Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7) 1. It made all my frustrations and worries melt away, and it made the other instrumentalists play and tenor Thomas Hobbs sing with even more inspiration than they already had in this concert. I learned she was in her last days on Tuesday, but it took me until Friday morning to find the right words, finish writing the card, and to drop it off. And boy, did he do that! I didn’t know how it would go, how my kids would handle it (my oldest and her oldest are friends), and tried to find some strength for myself, so I would be able to be there for them. And it always thrills me when during this process I discover that Bach must have done this too: going back, either in his memory or in the physical stack of manuscripts, to the music he previously wrote for this same Sunday. Several people have asked me what made me start writing for this blog again. I only learned that this week, by watching the “extra videos” the Netherlands Bach Society provides along with their live recordings on All of Bach. High-quality recordings of the works by Johann Sebastian Bach are made freely available for everyone. Opera-like drama, heart-breaking emotion, the promise of hope and redemption, it is all there in his singing, and in that voice with the beautiful variety of colors. For the fourth Sunday of Advent, Bach wrote two cantatas in Weimar: Cantata 132 Bereitet die Wege, bereitet die Bahn in 1715, and Cantata 147a Herz und Mund und Tat und Leben in 1716. You can find that recording on YouTube, Amazon, or iTunes. here, in a performance by the J.S. This is a double post: for today, and also for last Sunday. For Cantata 99 Was Gott tut das ist wohlgetan I prefer the live video registration by the Netherlands Bach Society. By the time Bach repeated this cantata in Leipzig, probably sometime in the late 1720s or in the 1730s, O Haupt voll Blut und Wunden had become much better known, and Bach might have had a similar concern as Alex Potter had in 2019: he wanted to make sure the congregation would have the correct chorale, and thus the correct message in mind. If you want to help us complete All of Bach, please subscribe to our channel http://bit.ly/2vhCeFB or consider donating http://bit.ly/2uZuMj5.For the interview with conductor Jos van Veldhoven on 'Schwingt freudich euch empor' go to https://youtu.be/ERRQp_EvR0kFor the interview with organist Leo van Doeselaar on 'Schwingt freudich euch empor' go to https://youtu.be/4BwAjbwVAxMFor the interview with organist Pieter-Jan Belder and harpsichordist Siebe Henstra on 'Schwingt freudich euch empor' go to https://youtu.be/SNdUwMfmB7oFor more information on BWV 36 and this production go to http://allofbach.com/en/bwv/bwv-36/All of Bach is a project of the Netherlands Bach Society / Nederlandse Bachvereniging, offering high-quality film recordings of the works by Johann Sebastian Bach, performed by the Netherlands Bach Society and her guest musicians. Posted by cantatasonmymind in 1723 Trinity season special series, Cantatas, Chorale cantatas 1724/1725, Leipzig, 1723, 1724, 1726, Alex Potter, All of Bach, Amandine Beyer, BWV 170, BWV 9, Charles Daniels, J.S. This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? Potter wanted to make absolutely sure that the Netherlands Bach Society audience members, who all have St. Matthew Passion running through their veins, would not hear this tune as O Haupt voll Blut und wunden: “It is NOT ‘O Haupt’ – indeed in hymnals from the time, ‘O Haupt’ is often listed to be sung to the melody of ‘Herzlich tut mich verlangen’,” he explained a few days after the concerts, when I had written him to ask about some of his choices. It definitely also refers to the the fact that Jesus can’t just stay in the godly realm, but in order to be a true savior, he has to come to earth, become man, and go through all the rotten reality that might imply. but I feel the choice of the word “Menschenkind” is not a coincidence. The music has a slower tempo, and a more drawn out rhythm, but the theme is the same as in that duet from Cantata 155 you just heard: There is more in this opening chorus of Cantata 13 that gives us a peek into Bach’s referencing process. It contains all four cantatas Bach wrote for this Sunday, and they are all excellent. My main reason for purchase was the sacred Cantatas, presented here in 1999 recordings by the Holland Boy Choir, Netherlands Bach Collegium (period instruments) and soloists including Ruth Holton and Bas Ramseller directed by Pieter Jan Leusink. I have now updated that post with a link to the wonderful live performance of Cantata 147 by the J.S. Of course this text refers to the believers in general, that on the one hand they are worms, and on the other hand will be saved by Jesus. ** Performers in the YouTube recordings of cantata/oratorio movements with recorders are: Opening movement of Cantata 106: Netherlands Bach Society; Jos van Veldhoven, conductor; Heiko ter Schegget and Benny Aghassi, recorders; Dorothee Mields, soprano; Alex Potter, alto; Charles Daniels, tenor; Tobias Berndt, bass. And in the first half of the program, Hobbs and his laser-beam long notes were the star of Rosenmüller’s Dies Irae and the Gregorian Requiem that preceded it. ... cantatas, 147 Watch the performance Christus der ist mein Leben. BWV 82 performed by Thomas Bauer and the Netherlands Bach Societyconducted by Lars Ulrik MortensenGeertekerk, Utrecht. His cantatas for this Sunday (161, 95, 8, and 27) either contain a high number of chorales, or are centered around an important chorale. **. (Part I is here). Wer will die Liebe recht erhöhn,Who will rightly extol the loveDie unser Heiland vor uns hegt?that our Saviour cherishes for us?Ja, wer vermag es einzusehen,Indeed, who is able to realiseWie ihn der Menschen Leid bewegt?how he is moved by human suffering?Des Höchsten Sohn kömmt in die Welt,The highest’s son came into the worldWeil ihm ihr Heil so wohl gefällt,because its salvation pleases him so wellSo will er selbst als Mensch geboren werden.that he himself is willing to be born as a man. Soloists are Gerlinde Sämann, soprano; Damien Guillon, alto; Charles Daniels, tenor; Peter Kooij, bass. If, after listening to / watching Cantata 13 in its entirety, you are wondering why Bach’s illustration of a miracle (Jesus turning water into wine at the Wedding at Cana) is so incredibly sorrowful, read my blog post about Cantata 3 here. Please note that the English translation of the bass aria’s first line is incorrect: the translation of the German word “Sorgen” should be “worries” or “worrying”, not “care.” The correct translation is something like this: Groaning and pitiful weepingare no help to the sickness of worrying. Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. We try to achieve this goal with the All of Bach project - the online treasure trove of the Netherlands Bach Society. Sometimes I only get a feeling that he did this, but other times, there’s an obvious quote either in the text or in the music. Considered to be one of Europe’s top ensembles specializing in the sacred music of J.S. Shunsuke Sato became artistic … This performance also features exquisite music-making by flutist Marc Hantaï, violinist Amandine Beyer, and tenor Charles Daniels. The Herreweghe recording deserves a mention here too. It is my favorite movement of this cantata, because of the splendid violin solo. Now listen to/watch the entire recording of Cantata 13 Meine Seufzer, meine Tränen, also by the J.S. The piece is an early sacred cantata composed in Mühlhausen, intended for … Jauchzet, frohlocket, auf, preiset die Tage. Soloists on the Gardiner recording are Katharine Fuge, soprano; Robin Tyson, counter-tenor; Steve Davisilim, tenor; and Stephan Loges, bass. *St. Michael’s Fair was a huge event in Leipzig, drawing visitors from as far as England and Poland, increasing the city’s population to 30,000. But Bach wrote at least three more cantatas for this day, as well as his Magnificat. The ensemble was founded in 1921 in Naarden to perform Bach's St Matthew Passion on Good Friday and has performed the work annually since then in the Grote of Sint-Vituskerk. Bach had written Cantata 155 already in Weimar in 1716, but performed it again in Leipzig in 1724, also on the Second Sunday after Epiphany. For an example of this version, with all sopranos singing the chorale, watch the live performance by the J.S. Already in 1716, in Weimar, Bach put great emphasis on the chorale in the first cantata he ever wrote for this Sunday, Cantata 161 Komm, du süße Todesstunde. You can find most of them by typing Alex Potter into the search bar at the top of this post. The Netherlands Bach Society is the oldest ensemble for Baroque music in the Netherlands, and possibly in the world. Bleib bei uns, denn es will Abend werden (Stay with us, for evening falls), BWV 6, is a cantata by Johann Sebastian Bach for use in a Lutheran service. Happy learning and listening! Read more about Cantatas 127, 22, and 23 in my blogpost from 2018 here. Doch bin und bleibe ich vergnügt. onto the believer: ask your conscience: are you a true person or a false person? Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. 196, a related text). You can find that recording here on Amazon or here on iTunes. Posted by cantatasonmymind in Cantatas, Leipzig, Alex Potter, bwv 127, BWV 159, BWV 22, BWV 23, Dorothee Mields, Estomihi, Jan Kobow, Matthew White, Miriam Feuersinger, Netherlands Bach Society, Peter Kooij, Philippe Herreweghe, Stephan MacLeod, Thomas Hobbs. Other singers in this recording are Dorothee Mields, soprano; Thomas Hobbs, tenor; and Stephan McLeod, bass. If you are not following this blog yet, please consider signing up (on the left of this text if you are on a desktop computer, at the bottom of this post when you are reading on a smartphone). Solo sonatas and partitas on All of Bach. Pay attention to the recorder parts in the opening movement. And as a mom of two teenagers who are finding their way through school and life, I especially liked this part from Sato’s story: “Things got tricky in my teens: I began spending lots of time away from school playing concerts, and my grades at school were impressively low (except for French and Maths). These are definite Chamber performances: small … Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, bass. For the concerts I attended, he was concertmaster only, having invited alto Alex Potter to program and lead this production. – The crucial role of the chorale in Cantata 161 for Trinity 16, this video by the Netherlands Bach Society, this 3-minute explanation by organist Matthias Havinga, Alex Potter and Julia Doyle – 6th Sunday after Trinity, fabulous live recording of the Netherlands Bach Society on YouTube. Read that post here. It’s a lovely and very accessible interview. You can find that recording, and read more about those childhood memories, in this blog post from 2016. Mark Padmore, tenor. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. Bach’s works in time for the Netherlands Bach Society’s centenary in 2022. For the text and translations of cantata 86, please visit this page, and for the score, please go here. The next day, we heard she passed away during that night. Find the text and translation of Cantata 8 here, and the score here. Our mission: Bach for All. I had no idea at the time that in those very cool opening notes Bach is quoting this organ piece by Buxtehude. Enter your email address to follow this blog and receive notifications of new posts by email. I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. For this concert of Early Cantatas by J.S. Conducted by Jos van Veldhoven, the Netherlands Bach Society performs Johann Sebastian Bach’s Gottes Zeit ist die allerbeste Zeit (God’s time is the very best time), BWV 106, also known as Actus tragicus. By inviting a different guest director for each program, Sato has breathed fresh air into the he group of musicians I feel. Bach Stiftung, Julia Doyle, Leo van Doeselaar, Marc Hantaï, Netherlands Bach Society, Rudolf Lutz, Trinity 6. During that entire time the Leipzig congregations would hear no music in the churches, except for chorales. Leave it to Alex Potter. BWV 150 Nach dir, Herr, verlanget mich. Find that recording here on YouTube, but better yet, support the artists and purchase the entire album Jesu, deine Passion here on Amazon or here on iTunes. Bach Foundation here on YouTube. Sato and Blaze present a very clear explanation of how Bach illustrates the “breaking” of the roses in the alto aria in this short video. Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. I also think that any opportunity to hear more Dorothee Mields is worth it, and I got to sing with her as an added bonus.”, It turned out to be a brilliant one. Read for example about the four (!) De Nederlandse Bachvereniging (The Netherlands Bach Society; = NBV) owes its existence and fame to the performances of J.S. They believe that this is why he started the chorale cantatas (cantatas of which each movement is based on a different verse of one and the same chorale tune) after Pentecost of that year. Posted by cantatasonmymind in Bach's life, Cantatas, Christmas, Leipzig, Alex Potter, Bachvereniging, BWV 110, Charles Daniels, Christmas 1, Christmas Day, Grote Kerk Naarden, Jos van Veldhoven, Maria Keohane, Matthias Winckhler, Netherlands Bach Society. Find the German text with English translations here, and the score here. To find the Weekly Cantata Advent Calendar, please click here. A pragmatic solution, as Potter explained partly in the program book: recorder player Benny Aghassi was available; partly in his message to me: “I think that for a modern audience having the voice cut through a bit more makes it clearer – also with the text. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. And, in those concerts in the Netherlands in 2019, we got to hear even more Dorothee Mields. Posted by cantatasonmymind in Advent, Cantatas, Leipzig, Trinity, Weimar, 16th Sunday after Trinity, Alex Potter, All of Bach, All Souls, Bachvereniging, BWV 161, BWV 36, Grote Kerk Naarden, Hans van der Woerd, Marco Borggreve, Netherlands Bach Society, Nieuwe Kerk Den Haag, Shunske Sato, St. Matthew Passion, The Hague, Thomas Hobbs, Zsuzi Tóth. Opening movement of Cantata 161: Collegium Vocale Gent; Philippe Herreweghe, conductor; Bart Coen and Koen Dieltiens, recorders; Matthew White, alto; Herman Stinders, organ. In the soprano aria, hear how low in the soprano range this is set — it could just as well have been sung by an alto. Bach rewrote Cantata 147, the same way he did that with cantatas 70 and 186, into a cantata for another time of the year in Leipzig, in this case the feast of the Visitation on July 2, 1723. Find the text with English translations here, and the score here. But I’ll still write about cantata 86. Bach Foundation, J.S. This is what she looked like that day: In the opening movement, notice how Bach accentuates the fact that Jesus is speaking important, timeless words by setting these words in the form of an archaic motet. Then, during the instrumental introduction to the Bach cantata, she very slowly climbed the stairs to the pulpit, and then sang the chorale from there during the opening aria. 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