I had no idea at the time that in those very cool opening notes Bach is quoting this organ piece by Buxtehude. 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. My speculations for why this might have happened in 1723 are mentioned in this blog post. Sato was appointed concertmaster of the Netherlands Bach Society in 2013, and became their artistic director in June 2018. Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. This way you won’t miss any posts about the many cantatas Bach wrote for all three Christmas Days (yes there were three in his time), New Year’s Day, and the Sundays after those feast days. 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). 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. ***Bach illustrates death bells in instrumentation, often using flutes, but sometimes only pizzicato strings, in cantatas 73, 8, 95, 105, 127, and 198. Netherlands Bach SocietyJos van Veldhoven, conductorZsuzsi Tóth, sopranoBarnabás Hegyi, altoNicholas Mulroy, tenorPeter Harvey, bass The answer is simple: Shunske Sato’s violin playing in the “Mein Verlangen” tenor aria from Cantata 161 Komm, du süsse Todesstunde. Menu. From 1983 until 2018, Jos van Veldhoven was artistic director and conductor. 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). 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. 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. 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. 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). 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. 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. These are definite Chamber performances: small … It even has two of my heros in the alto aria: Shunske Sato on violin and Robin Blaze singing countertenor. Two weeks ago I ran out of time writing this post, but I had discovered so much about Cantata 13 Meine Seufzer, meine Tränen (1726), that I would still very much like to share that cantata here. 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. So instead of offering you my own discussion, I suggest you watch Alex Potter’s here on YouTube. 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. He truly brought light into the music, and also for me personally into my heart and mind. 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. Watch it here. Read more about that here in my post from 2016. Bach Stiftung, Jakob Pilgram, Jan Kobow, Julia Doyle, Margot Oitzinger, Netherlands Bach Society, Rudolf Lutz, Tim Mead, Weimar, Wolf Matthias Friedrich. – 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. I love how well their voices and singing style match for this! For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. On this blog I have shared only two of Bach’s compositions for Christmas Day so far: Cantata 91 from 1724 here, and of course the first cantata from the Christmas Oratorio (our family’s “wake-up call” on Christmas morning) from 1734 here. The way he sang the sentence “Der blasse Tod ist meine Morgenröte” in the tenor recitative of Cantata 161 was unrivaled. Visit our free online treasury for more videos and background material http://allofbach.com/en/. Bach gives this text to the soprano three times, and to give it extra emphasis, each time omits all instrumental accompaniment on those three words. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. For the text and translations of cantata 86, please visit this page, and for the score, please go here. BWV 106 Gottes Zeit ist die allerbeste Zeit 'Actus tragicus'. 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. 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. 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. This 16th Sunday after Trinity seems to be “chorale Sunday” for Bach. Read for example about the four (!) Today I’d love to share Cantata 110 Unser Mund sei voll Lachens (May our mouth be full of laughter) from 1725. Note this theme in the voices: After that duet is over, I would suggest turning off that recording for now. Everyone knew these familiar and popular church songs.Recorded for the project All of Bach on November 30th 2013 at the Walloon Church, Amsterdam. Just click on this link and the entire series is right there, under “recently added.”. BWV 82 performed by Thomas Bauer and the Netherlands Bach Societyconducted by Lars Ulrik MortensenGeertekerk, Utrecht. So I decided to walk through the rose garden to experience the color and scent of this amazing flower, and it helped. Saturdays always came as a relief: classes and lessons at the Juilliard School in New York, where hung out with my “real” friends.”. Instead of the standard biographies, the program booklet featured personal stories from Sato and the four vocal soloists. Several things have changed since I wrote my post about Cantata 86 in May 2017. 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. Bach often uses recorders to introduce sorrow. 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. 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. Tenor recitative with choir “O Schmerz, hier zittert das gequälte Herz” from St. Matthew Passion, BWV 244: Collegium Vocale Gent; Philippe Herreweghe, conductor. I. Cantata for Christmas Day. **. 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. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. 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. It created a halo over the entire aria. 196, a related text). Bach Foundation, with alto Margot Oitzinger and tenor Julius Pfeifer. For a wonderful example of this version, listen to Herreweghe’s recording here on YouTube, or here on Spotify. Note the last line. Bach Foundation recording, here. 07:29. For concert dates and further information go to https://www.bachvereniging.nl/nederlandse-bachvereniging. It’s a lovely and very accessible interview. Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. Several people had tears in their eyes. 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). The rest of the cantata stays close to the story of John the Baptist. *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. This is an extended lesson, in several steps, but please bear with me, it’s worth it and you get to watch or listen to some excellent videos. It is NOT ‘O Haupt’! Bach as the basis 04 Feb - 07 Feb 2021. onto the believer: ask your conscience: are you a true person or a false person? Bach Foundation under direction of Rudolf Lutz. With the Bach Society orchestra, delve into the incredible diversity of the ‘classical’ symphony. This is definitely in my top five cantata recordings ever because of the combination of Bach’s music and Herreweghe’s interpretation. I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. As I already pointed out in my Advent Calendar earlier this week, the text of the joyful opening aria refers to the story of John the Baptist, who was believed to have come to prepare the way for Jesus, and includes the Isaiah quote as it appears in the scripture: “Messias kömmt an!” (The Messiah is coming). I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. * Since I first heard Alex Potter live in 2018, I have written many posts about his extraordinary interpretations of Bach’s music. 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. There’s a wonderful live performance of Cantata 9 on YouTube, by the J.S. But Bach wrote at least three more cantatas for this day, as well as his Magnificat. Read that post here. Find the text and translation  of Cantata 99 here, and the score here. Find the text and translation of Cantata 8 here, and the score here. 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. 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. You can find that recording here on Amazon or here on iTunes. 2. in Cantata 13 Meine Seufzer, meine Tränen. The top three, in my humble opinion, are here, here, and here. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. 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. Find the German text with English translations here, and the score here. * read my blog post about Cantata 155, which now includes a link to the J.S. 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 Foundation here, with soprano Susanne Seitter, alto Jan Börner, tenor Jakob Pilgram, and bass Wolf Matthias Friedrich. 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. As a person who’s produced many program books in her lifetime, I felt this was a breath of fresh air too. Thomas Hobbs really needs a shout-out for his role in this All Souls production, even though I’m writing this so long after the fact. And, in those concerts in the Netherlands in 2019, we got to hear even more Dorothee Mields. 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. Colin Balzer, tenor. 1. (Alex Potter deserves a blog post too, but that will come later). 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. BWV 82 Ich habe genung. The project will conclude with a complete catalogue of J.S. 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. 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!)***.

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