In an extra effort to set the audience up with the correct chorale, Alex Potter had her sing Johann Hermann Schein’s setting of Herzlich tut mich verlangen right before the cantata started. Mark Padmore, tenor. You can find that recording, and read more about those childhood memories, in this blog post from 2016. The German Bach-Gesellschaft (Bach Society) was a society formed in 1850 for the express purpose of publishing the complete works of Johann Sebastian Bach without editorial additions. He truly brought light into the music, and also for me personally into my heart and mind. But Bach wrote at least three more cantatas for this day, as well as his Magnificat. Read some comments by Alex Potter on this cantata here on the AllofBach website. Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. 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. The project will conclude with a complete catalogue of J.S. Ich habe genung (Aria) 2. Bach successfully checked all these boxes with Cantata 159 Sehet! Several people have asked me what made me start writing for this blog again. Early in his career he had done this in the opening movements of Cantata 106 Gottes Zeit ist die allerbeste Zeit (written in 1707) and Cantata 161 Komm, du süße Todesstunde (1716). 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. In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. With special thanks to Marloes Biermans and Annelie Bulsing of the Netherlands Bach Society for their generosity in providing photos and copy for me to use, Posted by cantatasonmymind in Cantatas, Leipzig, Trinity, BWV 130, BWV 148, BWV 245, BWV 8, BWV 99, Charles Daniels, Damien Guillon, Deborah York, Gerlinde Säman, Ingeborg Danz, Mark Padmore, Netherlands Bach Society, Peter Kooij, Philippe Herreweghe, St. John Passion, Telemann, The Rote Schloss (Red Palace) of Duke Ernst August in Weimar, where Bach and Telemann probably first met, while Telemann was working in Eisenach and Bach was working in Weimar. However, it is more likely that Bach wanted to point out the references to the cross in the text of both these movements, and what better instrument to bring out those harrowing chromatic lines than the flute? *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. That program included the absolute best performance of Cantata 161 I have ever heard. Telemann’s beautiful cantata is not widely known today, but must have been rather famous among Telemann’s colleagues in the first half of the 18th century. It is NOT ‘O Haupt’! 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 / Netherlands Bach Society / Veldhoven - Johann Sebastian Bach: Christmas Oratorio music CD album at CD Universe, enjoy top rated service and worldwide shipping. Why the connection with roses? Bach Foundation, Jakob Pilgram, Jan Börner, Julius Pfeifer, Margot Oitzinger, Mark Padmore, Matthew White, Netherlands Bach Society, Philippe Herreweghe, recorders, Rudolf Lutz, St. Matthew Passion, Susanne Seitter, Wolf Matthias Friedrich. Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Read more about musicians visiting for this feast in my post about cantata 148, written for this same Sunday in 1723 or 1725. Saturdays always came as a relief: classes and lessons at the Juilliard School in New York, where hung out with my “real” friends.”. For a wonderful example of this version, listen to Herreweghe’s recording here on YouTube, or here on Spotify. Find album reviews, stream songs, credits and award information for Bach: Cantatas BWV 6, 163, 96 - Netherlands Bach Society Collegium Musicum on AllMusic Doch bin und bleibe ich vergnügt. 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. This live video registration has an abundance of Christmas presents for me: the festive setting of the Grote Kerk in Naarden; soprano Maria Keohane in a Scandinavian Christmas dress and truly enjoying herself; tenor Charles Daniels, always a delight; a promising new young bass, Matthias Winckhler, who can actually sing every note of the enormously challenging bass aria in this cantata; and the best gift of all: Alex Potter singing the alto aria, which to me is the most moving part of this cantata, and also the core message Bach wanted to communicate to his fellow believers on this Christmas Day in 1725. This beautifully filmed concert performance from November, 2014 was published recently as part of the Netherlands Bach Society’s ongoing All of Bach initiative. When I came home from the funeral of one friend, I learned that another friend had passed away suddenly the day before. Soloists are Julia Doyle, soprano; Tim Mead, alto; Jan Kobow, tenor; and Dominik Wörner, bass. Wieneke Gorter, October 1, 2017, links updated September 19, 2020. Watch this 3-minute explanation by organist Matthias Havinga on how earthly misery gets replaced by heavenly paradise in the chorale prelude (BWV 727) of the same name, also written in Weimar. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. The Netherlands Bach Society is the oldest ensemble for Baroque music in the Netherlands, and possibly in the world. And boy, did he do that! Unfortunately, none of the performances were recorded. While Bach and Telemann worked in the same region only from about 1708 to 1712, they were good friends, and it is generally assumed that they would have seen each other in Hamburg and Köthen a few times in the early 1720s. So Bach’s last music had to be as memorable as possible, had to give them hope, and ideally also prepare them for the St. Matthew Passion they would get to hear on Good Friday. Dorothee Mields’ singing in the duet with Matthew White is very moving, and Peter Kooij’s interpretation of the bass aria “Es ist vollbracht” on this recording is unrivaled. 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. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. I had been unsure how to talk about these concerts in the framework of this blog, especially now that it’s more than a month ago and we’re in Advent already (yes there is Advent music in this post, please keep reading) and there is no recording of these concerts. Note the last line. Bach's Christmas Oratorio is not actually a single work but a set of 6 cantatas for Christmas Day and the days following Christmas, but has moved from the realm of church music to concerted music and is now typically played in its entirety. Find the text and translation  of Cantata 99 here, and the score here. 5th Sunday after Easter, Bach, BWV 198, BWV 86, BWV 87, Christoph Prégardien, John Eliot Gardiner, Katharine Fuge, Kati Debretzeni, Klaus Mertens, Leipzig, Netherlands Bach Society, Robin Blaze, Robin Tyson, Rogate Sunday, roses, Shunske Sato, Stephan Loges, Steve Davisilim, Westerland, This week I don’t feel a lot of connection with the Bach cantata from 1724 for this Sunday (the 5th after Easter, or Rogate Sunday), cantata 86 Wahrlich, wahrlich, ich sage euch. The Herreweghe recording deserves a mention here too. 1. For the joyous opening of this cantata, Bach re-uses his Orchestral Suite no. 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. I love how well their voices and singing style match for this! Find the German text with English translations here, and the score here. 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. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. 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. I remember how happy and impressed I was when I first found this video. It is not just with the word “Verlangen” in the text, but also with the “figura suspirans” (or longing in the music, as explained in the organ video of Matthias Havinga mentioned above) that is present here too, in the tenor part as well in the violin part. Find album reviews, stream songs, credits and award information for Bach: Famous Cantatas - Holland Boys Choir, Netherlands Bach Society Collegium Musicum, Pieter Jan Leusink on AllMusic - 2013 Peter Kooij does a fabulous job in the bass aria, which is so difficult it is on par with bass arias from the Christmas Oratorio and the end of the Trinity season of 1723. 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. Our mission: Bach for All. When I walked to her door I noticed a hedge of sweet pink roses in the front yard. Johann Sebastian Bach. Find the text with English translations here, and the score here. Happy learning and listening! Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, bass. In the alto aria, hear how the words “brechen” (to pick [roses]) and “stechen” (to prick) are illustrated by short notes and “broken” chords in the voice part, and broken chords in the violin part. So I decided to walk through the rose garden to experience the color and scent of this amazing flower, and it helped. Bach Foundation, J.S. Bach wrote the cantata Unser Mund sei voll Lachens for morning service on Christmas Day 1725, and the first version of the Magnificat for Christmas Day 1723, seven months after the Leipzig town council appointed him cantor of the Thomaskirche. While the motet has multiple voices, the way it was done in the Renaissance, Bach can still make it clear that the words come from Christ’s mouth only, by giving all the other “voice parts” to instruments instead of to other singers. but I feel the choice of the word “Menschenkind” is not a coincidence. Opening movement of Cantata 46: Collegium Vocale Gent; Philippe Herreweghe, conductor. 196, a related text). If that is indeed what happened, then it seems very likely that, one week later, Bach was inspired by Telemann’s use of pizzicato strings as “funeral bells” in Du Daniel gehe hin when writing the opening chorus and tenor aria of Cantata 8. The effect Shunske Sato’s longing style of playing had on Thomas Hobbs’ singing in this aria was out of this world. Never did I enjoy a “da capo” this much. Find the German text with English translations here, and the score here. 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. Visit our free online treasury for more videos and background material http://allofbach.com/en/. By inviting a different guest director for each program, Sato has breathed fresh air into the he group of musicians I feel. About one week ago, on Friday May 12, I went to drop off a card for a friend who was dying. Bach Cantatas for Church Events without Date (C): Council Elections It was customary in Bach's time to inaugurate a newly elected town council with a festive religious service plus cantata at the official town church. (Part I is here). BWV 82 performed by Thomas Bauer and the Netherlands Bach Societyconducted by Lars Ulrik MortensenGeertekerk, Utrecht. Read more about that here in my post from 2016. This past Friday was the day of her funeral. Preise, Jerusalem, den Herrn (Praise the Lord, Jerusalem), BWV 119, is a sacred cantata by Johann Sebastian Bach.He composed it in Leipzig for Ratswechsel, the inauguration of a new town council, and first performed it on 30 August 1723.. Bach composed the cantata in his first year as Thomaskantor in Leipzig, about three months after taking office at the end of May 1723. ** 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. In this video, Potter talks about the countertenor voice, and explains how he came to be a countertenor. In the center of the cantata, after the festivities of the opening chorus, but before the very pretty Christmas-y “Glory to God in the highest” soprano-tenor duet, and an impressive bass aria with trumpet, the music goes into a minor key, and also turns inward, in the alto aria. Posted by cantatasonmymind in 1723 Trinity season special series, Cantatas, Chorale cantatas 1724/1725, Leipzig, Trinity, Weimar, Alex Potter, All of Bach, All Souls, Anna Magdalena Bach, Bachvereniging, Benny Aghassi, BWV 161, BWV 27, BWV 8, BWV 95, Daniel Johanssen, David Yearsley, Dies Irae, Dorothee Mields, figura suspirans, Hans Jörg Mammel, Herzlich tut mich verlangen, J.S. 1. ***Bach illustrates death bells in instrumentation, often using flutes, but sometimes only pizzicato strings, in cantatas 73, 8, 95, 105, 127, and 198. A striking element in both Cantatas 99 and 8 is Bach’s use of the flute. Giving up on school, I often spent my weekdays at my favorite bookstore instead and read about history, computer programming and linguistics, and composed string quartets. Before I prepare a new post, I always like to revisit previous posts I wrote about this same Sunday, and listen to those cantatas again. 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). 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. High-quality recordings of the works by Johann Sebastian Bach are made freely available for everyone. Between Estomihi Sunday (or the last Sunday before Lent) and Good Friday, there were 47 days in 1729. here, in a performance by the J.S. This is a double post: for today, and also for last Sunday. 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. With the Bach Society orchestra, delve into the incredible diversity of the ‘classical’ symphony. I invite you to listen to/watch the wonderful alto-tenor duet with bassoon from Cantata 155 Mein Gott, wie lang, ach lange? But it turns out that this week is the perfect time for a spotlight on Shunske Sato, because this Thursday December 5, 2019, the Netherlands Bach Society will publish the final episode of his series of solo violin sonatas and partitas on All of Bach, their online video archive of Bach performances. 35. All of Bach. *I did all this listening last year, when I actually ended up writing about cantata 87, the one Bach wrote for this same Sunday, but then in 1725. To read more about this cantata, the third one Bach wrote (or adapted) for the first Sunday of Advent, read my blog post from 2017 here. The piece is an early sacred cantata composed in Mühlhausen, intended for … Bach’s later Leipzig solution: He replaced the organ part with a soprano part, using the first verse of Herzlich tut mich verlangen. wir gehn hinauf gen Jerusalem. Because these were both very strong, kind, beautiful, and inspiring women, and I can’t believe they are gone, I feel much more inclined to listen to cantata 198, Lass, Fürstin, Lass nun einen Strahl, which Bach wrote for the funeral of a well-loved Queen than to a cantata which promotes that “God always knows best.”. Bach Foundation here, with soprano Susanne Seitter, alto Jan Börner, tenor Jakob Pilgram, and bass Wolf Matthias Friedrich. All of Bach – the Netherlands Bach Society Fund “Bach like Bach is intended, by the greatest musicians in the world.” – Shunske Sato, artistic leader of the NBS. Bach has not given significant solos to a soprano since Easter of this year, 1724, and actually pretty sporadically since the start of the new year. ** Find the video of the entire organ prelude (BWV 727) here. Especially in the Nieuwe Kerk in The Hague on Sunday November 3 this was an event: She stood in a very humble location behind the stage, almost tucked into a corner next to the stairs leading up to the pulpit, hidden from view for probably half the audience. 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. Soloists are Gerlinde Sämann, soprano; Damien Guillon, alto; Charles Daniels, tenor; Peter Kooij, bass. Every time he played the “Mein Verlangen” theme, he stretched the tempo just a little bit, every time slightly differently. Bach looking back (Belated 2nd Sunday after Epiphany), Two Weimar cantatas for the fourth Sunday of Advent, The Shining Star of the Netherlands Bach Society, this wonderful interview with him for All of Bach, A better week for cantata 198 than for 86, http://rudolfshistorischer-rosen-park.blogspot.com/, Light in Dark Times (and a compelling melody for Bach). The rest of the cantata stays close to the story of John the Baptist. This way, it was immediately clear that this was an Advent cantata. It’s cold comfort for the absence of a complete All of Bach recording, but for a few seconds, you can see Potter perform the alto recitative from Cantata 161 with the superb band he had put together for this : the dramatic so schlage doch section around 1’38” and the start of the recitative around 7’12”. 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