Weekly Cantata

~ Memories, musings, and movie script fantasies inspired by Bach cantatas, along with recommendations for recordings

Weekly Cantata

Tag Archives: Nuria Rial

Light in Dark Times (and a compelling melody for Bach)

13 Sunday Dec 2020

Posted by cantatasonmymind in Advent, Cantatas, Chorale cantatas 1724/1725, Leipzig, Weimar

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Advent, Advent 3, Annunciation, Bernhard Landauer, BWV 172, BWV 186a, BWV 36, BWV 37, BWV 49, BWV 61, BWV 739, Caroline Weynants, Claude Eichenberger, Eva Oltiványi, Il Gardellino, J.S. Bach Foundation, J.S. Bach Stiftung, Johann Crüger, Johannes Kaleschke, Klaus Häger, Lieven Termont, Makoto Sakurada, Manuel Walser, Marcel Ponseele, Nuria Rial, Philipp Nicolai, Rudolf Lutz, Sybilla Rubens, Theo Jellema

Today is the Third Sunday of Advent. I continue to recommend La Festa Musicale’s beautiful series of Advent Chorales on YouTube. Their offering for this Sunday is Johann Crüger’s 1640 setting of Wie schön leuchtet der Morgenstern (How beautifully shines the morning star). With an almost overwhelming number of performances appearing online over the past weeks, I really wanted to offer some new writing today. There is so much to tell about this particular chorale and all the ways Bach used it in his cantatas. And it helps that today is a rainy Sunday here in the San Francisco Bay Area.

When Crüger wrote his setting in 1640, the chorale melody already existed. The chorale is generally attributed to Philipp Nicolai (1556–1608), but the melody of Nicolai’s hymn might have been based on an existing hymn (with different text) from Wolff Köphel’s 1538 Psalter hymnal. Nicolai wrote the hymn in 1597, when the town where he preached was ravaged by the plague. During that time, as Eduard van Hengel suggests, Nicolai must have had to bury dozens of members of his congregation each day. He published it two years later, as part of a hymnal meant to provide comfort in those trying times, called Freudenspiegel des ewigen Lebens (Mirror of Joy of the Life Everlasting). This publication also featured the famous Wachet auf ruft uns die Stimme (Wake up, the voice calls us).

  • Wie schön leuchtet der Morgenstern in Nicolai’s hymnal from 1599
  • Nicolai’s hymn in a later hymnal which Bach might have used

Wie schön leuchtet der Morgenstern was most likely a compelling chorale for Bach. He used it in many cantatas (see below), but the melody first appears in an organ work. In fact, the score of this organ fantasia on Wie schön leuchtet der Morgenstern (BWV 739) is the oldest surviving manuscript by Bach. Paper analysis has shown that the piece must have been notated between 1703 and 1709. (Thanks to the Netherlands Bach Society for providing this information on their website).

After that, in cantata movements, Bach would either use the original melody (Nicolai’s, see picture above), or Crüger’s version of it. The difference appears in the third line of text, and can be seen in this image, at superscript number 6. Green is Nicolai’s version, blue is Crüger’s.

In these two cantatas, Bach used Crüger’s version:

Cantata 1 Wie schön leuchtet der Morgenstern, written for the Annunciation of Mary, March 25, in 1725. It is one of my favorites because of the two French horns in the opening chorus. This was the last of Bach’s 1724/1725 continuous series of chorale cantatas, and to me, it communicates a similar Advent sparkle as Cantata 62 from that same series.* Per the standard format for these cantatas, Bach featured the first verse of the chorale in the opening movement, and the last verse in the final movement. Watch a live performance of this cantata by the J.S. Bach Foundation here. Soloists are Eva Oltiványi, soprano; Makoto Sakurada, tenor; and Manuel Walser, bass. To understand why it might make sense that the theme of Advent is celebrated on the feast of the Annunciation, please find my blog post from 2018 about Cantata 1 here.

Cantata 36 Schwingt freudig euch empor (Soar joyfully up), an extra-long cantata in two parts, written for the first Sunday of Advent in 1731. The cantata was based on a secular cantata from 1725** but for this First Advent occasion, Bach included several movements based on two Advent chorales: Nun komm, der Heiden Heiland (Come now, Savior of the Gentiles) in the soprano-alto duet, the second tenor aria, and the closing chorale; and the sixth verse of Wie schön leuchtet der Morgenstern in the chorale at the end of Part I of the cantata.

Bach used Nicolai’s version of Wie schön leuchtet der Morgenstern in the following cantata movements, each time in a different way:

  • The penultimate movement of Cantata 172 Erschallet, ihr Lieder, erklinget, ihr Saiten! (Ring out, you songs, resound, you strings!) for Pentecost in 1714 (verse 4)
  • The closing chorus from Cantata 61 Nun komm, der Heiden Heiland for the First Sunday of Advent in 1714 (last 4 lines of verse 7)
  • The chorale for soprano and alto (3rd movement) from Cantata BWV 37 Wer da gläubet und getauft wird (Whoever believes and is baptized) for the feast of Ascension in 1724 (verse 5)
  • The aria for bass with chorale for soprano (6th movement) from Cantata 49 Ich geh und suche mit Verlangen for the 20th Sunday after Trinity in 1726 (verse 7)

As far as we know, Bach wrote only one cantata for this Third Sunday of Advent. It is the one listed in the BWV catalog as Cantata 186a, Ärgre dich, o Seele, nicht, first performed in Weimar on Sunday December 13, 1716. Read my blog post from 2016 and 2017 about this cantata here.

Wieneke Gorter, December 13, 2020.

*Find my first blog post about Cantata 62 here and a more detailed explanation of how it fits into the series of chorale cantatas here.

**Read more about the history of Cantata 36 in my post from 2017 here.

The First Sunday of Advent

29 Sunday Nov 2020

Posted by cantatasonmymind in Advent, Cantatas, Chorale cantatas 1724/1725, Leipzig, Weimar

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Bachstiftung, BWV 36, BWV 61, BWV 62, California Bach Society, Collegium Vocale Gent, Harnoncourt, J.S. Bach Foundation, J.S. Bach Stiftung, Nuria Rial, Philippe Herreweghe, Seppi Kronwitter

Hello everyone. I hope you are all safe and well. Thank you for reading this blog, and a warm welcome to all of you who started following recently. Bach wrote three cantatas for this Sunday:

In Weimar, in 1714, Bach wrote Cantata 61 Nun komm, der Heiden Heiland. This one I remember the best from my childhood, because my mother loved Seppi Kronwitter’s singing of the soprano aria on the Harnoncourt recording. Read about it here.

In Leipzig, in 1724, Bach wrote Cantata 62 Nun komm, der Heiden Heiland. My most recent writing about this cantata is from last week, not for this blog, but for that of California Bach Society. Find it here.

Since the release of Herreweghe’s recording in 1997 I have been in love with the opening chorus of Cantata 62. For me, nothing says “Christmas is coming” more strongly to me than this music. And yes, Bach wrote two Advent cantatas with the same title. You better not mix them up when you have been engaged to sing the bass solos. Read a story about that here. If you would like to learn more about this opening chorus, or even sing along to it yourself, I encourage you to sign up for California Bach Society’s free workshop on this cantata this coming Saturday, December 5, at 11 am Pacific Time, on Zoom.

Nuria Rial

In 1731, Bach transformed a secular birthday cantata from 1725 into Cantata 36 Schwingt freudig euch empor. Read about it here. My favorite interpretation of the soprano aria is by Nuria Rial. I first heard Nuria Rial sing on the German radio station WDR3, exactly one month after my mother passed away in 2010. I was staying at my parents’ house in the Netherlands with my kids. My mother had always preferred the German classical music station over the Dutch one, especially for their Early music programming, so WDR3 was pre-programmed into my parents’ fancy equipment. The radio host played a piece from this album, and I was mesmerized. After it was over I went on Facebook and told all my singer friends (that’s why I still know what day it was). But I didn’t find out about her live recording of the soprano aria from Cantata 36 with the J.S. Bach Foundation until 2014.

Wieneke Gorter, November 28, 2020

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

16 Sunday Feb 2020

Posted by cantatasonmymind in Cantatas, Weimar

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2nd Sunday before Lent, Ageet Zweistra, American Bach Soloists, Andrew Schwartz, Anthony Martin, Armelle Plantier, Benjamin Butterfield, BWV 18, Dominik Wörner, four violas, François Fernandez, Francis Jacob, Gaëlle Lecoq, Gaëlle Volet, George Thomson, Iris Finkbeiner, J.S. Bach Foundation, James Weaver, Jan Kobow, Jeffrey Thomas, Joanna Bilger, John Butt, Josep Borras I Rocca, Julianne Baird, Kaori Uemura, Katharine Fuge, Kees Boeke, Lisa Grodin, litany, Luis Otavio Santos, Makoto Sakurada, Martina Bischof, Maya Amrein, Michael Eagan, Michele Zeoll, Neue Bach Ausgabe, Nikolaus Broda, Norbert Zeilberger, Nuria Rial, Philippe Pierlot, rain, Renate Steinmann, Rudolf Lutz, Sally Butt, Sexagesima, snow, Stephan MacLeod, Susanna Hefti, viola, Warren Stewart, Weimar

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.

Bonus Advent cantata

10 Sunday Dec 2017

Posted by cantatasonmymind in Advent, Cantatas, Leipzig

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1st Sunday of Advent, Advent, Bach, BWV 36, Christmas, Christoph Pregardien, Collegium Vocale Gent, J.S. Bach Foundation, J.S. Bach Stiftung, Nuria Rial, Peter Kooy, Phlippe Herreweghe, Sarah Connolly, Sybilla Rubens

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.

Mary’s lament

14 Saturday Jan 2017

Posted by cantatasonmymind in Cantatas, Epiphany, Weimar

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Bach, Bachstiftung, BWV 155, BWV 3, Charles Daniels, Epiphany, Epiphany 2, Harry van der Kamp, Julius Pfeifer, Lamento della Ninfa, Luther, Margot Oitzinger, Mary, Monika Mauch, Monteverdi, Montreal Baroque, Nuria Rial, Raphael Jud, Rudolf Lutz, Wedding at Cana, Weimar

marriage_cana_david
The Marriage at Cana, c. 1500, by Gérard David. Musée du Louvre, Paris. Mary pleads and worries, but Jesus says: “Woman, what have I to do with thee? Mine hour is not yet come.”

This week, I watched a very good video by the Swiss Bach Foundation (Bachstiftung) about today’s cantata 155 Mein Gott, wie lang, ach lange? I found it very insightful, helpful, and even entertaining, but was struck by its Calvinist character and was a bit disappointed by the director’s statement that he doesn’t know why this cantata starts with a movement for solo soprano. When reading Gardiner’s and Van Hengel’s discussions of this cantata, I liked their suggestions that the soprano lament refers to  Mary’s role in the Bible story of this Sunday, the Marriage at Cana. It made sense to me. This cantata, from 1715 and repeated in 1724, contains references to the wine as well as to the fact that Jesus says to his mother: “my time has not come yet.”

While the Lutheran church in Bach’s time did not regard Mary as a saint, let alone a mediator between God and the people, she was still an important person in the faith, and thus probably also for Bach. The three Marian feast days*  Luther kept on the calendar were important holidays and Bach wrote cantatas for all of them. Also, Bach wrote this cantata 155 in his Weimar years, when he explored a large number of works by (Catholic) Italian composers.

Listen to Montreal Baroque’s recording of cantata 155 on YouTube through a playlist I created. With Monika Mauch, soprano; Franziska Gottwald, alto; Charles Daniels, tenor; Harry van der Kamp, bass; Anna Marsh, bassoon. If this playlist doesn’t work for you (it might not work outside of the USA), or you prefer to watch a live recording, you can find the live performance by the J.S. Bach Foundation here, with Julia Neumann, soprano; Margot Oitzinger, alto; Julius Pfeifer, tenor; and Raphael Jud, bass.

Read the German text with English translation of this cantata here, and find the score here.

The cantata is not so much a musical play with the soprano taking the role of Mary, but more a reference to her role in the Gospel story and an exploration of that theme: try to trust that everything will be okay in the end, try to not be in control all the time. The first movement has the character of a lament in music and text, you can picture the hand-wringing, the desperation. There is also the steady pedal point in the bass, similar to what Bach will use later in the opening chorus of the St. Matthew Passion.

However it is the second movement, not even sung by the soprano, and with text that is trying to urge her to “let go,” that secretly is the true lament, in the music that is. To hear or see this, the video by the Swiss Bach Foundation is terrific. They explain extremely well (with music examples) how the notes of the solo bassoon part form in fact a lament for three voices. watch from 12:10  By the way: the composition I had to think of when hearing the “lamento bass” was Monteverdi’s  Lamento della Ninfa

If you would like to explore other cantatas for this second Sunday after Epiphany, I invite you to read my post about cantata 3 from 1725 here. It is all about hidden messages in the music of a an extremely beautiful composition with an equally heart wrenching—but completely different—opening movement as this cantata 155.

Wieneke Gorter, January 14, 2017, links updated January 31, 2020. Link for the score updated January 16, 2021.

*The Purification of Mary on February 2, The Annunciaton of Mary on March 25, and the Visitation of Mary on July 2.

Many things to be proud of

26 Saturday Nov 2016

Posted by cantatasonmymind in Advent, Cantatas, Leipzig, Weimar

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Advent, Bach, BWV 61, Christophe Pregardien, Eduard van Hengel, First Sunday of Advent, French ouverture, Harnoncourt, Leipzig, Luther, Nuria Rial, Peter Kooy, Seppi Kronwitter, Sybilla Rubens, Weimar

giotto-entry-into-jerusalem

The Entry into Jerusalem by Giotto, ca. 1305. Fresco in the Scrovengni Chapel, Padua, Italy.

Bach performed this cantata 61 Nun komm der Heiden Heiland in Leipzig on November 28, 1723, as a “rerun” of the first performance in Weimar in 1714. Why did he not write a new cantata? The prevailing scholarly answer is that Bach was giving himself a break from composing in between the three-week frenzy of cantatas 60, 90, and 70 and the new works (including a Magnificat) he was planning for the Christmas days.  I think Bach was proud of his Weimar cantatas, and I believe he wanted to show off the special features in this cantata to his colleagues and to the thousands of Lutherans that he knew would flock to the Leipzig churches on holidays.

I myself am proud of having followed Bach’s cantata writing of 1723 every week for the entire Trinity season. After all this listening and reading, I see a pattern in Bach reviving some of his Weimar cantatas on Leipzig feast days*, and I now look at cantata 61 Nun komm der Heiden Heiland in a new way.

This cantata had already been in my top five because of the moving interpretation of the soprano aria by Seppi Kronwitter (soprano) and Nikolaus Harnoncourt (cello) on the Harnoncourt recording from 1976. My mother loved this aria and played this recording many times, and I have fond memories of listening to it with her.

Harnoncourt-cello

I had always found the bass recitative that precedes it very charming, with the musical illustration of the knocking on the door, but not more than that.  I had seen this recitative in the context of all the Bach cantatas and passions that I knew, and had compared it with other typical Bach “Vox Christi” writing for bass. But those were all written after November 28, 1723.  So now, after having tried to place myself in the shoes of the Leipzig congregations for the entire 1723 Trinity season, I am fully aware that they had not heard a “Vox Christi” at all in any of the cantatas leading up to this one.** And thus I finally realize how it must not have been charming, but truly moving to them to hear this announcement presented in this way, on the first Sunday they started looking forward to the birth of Christ.

In the text of the recitative, Jesus says: “See, I am in front of your door! I’m knocking!” The librettist means the door of the believer’s heart, in which he’s planning to live. The pizzicato in the strings, as well as the staccato and the intervals in the voice part illustrate the knocking, and the dissonances at the beginning only resolve until the final “klopfe an.” The form of this recitative is highly unusual, and perhaps also something Bach wanted to show off in Leipzig.

However Bach’s greatest source of pride was probably the opening chorus of this cantata. To understand this, we need to do a mini music history class. First, in the 4th century, Ambrosius created the hymn Veni Redemptor Gentium, beautifully sung here on this video by Giovanni Vianini, director of the Schola Gregoriana Mediolanensis in Milan, Italy. Then, in 1524, Luther turned that hymn into Nun komm der Heiden Heiland, which sounds like this and which all Lutherans in Bach’s time knew very well.

In Weimar Bach had come into contact with French and Italian court music, and had adopted the habit of writing almost every opening chorus or opening sinfonia of his cantatas as a royal “entrada,” to show off his skills in French ouverture writing as well as to please the Duke.

So now Bach needed/wanted to merge the timeless hymn with a fashionable French ouverture. And the result is stunning. Or, as Eduard van Hengel says: Bach wrote “brilliant fusion” at the age of 29. Listen to this in the recording by Philippe Herreweghe on YouTube (Sybilla Rubens, soprano; Christoph Prégardien, tenor; Peter Kooij, bass).

Find the German text with English translations here and the score here.

The first line of the hymn is sung one voice part at a time, an illustration of the Bible reading for this Sunday: the people greeting the messiah who is riding into Jerusalem. The second line is then sung as a simple four-part hymn, while the instrumental parts keep playing the first part of the ouverture. The third line becomes a mini motet in the fast and happy (“Gai”) middle part of the ouverture, in 3/4. 

The fourth line of text is then again a simple four-part setting on the third part of the ouverture.

For the closing chorale, Bach chose the last two lines of Wie schön leuchtet der Morgenstern as melody. And again he marries the chorale tune beautifully with the instrumental writing.

Wieneke Gorter, November 26, 2016, updated December 1, 2019.

*Read more about this in my post about the feast of St. John the Baptist on June 24, The Visitation on July 2, and last week’s post about cantata 70. Read how proud Bach was of his Weimar cantatas in this post about cantata 12.

** unless they had a really good memory, and were present at Bach’s “audition” in February 1723. There is a Vox Christi in Cantata 22 which he presented at that time, but didn’t repeat in Leipzig until that same time in the church year in 1724.

A pretty soprano aria for Trinity 22

23 Sunday Oct 2016

Posted by cantatasonmymind in 1723 Trinity season special series, Cantatas, Leipzig, Trinity

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Bach, Leipzig, Nuria Rial

parable_of_the_unfaithful_servant

Parable of the Unmerciful Servant by an unknown master from Northern Germany, ca. 1560. Gemäldegalerie, Berlin.

For this 22nd Sunday after Trinity, October 24 in 1723, Bach wrote cantata 89 Was soll ich aus dir machen, Ephraim?

Apart from providing you with the title of the cantata, the stunning painting, and a pretty YouTube video, you’re on your own this week for reading and listening more about this, as I’ve been busy producing these two fabulous concerts.

To find an overview of the recordings, links to the text & translations, and links to the score of this cantata, please visit this page of the “Bach Cantata Bible” by Aryeh Oron.

For a very beautiful interpretation of the soprano aria (fifth movement) from this cantata, please watch this video of the Bach Stiftung, with soprano Nuria Rial, in Trogen, Switzerland. I first heard the fabulous Nuria Rial sing on the German radio in December 2010 and have been a fan since. Watch her sing Cavalli arias at the Utrecht Early Music Festival in the summer of 2016.  I’ll talk about her again on the first Sunday of Advent, in about a month 🙂

Wieneke Gorter, October 23, 2016

Dutch memories, Dutch discoveries

06 Saturday Feb 2016

Posted by cantatasonmymind in Cantatas, Leipzig, Septuagesima

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Bach, BWV 144, cantatas, English Baroque Soloists, J.S. Bach Foundation, John Eliot Gardiner, Miah Persson, Nuria Rial, Septuagesima, Wilke te Brummelstoete

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.

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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.

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