koopman, and Suzuki use a sopranino recorder in the alto aria, while Gardiner uses violin, and Ponseele (on the Il Gardellino recording) uses transverse flute.

Wieneke Gorter, April 22, 2018.

 

Good Friday in 1725

30 Friday Mar 2018

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

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IMG-4407

Detail of The Arrest of Christ by Hieronymus Bosch, ca. 1515. San Diego Museum of Art.

As I’ve mentioned over the past few months, Bach might have initially been planning to perform a St. Matthew Passion on Good Friday in 1725 in Leipzig.

If he was indeed planning that, he didn’t finish it in time. Did he run out of time, did he have a conflict with the Leipzig City Council, or did he change his mind? We don’t know. Fact is that on Good Friday 1725 he performed a new version of his St. John Passion from the year before. The most notable difference is the new opening chorus: O, Mensch, bewein dein Sünden groß instead of the Herr, unser Herrscher from the year before.

Find Herreweghe’s recording from 2001 of that 1725 St. John Passion here on YouTube.

Soloists are: Tenor [Evangelist, Arias]: Mark Padmore; Bass [Jesus]: Michael Volle; Soprano: Sibylla Rubens; Counter-tenor: Andreas Scholl; Bass [Arias, Pilatus]: Sebastian Noack; Bass [Petrus]: Dominik Wörner; Tenor [Servus]: Malcolm Bennett; Soprano [Ancilla]: Cecile Kempenaers

But let’s just leave the St. Matthew / St. John discussion for what it is, and just look at that opening chorus. Having followed Bach’s 1724/1725 chorale cantatas in the order he wrote and performed them, it is not a stretch to consider that Bach might have been working up to this elaborate chorale fantasia since February 2. I mentioned in my post for that day that it felt as if something new was coming.

When you look at Cantatas 125, 126, 127, and 1, the four cantatas Bach wrote and performed between February 2 and March 25, you see a beautiful line-up of chorale fantasias, one even more special than the other. So perhaps there was no stress or doubt at all in Bach’s mind about what to write for Good Friday 1725, at least not as far as the opening chorus was concerned. He might have been planning for O, Mensch to open his Good Friday passion since the end of January, and might have been doing studies for it in Cantatas 125, 126, 127, and 1.

Wieneke Gorter, March 30, 2018

A somewhat medieval “Rutsch” into 1725

30 Saturday Dec 2017

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

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Mystic Nativity by Botticelli, circa 1500. National Gallery, London.

Since I was a very small child, the word “Jubeljahr” (Year of Jubilee) has stood out to me when listening to Cantata 122 Das neugeborne Kindelein. I already mentioned this a bit in my post from last year. So on the second to last day of 2017, I did some research into this concept of Jubeljahr, and realized that perhaps Bach might have liked the word too. Keep reading to find out why.

My favorite recording of this cantata is the one by Herreweghe from 1995 with soprano Vasiljka Jezovsek, alto Sarah Connolly, tenor Mark Padmore, and bass Peter Kooij. Find it here on YouTube. Find the text of cantata 122 here, and the score here.

In 1724, just as now in 2017, there was a Sunday in between Christmas and New Year’s Day, which was a first for Bach in Leipzig.* And just as this year, it fell exactly on New Year’s Eve. The upcoming New Year was not just any year. For the Catholic church 1725 was going to be a Holy Year, Year of Jubilee, or “Jubeljahr” as they called it in German.** While Bach was Lutheran, chances are high that he was aware of the Catholic tradition and thus of the extra importance of this last Sunday of the calendar year. The nearby court of Dresden was Catholic, most of the Marian feast days were still celebrated, only a year before Bach had written a Magnificat (Mary’s song of praise) for Christmas, and many medieval customs were still present.

Because of all this, I would like to think that Bach wanted to mark this special occasion, and might have chosen the chorale Das neugeborne Kindelein from 1597 on purpose for his cantata for this day, because of the mention of “Jubeljahr” in the last verse. Whether the original writer of the chorale might have alluded to the Lutheran belief that the union of God with people makes every year a Jubilee, or to the then upcoming Jubilee and turn of the century in 1600, I don’t know. But nowhere else in Bach’s cantata oeuvre is do we see the word “Jubeljahr.”

The text of the chorale builds on the early medieval tradition of melting the story of Jesus’ birth with the celebration of the New Year, talking about the newborn baby Jesus at the same time as announcing that the year has ended and this is a true Jubilee.

However Bach and his librettist don’t go all the way with the medieval world view: They change the original text of the third verse of the chorale, used for the fourth movement of the cantata, Trotz Türken, Papst und Höllen Pfort (Despite Turks,the Pope and the gates of hell) into Trotz Teufel und der Höllen Pfort (Despite the devil and the gates of hell). In 1725 the fear for a Turkish invasion was probably not as palpable as it had been in 1597, when the chorale was originally written.

Other things to listen for in cantata 122: The amazing high c in the soprano recitative. The leap of a fifth from f to c and then the octave back to c in the soprano recitative on the words “Die Engel” (the angels) had actually just occurred one movement earlier, two octaves lower, in the bass aria, on the words “O Menschen” (Oh people). Gardiner says this musical illustration that heaven/angels (high voice and highest instruments: recorders) and earth/people (low voice and cello) become one makes him think of the angels and men hugging in the forefront of Mystic Nativity by Botticelli, and this is why I decided to feature that as the illustration for today’s blog post.

Wieneke Gorter, December 30, 2017

*In 1723, Bach’s first year in Leipzig, the Sunday after Christmas was December 26, Second Christmas Day.

** The concept of “Jubeljahr” comes from the Old Testament, where Leviticus describes that after 7×7 years, you sould celebrate a Year of Jubilee, the 50th year. However in1470 Pope Paul II issued a Bull to fix the Jubilee for every twenty-five years, starting in 1475, so that every generation could have a Jubilee.

Three days of Christmas 1724

24 Sunday Dec 2017

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Adoration of the Shepherds, Francisco de Zurbarán, 1638

Merry Christmas!

In Bach’s time, there were three Christmas days. Thanks to a beautiful album by Herreweghe, you can enjoy all cantatas Bach wrote for the consecutive days in 1724 in the order in which Bach wrote them. Or follow these YouTube links for the same recordings:

For Christmas Day: Cantata 91 Gelobet seist du, Jesu Christ

For Second Christmas Day: Cantata 121 Christum wir sollen loben schon

For Third Christmas Day: Cantata 133 Ich freue mich in dir

Soloists are: Dorothee Mields, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooy, bass.

If you have recently joined this blog, you might also enjoy reading my Christmas posts from last year: Christmas Day, Second Christmas Day, Third Christmas Day.

Wieneke Gorter, December 19, 2017.

A modest Reformation Day in 1724

04 Saturday Nov 2017

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Bachs-Calov1

Bach’s Calov Bible after Luther, with Bach’s comment in the right margin of 2 Chronicles 5,13: “NB. Bey einer andächtigen Musiq ist allezeit Gott mit seiner Gnaden Gegenwart” (NB. Where there is devotional music, God with his grace is always present.)

This past October 31 marked the 500 anniversary of the Reformation: Luther posting his 95 theses on the door of the church in Wittenberg. Without Luther making the Bible available in German and making music an integral part of faith, Bach would probably not have felt as driven to educate his fellow believers through his music. Without Luther, there might not be any Bach cantatas, and definitely not this special cycle of chorale cantatas I’ve been discussing on this blog since June of this year.

It is interesting to me that when using one of Luther’s original chorales, Bach gives it an “old-fashioned” treatment, with the 16th-century brass quartet of one cornetto and three sackbutts (early trombones) doubling the vocal parts, as if wanting to confirm the timeless character of Luther’s chorales. A good example of this technique is Cantata 25 from 1723 and Cantata 2 from earlier in 1724. If this was Bach’s preferred way of honoring Luther, he did it again on October 29 in 1724, two days before Reformation day, with this Cantata 38 Aus tiefer Not schrei ich zu dir for the 21st Sunday after Trinity. Aus tiefer Not schrei ich zu dir is on one of Luther’s very first chorales, and was also sung at his funeral.

I prefer Herreweghe’s recording of this cantata. It is available here on YouTube, or please consider supporting the artists by purchasing the entire album “Weinen, Klagen …” here on Amazon. The album also contains my preferred recordings of Cantata 12 (see my post about that here) and Cantata 75 (see my post about that here). Soloists are Carolyn Sampson, soprano; Daniel Taylor, countertenor; Mark Padmore, tenor, and Peter Kooy, bass.

Please find the German text with English translations here, and the score here.

If you have time, it is worth it to first listen to the opening chorus of cantata 2 Ach Gott, vom Himmel sieh darein from June 18, 1724, also based on one of Luther’s own chorales. Make sure you stop after the opening chorus, and then start listening to today’s Cantata 38 here, and hear how similar Bach’s setting of the chorale melody is. I don’t think it is a coincidence.

My favorite part of this cantata is the tenor aria: it is a beautiful piece of music, a quartet really, between the two oboe parts, the tenor voice, and the continuo, the way tenor arias often are with Bach, and I appreciate the text “Ich höre mitten in den Leiden
ein Trostwort, so mein Jesus spricht” (In the midst of my sufferings I hear
a word of consolation spoken by Jesus). I listened to this aria many times in the weeks after my mother passed away (seven years ago this month), Bach’s music being my “Trostwort.”

I also very much like the before-last movement of the cantata, the trio between soprano, countertenor, and bass. Excellent motet writing by Bach, and beautifully sung on the Herreweghe recording. Again this is a nod from Bach to older composition styles, linking back to the opening chorus, and perhaps an additional tribute to Luther.

Wieneke Gorter, November 4, 2017.

The Herreweghe sopranos

11 Sunday Sep 2016

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The soprano part of cantata 95 Christus, der ist mein Leben. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz

After all his experimenting with the form of the cantata last week, Bach keeps exploring how he can build a cantata based on chorale melodies and chorale texts. As a result, this week’s cantata 95 Christus, der ist mein Leben again takes a unique place in Bach’s cantata collection: it features no less than four different chorales, all part of the Sterbe-lieder (Deathbed songs) that were very popular in Leipzig at the time: Christus, der ist mein Leben; Mit Fried und Freud, ich fahr dahin; Valet will ich dir geben; and Weil du vom Tod erstanden bist.

I recommend Herreweghe’s recording of this cantata. Listen to this recording on YouTube, or on Spotify. Support the artists (and this blog) and purchase this recording on Amazon. (Or find them in the Amazon stores  for  Germany and France)

Soloists: soprano Dorothee Mields, counter-tenor Matthew White, tenor Hans Jörg Mammel, bass Thomas E. Bauer. Choir sopranos: Dorothee Mields, Hana Blazikova, Dominique Verkinderen.

In the manuscript of the soprano part pictured above, it is interesting to note the dynamic markings for the text “Sterben ist mein Gewinn.” Dynamics are not very common in Bach manuscripts, but, as Alfred Dürr points out, Leipzig had a strong tradition of singing softly and slowly on the word “Sterben,” and singing loudly on “ist mein Gewinn,” going back at least to 1629. In that year, then Thomaskantor Johann Hermann Schein wrote this note for his singers:

“da singen sie adagio mit einem sehr langsamen Tactu, weiln in solchen versiculis verba emphatica enthalten” (here you should sing adagio in a very slow tempo, because verses like these contain emphatic words)

How Herreweghe’s sopranos sing this Sterben ist mein Gewinn in the first chorale takes my breath away, and this is the most important reason why I prefer this recording. Having grown accustomed to the boy choirs of the Leonhardt and Harnoncourt recordings in the 1970s, my parents, sister, and I were blown away by Herreweghe’s Collegium Vocale Gent when their first CDs started coming out in the late 1980s and early 1990s.

My mother was especially taken by the sound and blend of the sopranos, and “Herreweghe sopranos” became a household term in our family. After attending a performance by a different group, we would often say to each other: “it was nice, but they are not Herreweghe sopranos….,” and sigh a little.

In an interview on the DVD “Herreweghe by himself” Herreweghe says about the process of auditioning them: “they have to be young women, good singers of course, with the right voice for our group, but also a certain … piousness.”

Whether you agree with that or not, I always have to think of that quote when I see and hear Dorothee Mields sing. Her recitative and chorale are out of this world. Watch a wonderful interview with her here.

This cantata is all about longing for life after death, and over the course of the cantata these statements are made: I will be happy to die (opening movement), because life on earth is worthless (soprano recitative). Saying goodbye to that will be freeing (soprano chorale), so please can I die as soon as possible (tenor recitative and aria), because death is only a sleep (bass recitative) from which I will wake up to join Jesus, who has gone before me (closing chorale).

The outstanding tenor aria features Bach’s signature “death bells” in the pizzicato strings. Bach uses these “Leichenglocken”  also in cantatas 73, 8, 105, 127, 161, and 198. [Thanks again to Eduard van Hengel for this list]. For an alternative recording of this movement, with gorgeous singing by Mark Padmore, listen to the Gardiner recording on Spotify.

The concept of death being only a short period of sleep after which the dying person wakes up to meet Jesus in the afterlife was an extremely important part of 18th-century Lutheran faith. When dealing with death on a daily basis, it was comforting to believe that death would ultimately lead to paradise. And by stressing this concept, Bach also refers to the Gospel for this 16th Sunday after Trinity. It is the story of the miracle at Nain: a young man who has died  is carried out of the city and then woken up by Jesus.

Wieneke Gorter, September 11, 2016

Children’s stories

03 Saturday Sep 2016

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Bergrede_Brueghel

The Sermon on the Mount, oil on copper painting by Jan Brueghel the Elder, 1598

In 1723 Bach wrote cantata 138 Warum betrübst du dich, mein Herz.  Again I prefer Herreweghe’s interpretation, but it’s not so easy to choose between his recording from 1998 (with soloists Deborah York, Ingeborg Danz, Mark Padmore, and Peter Kooij) and the one from 2013 (with soloists Hana Blazikova, Damien Guillon, Thomas Hobbs, and Peter Kooij). I like the soprano, alto, and tenor soloists better on the 2013 recording, but am more moved by Peter Kooij’s singing in 1998, and more taken by the slower tempo and higher sense of drama in the violins in the opening chorus on that recording. So I’ll offer a mix here:

Listen to the entire 1998 recording on Youtube or listen to one long track of the 2013 recording with Hana Blazikova and Damien Guillon on YouTube. You can also support the artists (and this blog a little too) by purchasing the 1998 version (used copies available only) or the 2013 version  on Amazon.

Find the text, based on the Sermon on the Mount, of this cantata here, and the score here.

It is often not immediately clear what a Bach cantata is about, what the text means, or what Bach wanted to convey with it. In an absolutely wonderful interview (with excellent English subtitles) for the Leipzig Bach Festival, soprano Dorothee Mields says that even she, as a native German speaker, often feels the need to look at English translations, go back to the Bible texts, and read more about the subject, because she didn’t necessarily recognize the text from her children’s bible.

The image of the children’s bible stuck with me since first watching the interview seven months ago. And when listening to the cantata for this Sunday, I had to think of it again, because the choice of words in this cantata is very moving, but at the same time so simple, that it is almost as if the librettist is speaking to children. Listen, for example, to the text the soprano sings in the third movement:

Nur ich, ich weiss nicht, auf was Weise ich armes Kind mein bisschen Brot soll haben; Wo ist jemand, der sich zu meiner Rettung findt?

(It is just that I, poor child, don’t know how I should receive a bit of bread; Where is the person who will save me?)

Eduard van Hengel hilariously remarks that it reminds him a bit of Calimero (a popular children’s cartoon about a little chick, which aired in The Netherlands, Belgium, France, and Italy in the early 1970s. Watch this first episode to get an idea).

I wonder who the librettist for this cantata was. I imagine a different person than who wrote texts for the last few cantatas. Last week, the Bachs possibly had their house full with the families of Anna Magdalena’s brother and sisters, visiting because the men, all trumpet players, were needed for two cantatas. Perhaps one of the visitors had talent for entertaining the children with stories and making up poems on the spot? Did Bach ask this person to write the libretto for this cantata? Or was his own head still filled with children’s stories and did he write the text himself?

These are all just assumptions and we don’t know for sure if last week’s extra players were the relatives of Bach’s wife, but my potential movie script is getting better and better …

There’s of course more to this cantata than the charming texts. Musically, as far as the form and structure is concerned, this cantata is unique within this first cycle of Leipzig cantatas. Bach takes a chorale as the base for the cantata, yet it is not at all the same as his series of chorale cantatas from the 1724/1725 cycle. In those later chorale cantatas, he always uses all the verses and keeps a strict structure of one soloist per movement. In this cantata 138, he only uses three verses of the chorale, and gives the cantata a very free form, with a different number of soloists for each movement. He is obviously experimenting. And I wonder again: might he have been influenced by his visitors from last week? Did he have discussions about his compositions with his colleagues? And how is this playing around with the form of the cantata related to using a different librettist or no librettist? Did he not want to bother a professional writer with his experimenting?

There is one more–for me at least–exciting aspect to this cantata: when I first started listening to it, I discovered that I already knew the bass aria. Same singer (Peter Kooij) and same music, but a different text, because I had until then only heard this as the Gratias from Bach’s Mass in G Major, BWV 236 from the mid 1730s. Listen to both, and marvel at Bach’s subtle recycling talent.

Wieneke Gorter, September 3, 2016

Christmas in August

27 Saturday Aug 2016

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gesu_lebbrosi

Jesus heals ten lepers, from the Codex Aureus of Echternach, c. 1035-1040

Only a handful of Bach cantatas ask for the Renaissance/Early Baroque ensemble of one cornetto and three trombones in the opening and closing chorus. This instrumentation  was considered somewhat “old fashioned” in Bach’s time, while at the same time it was still very normal in cities to hear Stadtpfeifers (city pipers) play chorales from the towers during the day, to remind the citizens of their Christian duties. In this cantata 25 Es ist nichts Gesundes an meinem Leibe, for the 14th Sunday after Trinity (August 29 in 1723), the playing of the chorale tune by this ensemble in the opening chorus stands for the way it has always been, the way it has been true for centuries.

palatino

Concerto Palatino, the leading cornetto/trombone ensemble for the past 25 years. Photo by Sabrina Flauger. Learn more about them here.

My preferred recording of cantata 25 is the one by Herreweghe, on the same album as cantata 105 for Trinity 9 and cantata 46 for Trinity 10, as well as cantata 138 for next week. Soloists in cantata 25: soprano Hana Blazikova, tenor Thomas Hobbs, and bass Peter Kooij. Cornetto: Bruce Dickey  (pictured above, front row, on left); trombones: Claire McIntyre, Simen van Mechelen (pictured above, top row, on left), and Joost Swinkels.

Listen to this recording on Spotify, or via a playlist I created on YouTube. Or, support the artists and buy this album (containing four cantatas for this 1723 Trinity season) on Amazon.

Read the text of this cantata here, and find the score here.

I could write an entire blog post about the opening chorus alone, the way I did last week for cantata 77 and two weeks earlier for cantata 179. But in the interest of variety, I’m going to keep this section short, and I will just say that the opening chorus  is an incredible, unrivaled complex composition for ten voices, again completely different than any opening chorus the Leipzig congregations had heard before during this Trinity season of 1723. By having the “ancient” brass quartet play the chorale melody of Herzlich tut mich verlangen nach einem selgen End (With my whole heart I long for my blessed End / my Salvation)** Bach shows that the promise of salvation after death will always provide a silver lining to the sorrow of the daily, sinful human condition. He also illustrates this “salvation” with the recorders in the uplifting and soothing soprano aria (Hana Blazikova in top shape!), and the brass and recorders in the closing chorale, and intensifies the “sickness” of the human sins by setting these texts to “dry” recitatives  (though listen to that bass arioso, beautifully sung by Peter Kooij) in between. Again, it was completely normal in his day and age to think this way, and Bach saw it as his mission in life to teach this theology to his fellow Lutherans by way of his church music.

But, listen to the festive, large orchestra for this cantata! No less than four brass players (one cornetto and three trombones) and five wind players (two oboists and three recorder players) were required at the same time in the opening chorus and closing chorale. For a cantata about the healing of ten lepers? Well, it turns out that this weekend it was Christmas in August for Bach, and the extra players were in town for the much more important and incredibly festive cantata 119 Preise, Jerusalem, den Herrn that was on the calendar for the next day, Monday August 30, the day of the inauguration of the new City Council (Ratswechsel). *** As I already suggested in my post about cantata 147, Bach might have sometimes used guest musicians in his orchestra who were in town for other reasons, and judging from the level of playing required for this Brandenburg concerto-like cantata 119, the extra brass (all playing trumpet in 119) and wind (playing oboe and recorder in 119) players probably needed to be of the level of court chamber musician, not just Stadtpfeifer (usually a lower rank, and not necessarily used to playing the complicated court music). So it is extremely likely that Bach hired musicians from the not too far away courts where he had worked before or where his in-laws worked (Köthen, Weissenfels, Zerbst) to play in the orchestra on Monday August 30, and that he had arranged for them to also play on Sunday August 29. I think this further proves my statement from last week that around this time in 1723 he was on a roll, writing these two magnificent cantatas in one and the same week.

Listen to the Ratswechsel cantata 119 Preise, Jerusalem, den Herrn as recorded by Herreweghe on YouTube. (Soloists: soprano Deborah York; alto Ingeborg Danz; tenor Mark Padmore, bass Peter Kooy.) Support the artists and buy the MP3 version of this recording on Amazon (or the CD through other sellers on Amazon here). Find the score of this cantata here.

I am now an Amazon Associate, and have a special “store” on Amazon, which you can access here. I receive a small percentage of every book, MP3, or CD you purchase through that store, or by clicking on Amazon links in this post. This small income enables me to spend more time researching, listening, and writing, and that way I don’t have to ask you for a donation on this website. I hope you will purchase a book or recording now and then, thus supporting the writers and musicians who put much more time into those products than I ever do here. Thank you for helping my Weekly Cantata blog this way!

Wieneke Gorter, August 24, 2016.

** Several writers have suggested the chorale best known to the congregation at the time (on the melody we have later come to know best as O Haupt voll Blut und Wunden) would have been instead Ach Herr, mich armen Sünder, but I agree with Eduard van Hengel that because of Bach’s use of the angel-like recorders and the heavenly brass it makes more sense to go with Herzlich tut mich verlangen nach einem selgen End.

*** The new city council was always chosen on August 24, and then inaugurated on the first Monday following August 24, which was Monday August 30 in 1723.

 

The Leipzig Debut

29 Sunday May 2016

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Echternach_Lazarus_Dives

Lazarus and the Rich Man / Lazarus and Dives, Codex Aureus of Echternach, 11th century

On this First Sunday after Trinity (for short:Trinity 1), Sunday May 30, 1723, Bach started his first cycle of weekly cantatas in Leipzig. It was two days before his official installation, and one week after he and his family had arrived in the city.

Trinity is also the start of the part of the church year that deals exclusively with issues of faith and doctrine, instead of celebrating events from Jesus’ life, as was done in the period between Advent and Pentecost. This change must have been important to Bach too, because all three surviving cantatas for Trinity 1 are large-scale, musically ambitious works.

The composition with which Bach made his debut in the St. Nicholas Church (he would not perform in the St. Thomas Church until one week later) was cantata 75 Die Elenden sollen essen, a piece of considerable length, containing no less than 14 movements, seven before the sermon, seven after.

I prefer the recording by Herreweghe, which appears on the same CD as cantata 12 Weinen, Klagen, Sorgen, Zagen.

Listen to Herreweghe’s recording of cantata 75 Die Elenden sollen essen (with soloists Carolyn Sampson, Daniel Taylor, Mark Padmore, and Peter Kooy) on YouTube

Purchase Herreweghe’s recording of cantata 75 Die Elenden sollen essen and two other cantatas on Amazon

Find the complete German text with English translation of this cantata here.

The text of the opening chorus is from Psalm 22, but it is strongly related to the Gospel of the day: the story of Lazarus (a poor leper, who lies in front of the door of a rich man’s house, asking the rich man for food every day) and Dives (the rich man, who ends up in hell when he dies because he didn’t share his blessings/wealth with those in need).

When I listen to the opening chorus, I keep wondering if Bach wrote a Kyrie in Köthen which he never finished or which got lost for another reason. This is not backed up by any of the commentary about this cantata, but in these first measures I can’t stop myself from hearing “Ky-ri-e-e-le–”  in my head when the choir sings “Die-ie E-e-le–.” The music accents the second syllable of the word Elenden, while in the spoken language the stress would be on the first syllable. I find it strange that Bach would have ignored word stress in such an important composition, which he spent extra time on, and probably already wrote before he arrived in Leipzig (Gardiner notes that the paper of the manuscript was not from Leipzig, and that the handwriting was extremely neat). So I’m hoping something will turn up in my lifetime to substantiate this hunch I have ….

Wherever the opening chorus originated from, it is beautifully written,  as are all the arias. The soprano aria has a tender, plaintive oboe d’amore accompaniment, the alto aria floats on a rich blanket of strings, and the bass aria is a show-off piece with virtuosic music for the singer as well as the trumpeter.

There is a symmetry to the order in which the recitatives and arias appear in the cantata which is rarely seen in other Bach cantatas.

In the first half:

Bass recitative – Tenor aria – Tenor Recitative – Soprano Aria – Soprano Recitative

in the second half this pattern is mirrored for the remaining voices:

Alto recitative – Alto Aria – Bass recitative – Bass Aria – Tenor Recitative

But of course it is typical for Bach to use mathematical design when wanting to make a lasting  impression with a composition (such as with the St. Matthew Passion and the Mass in B minor). Also the fact that there are 14 movements to this cantata is not a coincidence: it is the sum of the numbers B, A, C, and H in the alphabet.

There is more symmetry in the cantata: The text of the first half refers to the Gospel story from Luke about Lazarus and Dives, and talks about earthly life and material possessions. In contrast to this, the second half of the cantata moves up to a spiritual level, and up to heaven. This change is illustrated by the introduction of the instrument that was associated with heaven: the trumpet. In the opening movement of the second half of this cantata the trumpet plays the chorale tune with which the first half had ended, Was Gott tut, das ist wohlgetan, and then later accompanies the bass in a stand-out virtuosic aria.

There is also more “showing off” in this cantata. As Gardiner points out, Bach seems to have wanted to make it clear that he was a skilled court composer (which he had been at Köthen before he took the position in Leipzig): after the French Ouverture of the opening chorus, all the arias together from a French Suite: The tenor aria is a Polonaise, the soprano aria a Minuet, the alto aria a Passepied, and the Bass aria a Gigue.

 

Wieneke Gorter, May 29, 2016