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I loved how Max van Egmond sings the “Wer bist du?” text on the Leonhardt recording from 1983. Bach 's St. Matthew Passion ( BWV 244) which it has given since 1922, in the Grote Kerk, Naarden. All of Bach is a project of the Netherlands Bach Society. For this concert of Early Cantatas by J.S. Bach Foundation, with with Hana Blažiková, soprano; Margot Oitzinger, alto; Jakob Pilgram, tenor; and Wolf Matthias Friedrich, 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. 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. For concert dates and further information go to https://www.bachvereniging.nl/nederlandse-bachvereniging. *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. 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. The Netherlands Bach Society is the oldest ensemble for Baroque music in the Netherlands, and possibly in the world. Solo sonatas and partitas on All of Bach. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. Leave it to Alex Potter. 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. All of Bach. Every time he played the “Mein Verlangen” theme, he stretched the tempo just a little bit, every time slightly differently. Please note another typical Leipzig change here: recorders were replaced by the more fashionable transverse flutes. 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. 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. The project will conclude with a complete catalogue of J.S. The Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. Find the German text with English translations here, and the score here. This way, it was immediately clear that this was an Advent cantata. Bach Foundation, J.S. You can find out more about this project here. 07:29. For better interpretations of the bass and tenor solos, I recommend listening to the Koopman recording with tenor Christoph Prégardien and bass Klaus Mertens. 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 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. The piece is an early sacred cantata composed in Mühlhausen, intended for … 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. Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. Watch it here. You can find that recording here on Amazon or here on iTunes. 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. 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. 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 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*). 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?) But Bach wrote at least three more cantatas for this day, as well as his Magnificat. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. 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. 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. For the concerts I attended, he was concertmaster only, having invited alto Alex Potter to program and lead this production. As a person who’s produced many program books in her lifetime, I felt this was a breath of fresh air too. You can find that recording on YouTube, Amazon, or iTunes. Memorable for at least 47 days. Keep following this blog and you’ll learn more about that soon . BWV 82 performed by Thomas Bauer and the Netherlands Bach Societyconducted by Lars Ulrik MortensenGeertekerk, Utrecht. 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. Now listen to/watch the entire recording of Cantata 13 Meine Seufzer, meine Tränen, also by the J.S. 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. It’s a lovely and very accessible interview. 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. 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. Mark Padmore, tenor. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. It was as Bach intended: to die for. Bach as the basis 04 Feb - 07 Feb 2021. In this video, Potter talks about the countertenor voice, and explains how he came to be a countertenor. *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. 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). Pay attention to the recorder parts in the opening movement. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube. Netherlands Bach Society Discover the works of Bach online Support us Support the musicians. It created a halo over the entire aria. 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. 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. The rest of the cantata stays close to the story of John the Baptist. Menu. Several things have changed since I wrote my post about Cantata 86 in May 2017. Shunsuke Sato became artistic … 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. Worth all the four and a half minutes of your time. ... cantatas, 147 Watch the performance Christus der ist mein Leben. 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. From 1983 until 2018, Jos van Veldhoven was artistic director and conductor. Considered to be one of Europe’s top ensembles specializing in the sacred music of J.S. Wieneke Gorter, May 21, 2017, updated May 15, 2020. These are definite Chamber performances: small … The only connection I have with it this week are the roses in the text of  the alto aria. Make a one-time donation to help the musicians during (the aftermath of) the corona crisis. 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 So I decided to walk through the rose garden to experience the color and scent of this amazing flower, and it helped. 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. There could be a simple reason for this unusual choice: showing off his flute player (read more about him in this post). Sato’s playing there was possibly even more moving and the effect on those on stage and in the audience possibly stronger too. Bach Foundation under direction of Rudolf Lutz. ***Bach illustrates death bells in instrumentation, often using flutes, but sometimes only pizzicato strings, in cantatas 73, 8, 95, 105, 127, and 198. 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.”. 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. Enter your email address to follow this blog and receive notifications of new posts by email. Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. 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. Many scholars suggest that during that spring of 1724, Bach might have lost his boy soprano soloist (due to him leaving the school or due to his voice changing, we don’t know), and documents suggest that he was frustrated with the low quality of the boy sopranos of the St. Thomas School in general. Several people had tears in their eyes. Unfortunately, none of the performances were recorded. 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. Read some comments by Alex Potter on this cantata here on the AllofBach website. 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. The opening chorus was followed by a second surprise. 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. But I’ll still write about cantata 86. Jauchzet, frohlocket, auf, preiset die Tage. 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. 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. 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. Note the last line. Bach Foundation here, with soprano Susanne Seitter, alto Jan Börner, tenor Jakob Pilgram, and bass Wolf Matthias Friedrich. You can find that recording, and read more about those childhood memories, in this blog post from 2016. Based on contemporary sermons, Yearsley concludes that this 16th Sunday after Trinity was seen as some sort of National Widow Day, and wonders why no Bach scholar ever discusses this in relation to these cantatas. 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? Schlummert ein (Aria) 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. Other singers in this recording are Dorothee Mields, soprano; Thomas Hobbs, tenor; and Stephan McLeod, bass. About one week ago, on Friday May 12, I went to drop off a card for a friend who was dying. This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? Heros in the beautiful concert venue the Nieuwe Kerk has become 82 performed by Netherlands! Of performers in all these examples on YouTube Johannsen, tenor tenor recitative of Cantata 147 by the Netherlands Society. 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