bach cantata netherlands bach society

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. I. Cantata for Christmas Day. 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. Nach dir, Herr, verlanget mich. 3. So they would not have wondered why these songs appeared in Bach’s cantata for the first Sunday in … 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. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube. I remember how happy and impressed I was when I first found this video. but I feel the choice of the word “Menschenkind” is not a coincidence. BWV 150 performed by the Netherlands Bach Societyconducted by Shunske SatoGroote Kerk, Maassluis. I went to the “All Souls” concert again three days later in the beautiful concert venue the Nieuwe Kerk has become. For this entire program, the violinists were playing one-on-a-part, the same way it was probably done in Weimar, where Bach first performed Cantata 161 on the small organ loft in 1716. Nine years later, in the first cantata of his Christmas Oratorio, Bach also stresses this “coming to earth” and “becoming man” of Jesus on this first Christmas Day, in what is also the most moving and inward-looking part of that particular cantata: the soprano-bass duet. The piece is an early sacred cantata composed in Mühlhausen, intended for … Sinfonia. Soloists are Deborah York, soprano; Ingeborg Danz, alto; Mark Padmore, tenor; Peter Kooij, bass. But Bach wrote at least three more cantatas for this day, as well as his Magnificat. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. Watch it here. Listen to / watch the performance by the Netherlands Bach Society here on YouTube. 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. Opening movement of Cantata 161: Collegium Vocale Gent; Philippe Herreweghe, conductor; Bart Coen and Koen Dieltiens, recorders; Matthew White, alto; Herman Stinders, organ. Shunsuke Sato became artistic … As a person who’s produced many program books in her lifetime, I felt this was a breath of fresh air too. Colin Balzer, tenor. 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 Bible story for this Sunday is the Resurrection of the Widow of Nain’s son. In his book about Anna Magdalena Bach, David Yearsley suggests it has something to do with widows. * Since I first heard Alex Potter live in 2018, I have written many posts about his extraordinary interpretations of Bach’s music. Menu. 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 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. On 2 December 1731, a teacher at the St Thomas School would have looked up in surprise. Bach Stiftung, Jakob Pilgram, Jan Kobow, Julia Doyle, Margot Oitzinger, Netherlands Bach Society, Rudolf Lutz, Tim Mead, Weimar, Wolf Matthias Friedrich. 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. Schlummert ein (Aria) (Alex Potter deserves a blog post too, but that will come later). De Nederlandse Bachvereniging (The Netherlands Bach Society; = NBV) owes its existence and fame to the performances of J.S. Menu. 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. Bach Foundation, J.S. 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. Instead of the standard biographies, the program booklet featured personal stories from Sato and the four vocal soloists. 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. High-quality recordings of the works by Johann Sebastian Bach are made freely available for everyone. 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). 196, a related text). The Netherlands Bach Society is the oldest ensemble for Baroque music in the Netherlands, and possibly in the world. I learned she was in her last days on Tuesday, but it took me until Friday morning to find the right words, finish writing the card, and to drop it off. Telemann’s Du Aber Daniel, EMV welcomes back Gli Angeli Genève, a Baroque ensemble based in Geneva and led by baritone Stephan MacLeod. 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. It’s a lovely and very accessible interview. Listeners would have heard the words in their heads. If you believe that his use of staccato flutes in the “Crucifixus” of the Mass in B Minor serves as image of hammering nails into the cross, then it is pretty clear what Bach’s hidden message is here. Just click on this link and the entire series is right there, under “recently added.”. Several people have asked me what made me start writing for this blog again. 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. You can find that recording, and read more about those childhood memories, in this blog post from 2016. 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. Between Estomihi Sunday (or the last Sunday before Lent) and Good Friday, there were 47 days in 1729. 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. But for me, the best are the snippets of rehearsals for the All Souls program. Bach’s first two cycles in Leipzig didn’t include a cantata for this Sunday (the 6th after Trinity). Bach Stiftung, Julia Doyle, Leo van Doeselaar, Marc Hantaï, Netherlands Bach Society, Rudolf Lutz, Trinity 6. *. BWV 106 performed by the Netherlands Bach Societyconducted by Jos van VeldhovenOostkerk, Middelburg. That program included the absolute best performance of Cantata 161 I have ever heard. Click on the links to hear/watch recordings of all these examples on YouTube. Cantata 132 was not transformed into a cantata for another time in the church year in Leipzig, so today’s performances of this cantata still reflect the Advent cantata from Weimar. wir gehn hinauf gen Jerusalem. Other singers in this recording are Dorothee Mields, soprano; Thomas Hobbs, tenor; and Stephan McLeod, bass. For the concerts I attended, he was concertmaster only, having invited alto Alex Potter to program and lead this production. Memorable for at least 47 days. Of course this text refers to the believers in general, that on the one hand they are worms, and on the other hand will be saved by Jesus. 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. 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. His cantatas for this Sunday (161, 95, 8, and 27) either contain a high number of chorales, or are centered around an important chorale. Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7) 1. Today I’d love to share Cantata 110 Unser Mund sei voll Lachens (May our mouth be full of laughter) from 1725. 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? Back to what happened in the concert in Naarden on October 31. 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. See the “Sato magic” happen in the soprano aria from Cantata 36 Schwingt freudig euch empor on All of Bach, with soprano Zsuzsi Tóth. 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. Bach as the basis 04 Feb - 07 Feb 2021. 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. You can find that recording on YouTube, Amazon, or iTunes. 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. onto the believer: ask your conscience: are you a true person or a false person? The answer is simple: Shunske Sato’s violin playing in the “Mein Verlangen” tenor aria from Cantata 161 Komm, du süsse Todesstunde. Read more about Cantatas 127, 22, and 23 in my blogpost from 2018 here. Leave it to Alex Potter. Netherlands Bach Society Discover the works of Bach online Support us Support the musicians. 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. Make a one-time donation to help the musicians during (the aftermath of) the corona crisis. The next day, we heard she passed away during that night. I invite you to listen to/watch the wonderful alto-tenor duet with bassoon from Cantata 155 Mein Gott, wie lang, ach lange? And leave it to alto Alex Potter to bring all this out in a performance. It created a halo over the entire aria. 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. Ich habe genung (Recitative) 3. The way he sang the sentence “Der blasse Tod ist meine Morgenröte” in the tenor recitative of Cantata 161 was unrivaled. Everyone knew these familiar and popular church songs.Recorded for the project All of Bach on November 30th 2013 at the Walloon Church, Amsterdam. Live recording from the Festival of Saintes, France, July 15, 2013. 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. By inviting a different guest director for each program, Sato has breathed fresh air into the he group of musicians I feel. 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. 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. Menu. 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. For Baroque music in the tenor aria “ Sanfte soll mein Todeskummer ” from Easter,. 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