Netherlands Bach Society Discover the works of Bach online Support us Support the musicians. 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. 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 release reviews and credits for Johann Sebastian Bach: Christmas Oratorio - Jos Van Veldhoven, Netherlands Bach Society on AllMusic - 2003 ... Cantata for the Third Day of Christmas. 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 now have my own Westerland rose growing against the front of my house. 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. 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. These are definite Chamber performances: small … 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. The bass aria refers to the Pharisees interrogating John, but then Bach’s text writer (Salomo Franck, who was also the Weimar court librarian) projects the question “Wer bist du?” (Who are you?) – 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. Bach (BWV 4, 131 and 106) and G.P. Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. My favorite part of this cantata is the glorious duet Herr, du siehst statt guter Werke, beautifully sung by soprano Julia Doyle and alto Alex Potter. This performance also features exquisite music-making by flutist Marc Hantaï, violinist Amandine Beyer, and tenor Charles Daniels. It’s a lovely and very accessible interview. *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. Between Estomihi Sunday (or the last Sunday before Lent) and Good Friday, there were 47 days in 1729. 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. It created a halo over the entire aria. Soloists are Julia Doyle, soprano; Tim Mead, alto; Jan Kobow, tenor; and Dominik Wörner, bass. 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. 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? To support All of Bach and our musicians click here. 196, a related text). Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. But before I discuss Cantata 99 Was Gott tut das ist wohlgetan (Trinity 15, Sept 17, 1724) and Cantata 8 Liebster Gott, wenn wird ich sterben (Trinity 16, Sept 24, 1724), I would like to introduce you to a Telemann cantata: Du Daniel gehe hin. Bach - Cantata Schwingt freudig euch empor BWV 36 - Van Veldhoven | Netherlands Bach Society - YouTube On 2 December 1731, a teacher at the St Thomas School … BWV 106 Gottes Zeit ist die allerbeste Zeit 'Actus tragicus'. Bach Stiftung, Jakob Pilgram, Jan Kobow, Julia Doyle, Margot Oitzinger, Netherlands Bach Society, Rudolf Lutz, Tim Mead, Weimar, Wolf Matthias Friedrich. Even though the tenor wasn’t singing yet, the text was already there: the longing (“Verlangen”) but also the pure radiance (“reiner Schein”) of the soul and the image of angels. Several people have asked me what made me start writing for this blog again. Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, bass. BWV 150 performed by the Netherlands Bach Societyconducted by Shunske SatoGroote Kerk, Maassluis. Mark Padmore, tenor. Soloists are Gerlinde Sämann, soprano; Damien Guillon, alto; Charles Daniels, tenor; Peter Kooij, bass. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube. Cantata 132 was not transformed into a cantata for another time in the church year in Leipzig, so today’s performances of this cantata still reflect the Advent cantata from Weimar. in Cantata 13 Meine Seufzer, meine Tränen. 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. You can find that recording on YouTube, Amazon, or iTunes. 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. So instead of offering you my own discussion, I suggest you watch Alex Potter’s here on YouTube. Bach’s later Leipzig solution: He replaced the organ part with a soprano part, using the first verse of Herzlich tut mich verlangen. Tenor recitative with choir “O Schmerz, hier zittert das gequälte Herz” from St. Matthew Passion, BWV 244: Collegium Vocale Gent; Philippe Herreweghe, conductor. So I decided to walk through the rose garden to experience the color and scent of this amazing flower, and it helped. Find the text and translation of Cantata 8 here, and the score here. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. 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. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. Johann Sebastian Bach. 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. Because later in his life, Bach most probably wrote Cantata 9 Es ist das Heil uns kommen her for this moment in the church year, in an effort to fill the gaps within his 1724/1725 chorale cantata cycle. You can find out more about this project here. chorales in Cantata 95 Christus, der ist mein Leben from 1723 in this blog post. 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. Read more about Cantatas 127, 22, and 23 in my blogpost from 2018 here. Other singers in this recording are Dorothee Mields, soprano; Thomas Hobbs, tenor; and Stephan McLeod, bass. ** 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. *. The text Bach gives to the bass in that duet is as follows. During that entire time the Leipzig congregations would hear no music in the churches, except for chorales. Bach Foundation, Johann Hermann Schein, Matthew White, Matthias Havinga, Netherlands Bach Society, O Haupt voll Blut und Wunden, Philippe Herreweghe, Rosenmüller, Rudolf Lutz, Shunske Sato, Stephan MacLeod, Thomas Hobbs, Trinity 16, Widow of Nain. BWV 82 performed by Thomas Bauer and the Netherlands Bach Societyconducted by Lars Ulrik MortensenGeertekerk, Utrecht. This way, it was immediately clear that this was an Advent cantata. 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. And while in 2017 I still had to piece together my favorite recording of Cantata 86 from some of Gardiner’s and some of Koopman’s, there now is the fabulous live recording of the Netherlands Bach Society on YouTube, published on September 7, 2018. Bach often uses recorders to introduce sorrow. During a visit to my home country, the Netherlands, I attended the Netherlands Bach Society’s “All Souls” concerts on October 31 in the Grote Kerk in Naarden and on November 3 in the Nieuwe Kerk in The Hague. To find the Weekly Cantata Advent Calendar, please click here. Nine years later, in the first cantata of his Christmas Oratorio, Bach also stresses this “coming to earth” and “becoming man” of Jesus on this first Christmas Day, in what is also the most moving and inward-looking part of that particular cantata: the soprano-bass duet. Doch bin und bleibe ich vergnügt. 1. In church, he suddenly heard the music that Bach wrote for his birthday six years earlier, as played here by the Netherlands Bach Society for All of Bach. I invite you to listen to/watch the wonderful alto-tenor duet with bassoon from Cantata 155 Mein Gott, wie lang, ach lange? The piece is an early sacred cantata composed in Mühlhausen, intended for … Bach Foundation, J.S. He truly brought light into the music, and also for me personally into my heart and mind. Soloists on this recording are Matthew White, countertenor, and Hans Jörg Mammel, tenor. 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. Bach's Cantata No. 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). Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. 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. (Alex Potter deserves a blog post too, but that will come later). 07:29. I realized that I associate this woman’s kindness and warmth with the pinkish apricot color of my favorite rose in the Berkeley rose garden, Westerland. Why this stress on chorales? I wonder if Bach had an exceptional bass visiting for Michaelmas that year (Sept 29, for which he wrote this dramatic bass aria about the Archangel Michael slaying the dragon*). For the concerts I attended, he was concertmaster only, having invited alto Alex Potter to program and lead this production. The effect Shunske Sato’s longing style of playing had on Thomas Hobbs’ singing in this aria was out of this world. Find the German text with English translations here, and the score here. 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. All of Bach. Other wonderful soloists on this recording: Marion Strijk, soprano; Daniel Johannsen, tenor; and Stephan MacLeod, bass. * Since I first heard Alex Potter live in 2018, I have written many posts about his extraordinary interpretations of Bach’s music. 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. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. but I feel the choice of the word “Menschenkind” is not a coincidence. 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. De Nederlandse Bachvereniging (The Netherlands Bach Society; = NBV) owes its existence and fame to the performances of J.S. So I hope you don’t mind going back in time a little bit, to the Second Sunday after Epiphany, which fell on January 19 this year (2020), and on January 20 in 1726. 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. 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. From 1983 until 2018, Jos van Veldhoven was artistic director and conductor. It even has two of my heros in the alto aria: Shunske Sato on violin and Robin Blaze singing countertenor. So they would not have wondered why these songs appeared in Bach’s cantata for the first Sunday in … This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. You can find that recording, and read more about those childhood memories, in this blog post from 2016. 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. I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. Solo sonatas and partitas on All of Bach. In the original Weimar version from 1716, the chorale melody in the opening chorus was played, without words, on the organ. For an example of this version, with all sopranos singing the chorale, watch the live performance by the J.S. The only connection I have with it this week are the roses in the text of the alto aria. For a wonderful example of this version, listen to Herreweghe’s recording here on YouTube, or here on Spotify. 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. Bach Foundation here on YouTube. Bach successfully checked all these boxes with Cantata 159 Sehet! Soprano: Miriam Feuersinger; Alto: Alex Potter; Tenor: Thomas Hobbs; Bass: Stephan MacLeod. This is definitely in my top five cantata recordings ever because of the combination of Bach’s music and Herreweghe’s interpretation. For this concert of Early Cantatas by J.S. Bach as the basis 04 Feb - 07 Feb 2021. The answer is simple: Shunske Sato’s violin playing in the “Mein Verlangen” tenor aria from Cantata 161 Komm, du süsse Todesstunde. The collected works are known as the Bach-Gesellschaft-Ausgabe.On completion of the project, the Society dissolved itself. 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. 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. Bach’s works in time for the Netherlands Bach Society’s centenary in 2022. 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. Never did I enjoy a “da capo” this much. By inviting a different guest director for each program, Sato has breathed fresh air into the he group of musicians I feel. Bach Foundation recording, here. 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’ve seen him several times in concerts with Herreweghe, and his stage presence has always been an inspiration to me, but I was especially impressed by his singing in these performances. 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. Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. Find album reviews, stream songs, credits and award information for Bach: Cantatas BWV 6, 163, 96 - Netherlands Bach Society Collegium Musicum on AllMusic In Bach’s day, both the Advent song Nun komm, der Heiden Heiland and the Christmas song Wie schön leuchtet der Morgenstern were well-known to all church-goers. 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. Bach Foundation under direction of Rudolf Lutz. 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. It is NOT ‘O Haupt’! It was an important chorale for Bach, and he used it often. 2020 update: read my blog post of May 15, 2020, to find links to the live video recording by The Netherlands Bach Society, with Robin Blaze, coutertenor, and Shunske Sato, violin. I will discuss two good alternatives for recordings later, but first I would like to introduce* Alex Potter with this video by the Netherlands Bach Society. I had already heard that Sato was “a good one” from people with authority on the matter, and had enjoyed listening to his recordings, but it took these live concerts to experience the magic that happens when he is a soloist in a Bach aria. The rest of the cantata stays close to the story of John the Baptist. The Herreweghe recording deserves a mention here too. Bach Foundation, with alto Margot Oitzinger and tenor Julius Pfeifer. 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. 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. I had no idea at the time that in those very cool opening notes Bach is quoting this organ piece by Buxtehude. 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. 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. It makes that you hear these two texts at the same time, which is very special: Alex Potter’s 2019 solution: Use the soprano part from the Leipzig version, sung solo by the incomparable Dorothee Mields, but keep the recorders from the Weimar version. In my opinion, one of the absolute best background videos on AllofBach is the one in which countertenor Alex Potter explains the different layers of solo cantata 170 Vergnügte Ruh, beliebte Seelenlust from 1726. A striking element in both Cantatas 99 and 8 is Bach’s use of the flute. There could be a simple reason for this unusual choice: showing off his flute player (read more about him in this post). If you believe that his use of staccato flutes in the “Crucifixus” of the Mass in B Minor serves as image of hammering nails into the cross, then it is pretty clear what Bach’s hidden message is here. Posted by cantatasonmymind in Cantatas, Epiphany, Leipzig, Bart Coen, Benny Aghassi, BWV 106, BWV 13, BWV 155, BWV 161, BWV 244, BWV 249, BWV 3, BWV 46, Colin Balzer, Collegium Vocale Gent, Easter Oratorio, Epiphany 2, Heiko ter Schegget, Herman Stinders, J.S. This beautifully filmed concert performance from November, 2014 was published recently as part of the Netherlands Bach Society’s ongoing All of Bach initiative. This meant that Sato was thus the instrumental soloist in the tenor aria “Mein Verlangen,” and with the rest of the ensemble completely in sync with him, he could truly do his own thing. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. 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. Cantata 99 was Gott tut das ist wohlgetan I prefer the live registration... 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