Tag Archives: Phlippe Herreweghe

Blogging from Bruges

27 Saturday Jan 2018

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

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I had the privilege of shaking hands with Philippe Herreweghe around midnight on Friday. It was pure coincidence, or serendipity, if you will* and he has no idea who I am, but it was a magical end to an already exciting day at the Bach Academy in Bruges, Belgium.

On that Friday I attended an informative and inspiring lecture by Bach expert Ignace Bossuyt during the day (more about that in a different post), heard a fabulous Bach cantata concert by Collegium Vocale/Herreweghe in the evening, and got to witness a very entertaining interview with Herreweghe late at night. The concert featured Cantatas 186 and 146. It was a feast to see Herreweghe at work, focusing on phrasing and text expression. It was also very enjoyable to experience the rich, well-blended string sound in the orchestra, the terrific oboe playing, the signature sound of the sopranos and altos of Collegium Vocale, and the wonderful work by all four soloists. Bass Peter Kooij stood out for his excellent diction and exquisite tone, tenor Thomas Hobbs for his stage presence and clear voice, and countertenor Alex Potter for his marvelous job in the “Ich und Du” aria from Cantata 146. As always I consider it a blessing to see and hear Dorothee Mields sing. The combination of the sound of her voice and her pronunciation and understanding of the text is something very special and beautiful to behold. I feel lucky that I will get to hear this group of musicians two more times this week: today (Sunday) again in Bruges, and Tuesday in Paris.

 

Time to talk about the cantata for today now: Cantata 92 Ich hab in Gottes Herz und Sinn for Septuagesima Sunday (the third Sunday before Lent), first performed on Sunday January 28 in 1725. For this cantata, Bach had received an extremely long text from his librettist. We don’t know for sure who Bach’s librettist was at this time. Scholars believe it might have been Andreas Stübel, poet, theologian, and emeritus assistant principal of the St. Thomas School. If it was indeed Stübel, he would pass away on January 31, and might already have been ill around the time Bach was working on this Cantata 92. So while there normally might have been a discussion about the libretto between Bach and Stübel, this time Bach might have had to work with what he had.

The result is a creative but extremely long bass recitative (movement 2), and a rather long cantata in total: nine movements in all. Bach had created such lengthy cantatas at the start of his career in Leipzig, during the summer of 1723, but never before during this chorale cantata cycle of 1724/1725.

This Cantata 92 Ich hab in Gottes Herz und Sinn contains arguably the most operatic tenor aria Bach ever wrote, even crazier than the aria from Cantata 81, an equally dramatic bass aria, and an absolutely lovely soprano aria. But what moves me the most in this cantata is the alto chorale with oboe accompaniment (movement 4). It gives me the good kind of stomach ache every time I hear it. On most recordings this chorale gets sung by all choir altos, not just the alto soloist.

Because I appreciate the bass soloist expressing the drama in his recitative and aria as much as the tenor does in his, my favorite “overall” recording of this cantata is the one by Bach Collegium Japan. Find my playlist here on Spotify. With Yukari Nonoshita, soprano; Jan Kobow, tenor; and Dominik Wörner, bass.

A good alternative on YouTube is Koopman’s recording of this cantata. With Deborah York, soprano; Paul Agnew, tenor; and Klaus Mertens, bass. I always love to hear Paul Agnew in operatic arias like this one.

Please find the text of Cantata 92 here, and the score here. And please consider supporting the artists by purchasing the recording you like best:

Bach Collegium Japan recording of Cantata 92 on Amazon

Koopman recording of Cantata 92 on Amazon

 

Wieneke Gorter, January 28, 2018.

* A friend and I were sitting in the back of a tiny cafe when Herreweghe and his wife walked in. He went over to greet some fans in the front of the restaurant, then sat down to eat. While I was contemplating what I would say to them later, once I would be on my way out of the restaurant, Herreweghe got up to use the restroom and walked right by our table. My friend asked him if he would welcome even more compliments, and then we shook hands with him and told him how much we had enjoyed the concert. It didn’t feel like the right time to tell him about my blog, and I was too star struck to think of mentioning that I would be attending two of his other concerts this week.

 

 

 

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, there was a Sunday in between Christmas and New Year’s Day, (a first for Bach in Leipzig*) and 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

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

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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.

Bonus Advent cantata

10 Sunday Dec 2017

Posted by in Advent, Cantatas, Leipzig

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

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

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

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

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

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

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

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

A good problem to have: Dorothee Mields or Susanne Rydén (cantata 115 for Trinity 22 in 1724)

11 Saturday Nov 2017

Posted by in Cantatas, Leipzig, Trinity

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Susanne Rydén. Photo by Elin Ericsson/Sveriges Radio.

About a decade ago, I first heard the soprano aria from Cantata 115 sung live in a concert. It took my breath away. The next day, I started looking for recordings of the aria, and decided that my favorite was the one by Susanne Rydén with Bach Collegium Japan, with Liliko Maeda on transverse flute, and Hidemi Suzuki on violoncello piccolo. I purchased only that movement on iTunes and played it many times. However, I never listened to the rest of the cantata …

It took me until this past week to realize that the entire cantata is beautiful, also contains a fabulous alto aria, and …. that this year, Herreweghe released a recording of it, with Dorothee Mields singing the soprano aria and Damien Guillon singing the alto aria. For those of you who know how much I love Dorothee Mields (read more about that here) you will understand I now had a problem: Susanne Rydén or Dorothee Mields? I feel that within the framework of the rest of the movements of Herreweghe’s recording, Mields’ interpretation of the soprano aria fits perfectly, is very moving, and extremely well done. But as a stand-alone aria, I still love Susanne Rydén’s the best, because of the quality of her voice on that recording, and because her ability to blend so perfectly with the flute.

For the entire cantata, I recommend Herreweghe’s 2017 recording. This recording is not available on YouTube, but you can find it here on Spotify. Please consider supporting the artists by purchasing the entire album here on Amazon.

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

Herreweghe is the best at  giving the music direction, always focusing on the phrasing. In addition to all of that, there is a wonderful expansiveness, freedom in the sound and the musical lines present in almost all of the movements. Also, Peter Kooy’s singing in the bass recitative/arioso is much more lively and adventurous than on the Bach Collegium Japan recording, and then there’s of course counter-tenor Damien Guillon. I was smiling the whole time when I first listened to his aria. How he can move from a low, full note to a clear, spot-on high note is just so good.

If you would like to hear more beautiful music for this Sunday, or are wishing for a more upbeat soprano aria, there is a terrific rendition of the soprano aria from cantata 89 Bach wrote for this same Sunday in 1723 here on Youtube, sung by the incomparable Nuria Rial with the J.S. Bach Foundation.

Wieneke Gorter, November 11, 2017, updated November 15, 2019.

A modest Reformation Day in 1724

04 Saturday Nov 2017

Posted by in Cantatas, Leipzig, Trinity

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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 perfect combination of Bach’s writing & Herreweghe’s interpretation

29 Saturday Jul 2017

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The Miracle of the Loaves and Fishes by Jacopo Tintoretto, circa 1545-1550, Metropolitan Museum of Art, New York.

1724: Bach has returned from his visit to Köthen (see previous post).

2017: I am still in Europe, but my daughter’s choir tour is done, and so is my daily commitment to write a blog for the parents who stayed back in California.

As I continue to follow Bach in 1724, the cantata for today, the 7th Sunday after Trinity, is cantata 107 Was willst du dich betrüben. If you only listen to one cantata this summer I suggest you listen to Herreweghe’s recording of this one. You will not regret the perfect combination of some of Bach’s best writing with Herreweghe’s sensitive interpretation. Find Herreweghe’s recording (from 1993, with Agnès Mellon, soprano; Howard Crook, tenor; and Peter Kooij, bass) here on YouTube. Consider purchasing it here — this album also contains the beautiful cantata 93 from two weeks ago. My favorite movements are the fabulous opening chorus, the bass recitative and aria that follows, superbly sung by Peter Kooij, and the tenor aria because of the flutes. I also love Agnès Mellon’s angelic singing in the soprano aria.

Find the text and translations here, and the score here.

A few weeks ago I explained that Bach started his second Leipzig cycle with a series of chorale cantatas, and that he would stick to that same format for nine and half months (read more about this in this post). He built all 44 cantatas in this period on a similar foundation: setting the verses of the chorale verbatim for the opening and closing choruses, while setting poetry based on the verses for the inner movements. While Bach collaborated with a librettist (probably the same one) for all of these cantatas, there was one exception within that 1724/1725 series: all of the words for cantata 107 Was willst du dich betrüben were copied verbatim from the chorale text.

We can only speculate as to why this happened. His librettist might have been sick or away.  Or did Bach perhaps compose this cantata during his visit to Köthen (see last week’s post)? We only know that he and Anna Magdalena performed at the court in Köthen, but we don’t know how long they stayed there.

I have loved this cantata 107 since I first heard it on the Herreweghe recording in the early 1990s. Just listen to that opening chorus: Bach’s excellent and poignant writing combined with the fabulous sustained lines of the Collegium Vocale chorus (read my posts about their sopranos here and their altos here) and Herreweghe’s calm tempo, and continuous focus on the direction and destination of the musical lines.

I am in movie-script mode again and taking the liberty to imagine Bach writing this cantata in Köthen, maybe even performing (parts of) it there too with all the wonderful musicians at that court, and Anna Magdalena singing the soprano aria. Bach could very well have been inspired by the change of scenery, time away from his hectic Leipzig house, and enjoying the company of his former colleagues in Köthen, all excellent musicians. If we follow this train of thought, it is not surprising that he assigns 2/3 of the principal music in the opening chorus to the orchestra and only 1/3 to the choir, and writes the closing chorus as if it were one of his orchestral suites. It has been suggested that Bach convinced one of the flute players at the Köthen court, Johann Gottlieb Würdig, to accompany him to Leipzig and stay there for a few months.

Wieneke Gorter, July 27, 2017.

 

 

 

Blogging from Greece

15 Saturday Jul 2017

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

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Kaisariani monastery near Athens, Greece
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For today, the 5th Sunday after Trinity, I’m running out of time to write a post about the beautiful cantata 93 Wer nur den lieben Gott lässt walten Bach wrote for this Sunday in 1724. So I’ll just give you my favorite recording (by Herreweghe, with soloists Agnès Mellon, soprano; Charles Brett, countertenor; Howard Crook, tenor; and Peter Kooij, bass), the text & translations, and the score.

My reason is a good one: I’m on tour with my daughter’s youth choir to Greece, and I’m in charge of the blog for that tour (so parents who stay at home know we’re still alive and happy) and that’s taking up most of my limited wifi time on the island of Syros. It’s a really hard life being a blogger here 😉

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I’m very happy, because at the beginning of this week I got to see the 11th/12th century Kaisariani monastery, about 10 kilometers outside of Athens. I found out about this building once while looking for images for this blog. The cross-in-square, domed church has some beautiful wall and ceiling paintings dating from the 18th century; those in the narthex date back to 1682.

I loved seeing the paintings “live” and took lots of pictures to use in future blog posts, but also very much enjoyed the quiet (only a handful of other tourists were there), the forest air, and the gardens:

kaisariani_plants

Wieneke Gorter, July 15, 2017.

The Herreweghe altos (Trinity 2 in 1724)

25 Sunday Jun 2017

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The title page of cantata 2 Ach Gott tom Himmel sieh darein, written by Bach’s lead copyist, J.A. Kuhnau. Staatsbibliothek zu Berlin Preußischer Kulturbesitz

Regular readers of this blog know that I have a soft spot for the Herreweghe choir sopranos*. But the alto section of Collegium Vocale Gent is often equally impressive, and they deserve a special mention for their fabulous sound in the cantus firmus of this cantata’s opening chorus. Listen to Herreweghe’s recording of cantata 2 Ach Gott, vom Himmel sieh darein on YouTube.

Find the text of this cantata here (read along so you can see the brilliant text-illustration in the music), and the score (where you can see which instruments double which vocal parts) here.

Bach wrote this cantata for the 2nd Sunday after Trinity, which fell on June 18 in 1724.  As I explained last week, this is the second in a series of four cantatas at the start of Bach’s 1724/1725 Leipzig cycle, and according to the master’s orderly design for these first four chorale cantatas, the cantus firmus of the hymn tune (always the same as the cantata title) is now in the alto part.

This Herreweghe recording is from before the time that soloists joined the choir sections of Collegium Vocale, which means that alto soloist Ingeborg Danz does not sing in this excellent group of one mezzo (Mieke Wouters), two contraltos (Yvonne Fuchs and Cécile Pilorger), and one countertenor (Alex Potter). Also the blend with the instruments doubling this alto part (two oboes and one trombone) is so marvelous it gives me goose bumps. Then again, there aren’t many things in music that move me more than a Bach opening chorus with trombones.

Whenever Bach uses the archaic form of chorale motet as opening chorus, especially when he combines it with the use of the Renaissance/Early Baroque trombone quartet (1 cornetto and 3 trombones), he wants to stress the timeless importance, the authoritative character of a message. In this case the at that point already two centuries old message is the chorale, one of Luther’s own.  For readers who understand German: Eduard van Hengel’s website (in Dutch) has a very insightful overview of the original German text of Psalm 12, the text of Luther’s chorale, and how Bach’s librettist changed that into the text for the cantata.  You can find it here.

Bach alto and tenor arias are at their prettiest, I find, when they are written as a trio sonata, and there is a wonderful example of that in the alto aria Tilg, o Gott in this cantata. It is a plea for help in fighting the “Rottengeister,” or the sectarians amidst the Lutherans. Alto soloist Ingeborg Danz does a terrific job interpreting the text. When the alto starts singing the word Rottengeistern, we see that it was that word we had already heard many times in the triplets of the violin part. As Eduard van Hengel says, it is the “popular easy talk of the sectarians, and that is also the reason why the other two parts don’t have this motive” [to further illustrate the schism].

In his effort to educate his fellow Lutherans (the Leipzig congregations) with his music, Bach wants to make it clear that he’s still preaching by means of the well-known chorale, and uses longer notes for the direct quotation (in music and text) of the chorale in this aria: der uns will meistern.

The best interpretation of the tenor aria Durchs Feuer wird das Silber rein actually appears on another recording, that of Bach Collegium Japan with tenor Gerd Türk. You can listen to that aria here. Here we have arrived at the solution/salvation part of the cantata, and so this music is more pleasant, easier to listen to. But Bach is still preaching: there are some crossing (!) lines in the music, and in the middle section, which tells the listeners to be patient (sei geduldig) and Bach stresses the words Kreuz und Not.

So one wonders: was Bach’s decision to focus on chorales for this 1724/1725 cantata cycle inspired by his need to make things easier for the boy sopranos, or by a wish to explain the theology to the congregations in a way that was more obvious to them than the more complicated, sometimes perhaps too hidden, messages he had so far delivered by way of his music? Or had the City Council or the church elders told him to to this?

*Read more about that in this post.

Wieneke Gorter, June 25, 2017

Easter Monday 1724

17 Monday Apr 2017

Posted by in After Easter, Bach's life, Cantatas, Leipzig

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Excerpt from the title page of Bach’s manuscript from 1735 of cantata 66 Erfreut euch ihr Herzen. The manuscript from 1724 did not survive.

In Bach’s time there were three Easter days, as there were three Christmas days and three Pentecost days. I wrote yesterday that Bach planned to write four new works between April 10 and 23, 1724, but that is only somewhat true, it depends who you ask …

Gardiner believes that what Bach planned to do after Easter 1724,  was to write cantata 6 for Easter Monday, 42 and 67 for the first Sunday after Easter, and 85 for the second Sunday after Easter, instead of writing 6, 42, and 85 in 1725. As he painstakingly explains in his book “Bach: Music in the Castle of Heaven,”  Gardiner believes that the work (composing and rehearsing) on the Passion according to St. John must have cost Bach much more time than he thought, and he thus had to adjust his plans.

Following Gardiner’s theory, when Bach realized he had too much on his plate for Easter 1724, including having to write a cantata for Easter Tuesday he might not have planned on, he decided to write parodies (using existing music with some changes, but with different texts) for Easter Monday and Easter Tuesday of that year.

For Easter Monday 1724, he wrote cantata 66 Erfreut euch, ihr Herzen. Most of the music of this cantata is based on the secular cantata 66a Der Himmel dacht auf Anhalts Ruhm und Glück (Heaven thinks of Anhalt’s Fame and Fortune) , composed by Bach in 1718 to celebrate the 24th birthday of Prince Leopold of Anhalt-Cöthen. If you have 40 minutes, listen to a reconstruction of the entire Birthday cantata 66a from 1718 here, with soprano Gudrun Sidonie Otto, alto Wiebke Lehmkuhl, tenor Hans Jörg Mammel, and bass Karsten Krüger. If you only have 10 minutes, scroll to 11:17 for the soprano/alto duet with violin.

Listen to Herreweghe’s recording of cantata 66 Erfreut euch, ihr Herzen here. Soloists: alto Kai Wessel, tenor James Taylor, and bass Peter Kooij. I like Herreweghe’s recording of this cantata the best of all I listened to, because to me the tempo of the opening chorus is perfect for me, Collegium Vocale’s singing is fabulous as always, and I enjoy listening to Peter Kooy in the bass aria.

Find the text of cantata 66 here, and the score here.

Since we only have a manuscript of this cantata from 1735, when Bach repeated this cantata in Leipzig, we don’t know for sure what Bach changed in 1724.  However, based on what we know, and comparing the two recordings I present in this post, Bach used the following movements from the Köthen Birthday cantata 66a in the Leipzig church cantata 66: The impressive and very festive opening chorus of 66 is the closing chorus of 66a, the bass aria of 66 is the alto aria of 66a, and the alto-tenor duet (beautifully sung by Kai Wessel and James Taylor) with violin of 66 is the soprano-alto duet with violin from 66a.

Movement 4 and 5 (the recitative and duet for alto and tenor) are written as a dialogue. Whenever Bach uses that technique in his church cantatas, the two characters are usually Jesus and the Soul (see for example cantata 21). In this case, the Happiness of Anhalt (the alto) from 66a has been transformed to Furcht (Fear) in 66, and  Fama (the godess of fame and reputation, soprano in 66a) has been transformed to Hoffnung (Hope, tenor in 66). With these two characters Bach refers to the Gospel reading of the day: two followers of Jesus walk to the town of Emmaus, only a few days after Jesus’ death and burial. They talk about their hope that he was the Messiah, but are at the same time fearful having heard the news that his body has disappeared from the grave.

In the Birthday cantata 66a, the two characters are in agreement, and therefore sing the same notes. However in cantata 66 Furcht and Hoffnung often disagree, even though they are still singing the same notes. Normally Bach would never have let this happen, but perhaps this is an illustration of how quickly he had to work on this cantata for Easter Monday.

Wieneke Gorter, April 17, 2017