chorales in Cantata 95 Christus, der ist mein Leben from 1723 in this blog post. 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. Leave it to Alex Potter. The project will conclude with a complete catalogue of J.S. 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. 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. Find album reviews, stream songs, credits and award information for Bach: Cantatas BWV 6, 163, 96 - Netherlands Bach Society Collegium Musicum on AllMusic In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. 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. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Find the text and translation of Cantata 99 here, and the score here. 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. De Nederlandse Bachvereniging (Choir & Baroque Orchestra) Founded: 1922 - Amsterdam, the Netherlands. Every time he played the “Mein Verlangen” theme, he stretched the tempo just a little bit, every time slightly differently. The text Bach gives to the bass in that duet is as follows. Find the text and translation of Cantata 8 here, and the score here. The opening chorus was followed by a second surprise. Soloists are Julia Doyle, soprano; Tim Mead, alto; Jan Kobow, tenor; and Dominik Wörner, bass. I mentioned before that Herzlich tut mich verlangen is also referenced in the tenor aria. The text of that alto aria is as follows: Ach Herr, was ist ein Menschenkind,Ah, Lord, what is a child of manDass du sein Heil so schmerzlich suchest?that you should seek his salvation with so much pain?Ein Wurm, den du verfluchest,A worm whom you curseWenn Höll und Satan um ihn sind;when hell and Satan are around him;Doch auch dein Sohn, den Seel und Geistbut also your son, whom soul and spiritAus Liebe seinen Erben heißt.Through love call their inheritance. This theme appears more or less prominently in all Bach’s cantatas for Christmas Day, and in this cantata 110 it is already announced in the tenor aria: Er wird Mensch, und dies allein,He has become man, and this onlyDass wir Himmels Kinder sein.so that we may become children of heaven. Read that post here. Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. Never did I enjoy a “da capo” this much. 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. Colin Balzer, tenor. 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. * read my blog post about Cantata 155, which now includes a link to the J.S. 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. Listen to / watch the performance by the Netherlands Bach Society here on YouTube. There could be a simple reason for this unusual choice: showing off his flute player (read more about him in this post). 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. Nach dir, Herr, verlanget mich. 3. **. That program included the absolute best performance of Cantata 161 I have ever heard. 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 / Netherlands Bach Society / Veldhoven - Johann Sebastian Bach: Christmas Oratorio music CD album at CD Universe, enjoy top rated service and worldwide shipping. I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. 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. For Cantata 8 Liebster Gott, wenn wird ich sterben there is no other choice than Herreweghe. Mark Padmore, tenor. 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. Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. You can find out more about this project here. Read for example about the four (!) ** 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 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. 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 Bach (BWV 4, 131 and 106) and G.P. Find the German text with English translations here, and the score here. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. 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. 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?) 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. As a child, I was enormously impressed by this bass aria, even more than by the wonderful soprano aria at the beginning of the piece. I don’t know whether Bach’s “Ruht wohl, ihr heiligen Gebeine” closing chorus of the St. John Passion had anything to do with Telemann’s “Schlaft wohl, ihr seligen Gebeine” closing chorus in Du Daniel gehe hin, but it does look to me as if Bach borrowed the music of the soprano aria from Du Daniel gehe hin for the duet of Cantata 99. Find the text with English translations here, and the score here. Bach Foundation, J.S. Witnessing Sato communicate the text of the aria before the singing started, I was immediately reminded of this wonderful interview with him for All of Bach. Read more about Cantatas 127, 22, and 23 in my blogpost from 2018 here. 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. Bach Foundation here on YouTube. For the text and translations of cantata 86, please visit this page, and for the score, please go here. I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. The way he sang the sentence “Der blasse Tod ist meine Morgenröte” in the tenor recitative of Cantata 161 was unrivaled. 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. Find the German text with English translations here, and the score here. I have now updated that post with a link to the wonderful live performance of Cantata 147 by the J.S. 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. 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). 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. It contains all four cantatas Bach wrote for this Sunday, and they are all excellent. 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. So they would not have wondered why these songs appeared in Bach’s cantata for the first Sunday in … Bach made ingenious use of compositions he had written earlier, blending them with new additions to form a perfect unity. BWV 106 Gottes Zeit ist die allerbeste Zeit 'Actus tragicus'. Soloists are Gerlinde Sämann, soprano; Damien Guillon, alto; Charles Daniels, tenor; Peter Kooij, bass. Recorder players not specified. (Part I is here). The prescribed readings for the feast day were Peter's sermon from the Acts of the Apostles, and the Road to Emmaus narration from the Gospel of Luke. It created a halo over the entire aria. The interpretation of that violin solo I like best of all the recordings I listened to* is the one by Kati Debretzeni on the Gardiner recording. 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. Find release reviews and credits for Johann Sebastian Bach: Christmas Oratorio - Jos Van Veldhoven, Netherlands Bach Society on AllMusic - 2003. 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. *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. For this concert of Early Cantatas by J.S. 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. The piece is an early sacred cantata composed in Mühlhausen, intended for … Even during his first year in Leipzig, in 1723, he used this “tool” in the opening chorus of Cantata 46 Schauet doch und sehet, ob irgendein Schmerz sei (which would later form the basis for the Qui tollis from the Mass in B minor). I also truly prefer the somewhat more penetrating sound of recorders over the sweet tones of the flutes in all the movements of this cantata that they appear in (alto aria, alto recitative, chorus, and closing chorale), but especially in the illustration of the death bells in the text “so schlage doch, du letzter Stundenschlag!” (therefore sound, stroke of the last hour!)***. Other wonderful soloists on this recording: Marion Strijk, soprano; Daniel Johannsen, tenor; and Stephan MacLeod, bass. 35. 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. 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