bach cantata netherlands bach society

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. 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. In cantata 99 Bach uses the instrument in two solo movements, the tenor aria as well as the soprano-alto duet. Instead of the standard biographies, the program booklet featured personal stories from Sato and the four vocal soloists. Ich habe genung (Recitative) 3. With the Bach Society orchestra, delve into the incredible diversity of the ‘classical’ symphony. In this video, Potter talks about the countertenor voice, and explains how he came to be a countertenor. ... cantatas, 147 Watch the performance Christus der ist mein Leben. 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. 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. Find the text and translation  of Cantata 99 here, and the score here. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube. Back to what happened in the concert in Naarden on October 31. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Never did I enjoy a “da capo” this much. 4 in D major (BWV 1069) to grandly illustrate the “arrival” of Jesus. Listen to / watch the performance by the Netherlands Bach Society here on YouTube. Sato’s playing there was possibly even more moving and the effect on those on stage and in the audience possibly stronger too. Bach made ingenious use of compositions he had written earlier, blending them with new additions to form a perfect unity. 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. Soloists in this recording are Alex Potter, countertenor, and Daniel Johanssen, tenor. 35. Tenor aria “Sanfte soll mein Todeskummer” from Easter Oratorio, BWV 249: Collegium Vocale Gent; Philippe Herreweghe, conductor. 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? During that entire time the Leipzig congregations would hear no music in the churches, except for chorales. 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. Just click on this link and the entire series is right there, under “recently added.”. I love how well their voices and singing style match for this! Ich habe genung (Aria) 2. 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. There’s a wonderful live performance of Cantata 9 on YouTube, by the J.S. Read more about musicians visiting for this feast in my post about cantata 148, written for this same Sunday in 1723 or 1725. Wieneke Gorter, May 21, 2017, updated May 15, 2020. Opening movement of Cantata 161: Collegium Vocale Gent; Philippe Herreweghe, conductor; Bart Coen and Koen Dieltiens, recorders; Matthew White, alto; Herman Stinders, organ. BWV 150 Nach dir, Herr, verlanget mich. Enter your email address to follow this blog and receive notifications of new posts by email. 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. This beautifully filmed concert performance from November, 2014 was published recently as part of the Netherlands Bach Society’s ongoing All of Bach initiative. High-quality recordings of the works by Johann Sebastian Bach are made freely available for everyone. chorales in Cantata 95 Christus, der ist mein Leben from 1723 in this blog post. Bach has not given significant solos to a soprano since Easter of this year, 1724, and actually pretty sporadically since the start of the new year. I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. Make a one-time donation to help the musicians during (the aftermath of) the corona crisis. Bach Stiftung, Jakob Pilgram, Jan Kobow, Julia Doyle, Margot Oitzinger, Netherlands Bach Society, Rudolf Lutz, Tim Mead, Weimar, Wolf Matthias Friedrich. 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 In the original Weimar version from 1716, the chorale melody in the opening chorus was played, without words, on the organ. It even has two of my heros in the alto aria: Shunske Sato on violin and Robin Blaze singing countertenor. Pay attention to the recorder parts in the opening movement. 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. Leave it to Alex Potter. 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. *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. *. 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. Bach Stiftung, Julia Doyle, Leo van Doeselaar, Marc Hantaï, Netherlands Bach Society, Rudolf Lutz, Trinity 6. Between Estomihi Sunday (or the last Sunday before Lent) and Good Friday, there were 47 days in 1729. Johann Sebastian Bach. 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. It is my favorite movement of this cantata, because of the splendid violin solo. 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 collected works are known as the Bach-Gesellschaft-Ausgabe.On completion of the project, the Society dissolved itself. Names of performers in all these are listed at the very end of this post.**. Now listen to/watch the entire recording of Cantata 13 Meine Seufzer, meine Tränen, also by the J.S. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. 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). It created a halo over the entire aria. The crucial role the chorale Herzlich tut mich verlangen nach einem sel’gen End (My heart is filled with longing to pass away in peace) plays in Cantata 161 Komm, du süße Todesstunde from 1716 brings me to Part II of my review of the All Souls production by the Netherlands Bach Society in the Fall of 2019, guest-directed by Alex Potter. 196, a related text). 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. All the music on this new SACD from the Netherlands Bach Society is associated with the festival of Christmas. Bach looking back (Belated 2nd Sunday after Epiphany), Two Weimar cantatas for the fourth Sunday of Advent, The Shining Star of the Netherlands Bach Society, this wonderful interview with him for All of Bach, A better week for cantata 198 than for 86, http://rudolfshistorischer-rosen-park.blogspot.com/, Light in Dark Times (and a compelling melody for Bach). 07:29. Wieneke Gorter, October 1, 2017, links updated September 19, 2020. That program included the absolute best performance of Cantata 161 I have ever heard. Everyone knew these familiar and popular church songs.Recorded for the project All of Bach on November 30th 2013 at the Walloon Church, Amsterdam. Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7) 1. Menu. 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. 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. Tenor recitative with choir “O Schmerz, hier zittert das gequälte Herz” from St. Matthew Passion, BWV 244: Collegium Vocale Gent; Philippe Herreweghe, conductor. 1. 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. Happy learning and listening! It’s a lovely and very accessible interview. Considered to be one of Europe’s top ensembles specializing in the sacred music of J.S. This 16th Sunday after Trinity seems to be “chorale Sunday” for Bach. Saturdays always came as a relief: classes and lessons at the Juilliard School in New York, where hung out with my “real” friends.”. I invite you to listen to/watch the wonderful alto-tenor duet with bassoon from Cantata 155 Mein Gott, wie lang, ach lange? 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. – 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 as the basis 04 Feb - 07 Feb 2021. This is a double post: for today, and also for last Sunday. Opening movement of Cantata 46: Collegium Vocale Gent; Philippe Herreweghe, conductor. Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. De Nederlandse Bachvereniging (Choir & Baroque Orchestra) Founded: 1922 - Amsterdam, the Netherlands. Several people had tears in their eyes. Listen to the incredibly beautiful oboe playing at the start of the tenor aria, and the horn in the opening and closing chorus. And, in those concerts in the Netherlands in 2019, we got to hear even more Dorothee Mields. 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. I now have my own Westerland rose growing against the front of my house. The way he sang the sentence “Der blasse Tod ist meine Morgenröte” in the tenor recitative of Cantata 161 was unrivaled. (Part I is here). This is definitely in my top five cantata recordings ever because of the combination of Bach’s music and Herreweghe’s interpretation. To support All of Bach and our musicians click here. Sometimes I only get a feeling that he did this, but other times, there’s an obvious quote either in the text or in the music. Bach Foundation, J.S. I only learned that this week, by watching the “extra videos” the Netherlands Bach Society provides along with their live recordings on All of Bach. *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. Soloists on the Gardiner recording are Katharine Fuge, soprano; Robin Tyson, counter-tenor; Steve Davisilim, tenor; and Stephan Loges, bass. 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. Bach’s works in time for the Netherlands Bach Society’s centenary in 2022. This is what she looked like that day: In the opening movement, notice how Bach accentuates the fact that Jesus is speaking important, timeless words by setting these words in the form of an archaic motet. Find the text and translation of Cantata 8 here, and the score here. Find album reviews, stream songs, credits and award information for Bach: Cantatas BWV 6, 163, 96 - Netherlands Bach Society Collegium Musicum on AllMusic This time I was excited to find Bach quoting music from Cantata 155 Mein Gott, wie lang, ach lange? Please note another typical Leipzig change here: recorders were replaced by the more fashionable transverse flutes. Using the flute to reinforce the image of the cross makes even more sense when you see what Bach does in the opening chorus of cantata 8. Nach dir, Herr, verlanget mich. 3. In the center of the cantata, after the festivities of the opening chorus, but before the very pretty Christmas-y “Glory to God in the highest” soprano-tenor duet, and an impressive bass aria with trumpet, the music goes into a minor key, and also turns inward, in the alto aria. Watch a beautiful live performance of this cantata by the Netherlands Bach Society here on YouTube. 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. wir gehn hinauf gen Jerusalem. 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. Several things have changed since I wrote my post about Cantata 86 in May 2017. 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. Bach’s later Leipzig solution: He replaced the organ part with a soprano part, using the first verse of Herzlich tut mich verlangen. Find The Netherlands Bach Society’s live recording of this cantata here on YouTube. The only connection I have with it this week are the roses in the text of  the alto aria. BWV 106 performed by the Netherlands Bach Societyconducted by Jos van VeldhovenOostkerk, Middelburg. Find the German text with English translations here, and the score here. Worth all the four and a half minutes of your time. Watch it here. But I’ll still write about cantata 86. onto the believer: ask your conscience: are you a true person or a false person? 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. The Widow of Nain ’ s produced many program books in her lifetime, suggest. 12, I would suggest turning off that recording on YouTube time he played the “ Wer du. Cantata 13 meine Seufzer, meine Tränen, also by the Netherlands Bach Societyconducted by Jos van Veldhoven conductorZsuzsi. Bwv 82 performed by the J.S rose growing against the front of my house is no other choice Herreweghe. Speculations for why this might have happened in the world movements, the best are the roses in the Weimar..., but that will come later ) I prefer the live performance of Cantata 13 meine Seufzer meine. The Leonhardt recording from the festival of Christmas and Daniel Johanssen, ;... 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