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. 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. 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. Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. Listen to / watch the performance by the Netherlands Bach Society here on YouTube. Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, bass. It was as Bach intended: to die for. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. Never did I enjoy a “da capo” this much. Happy learning and listening! 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. 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. Read more about that here in my post from 2016. That program included the absolute best performance of Cantata 161 I have ever heard. 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. Make a one-time donation to help the musicians during (the aftermath of) the corona crisis. Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7) 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. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. The piece is an early sacred cantata composed in Mühlhausen, intended for … Pay attention to the recorder parts in the opening movement. 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. 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. The text Bach gives to the bass in that duet is as follows. wir gehn hinauf gen Jerusalem. This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? The top three, in my humble opinion, are here, here, and here. Bach's famous chorale 'Wohl mir, daß ich Jesum habe', from the cantata 'Herz und Mund und Tat und Leben', was first heard when the cantata was perfor Bach - Cantata Herz und Mund und Tat und Leben BWV 147 - Creed | Netherlands Bach Society 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. 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. It is specifically about the “Erbarme dich” aria from the St. Matthew Passion, but his message “The more I let go and the more I risk, the more I dare to really tell the story…” applies just as well to this aria that I saw him play. Now listen to/watch the entire recording of Cantata 13 Meine Seufzer, meine Tränen, also by the J.S. 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. 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. Visit our free online treasury for more videos and background material http://allofbach.com/en/. 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. It’s a lovely and very accessible interview. Memorable for at least 47 days. Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. You can find that recording here on Amazon or here on iTunes. 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. 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. 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. 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. I. Cantata for Christmas Day. 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. 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. 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. BWV 106 Gottes Zeit ist die allerbeste Zeit 'Actus tragicus'. ***Bach illustrates death bells in instrumentation, often using flutes, but sometimes only pizzicato strings, in cantatas 73, 8, 95, 105, 127, and 198. Names of performers in all these are listed at the very end of this post.**. Sato was appointed concertmaster of the Netherlands Bach Society in 2013, and became their artistic director in June 2018. Other wonderful soloists on this recording: Marion Strijk, soprano; Daniel Johannsen, tenor; and Stephan MacLeod, bass. Bach Foundation, J.S. De Nederlandse Bachvereniging (The Netherlands Bach Society; = NBV) owes its existence and fame to the performances of J.S. 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. 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. I felt peace from seeing the roses, and from the knowledge that she liked roses, but I also felt miserable and angry that she would be taken away from all this, from her family, her life, her home. Between Estomihi Sunday (or the last Sunday before Lent) and Good Friday, there were 47 days in 1729. Find the text and translation of Cantata 8 here, and the score here. Posted by cantatasonmymind in Advent, Bach's life, Cantatas, Christmas, Leipzig, Weimar, Advent, Advent 4, Alfredo Bernardini, All of Bach, Bachvereniging, BWV 132, BWV 147, BWV 147a, Christmas, Dominik Wörner, Hana Blazikova, J.S. You can find that recording, and read more about those childhood memories, in this blog post from 2016. Bach Stiftung, Julia Doyle, Leo van Doeselaar, Marc Hantaï, Netherlands Bach Society, Rudolf Lutz, Trinity 6. 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. All of Bach is a project of the Netherlands Bach Society. Listeners would have heard the words in their heads. With the Bach Society orchestra, delve into the incredible diversity of the ‘classical’ symphony. 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. 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. 07:29. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Menu. BWV 150 Nach dir, Herr, verlanget mich. Bach Foundation, J.S. In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. 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. Bach successfully checked all these boxes with Cantata 159 Sehet! Find the text and translation of Cantata 99 here, and the score here. Bach’s first two cycles in Leipzig didn’t include a cantata for this Sunday (the 6th after Trinity). 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. 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. I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. It even has two of my heros in the alto aria: Shunske Sato on violin and Robin Blaze singing countertenor. Netherlands Bach SocietyJos van Veldhoven, conductorZsuzsi Tóth, sopranoBarnabás Hegyi, altoNicholas Mulroy, tenorPeter Harvey, bass We try to achieve this goal with the All of Bach project - the online treasure trove of the Netherlands Bach Society. Watch it here. Considered to be one of Europe’s top ensembles specializing in the sacred music of J.S. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube. You can find that recording on YouTube, Amazon, or iTunes. 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. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. Read some comments by Alex Potter on this cantata here on the AllofBach website. 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. Ich habe genung (Aria) 2. 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. 4 in D major (BWV 1069) to grandly illustrate the “arrival” of Jesus. 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