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As most of you know, a central piece of evidence in the debate about the size of Bach’s choir is the autograph score of BWV 71. On the top of the first page, Bach wrote “Ab 18. è si piace 22” (“For 18 and, if you wish, 22”). Starting with Rifkin, many Bach scholars have read this instruction to mean that the numbers 18 and 22 refer to the number of performers (18 with concertists only, and 22 if ripienists are added) rather than the number of independent parts. Yet the number of instrumental and vocal parts (or lines on the first page of the score) is not 18 but 19 (3 trumpets, drums, 2 violins, viola, violone, 2 oboes, bassoon, 2 recorders, cello, SATB concertists, and organ). All instruments and voice parts are active in the outer movements, so unless a singer was also expected to play an instrument at the same time, 19 musicians are necessary if no ripienists are called upon, at least for these two movements. Since it’s very unlikely that Bach incorrectly counted the number of parts or performers, how are we to understand the discrepancy between 18 and 19, and does it call into question any part of Rifkin and al.’s interpretation of the “For 18 and, if you wish, 22” instruction? Thanks. Thierry van Bastelaer https://www.meetup.com/bach-coffee-and-cantata/

The last sentence of the first paragraph, "Mary Magdalene's encounter with Jesus)." leads to the Pentecost Festival with the gospel of John and the Epistle of Acts, https://bach-cantatas.com/LCY/M&C-Pentecost.htm. In 1739, Bach added his Pentecost Oratorio, lost but being recovered, https://www.bach-cantatas.com/Topics/Lost-Pentecost-Oratorio.htm (Part 2). -- William Hoffman

The 6th Sunday in Lent/Sunday of the Passion (Palm Sunday). . . The email column "Which Bach Cantata Today? (https://www.whichbachcantata.be/all-cantata-days/) for the Sixth Sunday in Lent ( https://www.whichbachcantata.be/all-cantata-days/palm-sunday)has three works appropriate for this service: 1. Cantata "Himmelsk?nig, sei willkommen," BWV 182 (Palm Sunday, Feast of Annunciation, first performance 25 March 1714; https://www.carusmedia.com/images-intern/medien//30/3118250/3118250x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv182bca53?path=palmsunday; No. 2. "Passio secundum Joannem," BWV 245 (first performance 7 April 1724; https://www.carusmedia.com/images-intern/medien//30/3124593/3124593x.pdf), https://www.bach-cantatas.com/Vocal/BWV245-Gen7.htm#google_vignette; No. 3. Chorale Cantata "Wie sch?n leuchtet der Morgenstern," BWV 1 (Feast of Annunciation, first performance 25 March 1725; https://www.carusmedia.com/images-intern/medien//30/3100100/3100100x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv1bca173?path=marian-feasts). -- William Hoffman

The Gospel of John plays a major role in the last two Sundays in Lent (Laetare and Judika, as well as the days of Holy Week, and the Sundays after Easter, most notably the third (Jubilate) to Pentecost Sunday embracing Jesus' Farewell Discourse to his Disciples. These works in 1725 replaced the chorale cantata cycle with the Johannine saga, says Eric Chafe,1 of the Good Friday St. John Passion second version, BWV 245.2, with additional hymns, the Easter Sunday Italianate Easter Oratorio, BWV 249, lacking hymns and biblical narrative but with dramatic characters favored in John's Gospel account of the Resurrection (Jn. 20:1-18, Peter and John at the empty tomb and Mary Magdalene's encounter with Jesus). Laeteri and Judica Sundays in Lent The 4th and 5th Sundays in Lent before the final Palm Sunday and Holy Week of the Passion focus on John's Gospel in Bach's single lectionary as well as in today's three-year lectionary, although the readings are different. In Bach's day the Gospel of John readings involved Jesus affirming his identity through the miracle of the feeding of the 5000 with bread and fish (John 6:1-15) on Leateri Sunday, and in his confrontation with the Pharisees saying, "Verily, verily, I say unto you, before Abraham was, I AM (John 8:58) on Judica Sunday. This was a "pattern that centers on Jesus's divine identity and his manifesting his glory in the form of 'signs' (miracles) of highly symbolic character," says Eric Chafe (Ibid.: 102), "associated with the discourse in which Jesus identifies himself as the 'bread of life'" (John 6:25-59, https://www.biblegateway.com/passage/?search=John+6%3A25-59&version=NIV). These were two of the Jesus "I am" proclamations, that culminated in his final acknowledgement during his Passion where his identity was the central issue, when asked if he was Jesus of Nazareth. The 4th Sunday in Lent, Laeteri, emphasizes "Rejoice," from Introit Psalm 122:1, "I was glad when they said unto me, Let us go into the house of the Lord" (kjv) in Bach's time as well as the gospel of John, still used in today lectionary but with different Gospel readings. The Johannine emphasis during Lent is on Jesus' life on earth as the mid-point in the Great Parabola of descent (anabasis) through incarnation in his kenosis (emptying, Phil. 2:5-11, http://www.crivoice.org/kenosis.html) and the ascent or "lifting up" (catabasis) in glory referred to in today's lectionary Gospel B (John 3:14). His "lifting up" is "the root of the connection between [the St. John Passion] "Herr unser Heerscher" and "Es ist vollbracht"; it is bound up with Jesus's descent/ascent character, hiss coming, from above and oneness with the Father, to whom he ultimately returns," says Chafe (Ibid.: 331). The Sunday is a time of joy from "Laetare Jerusalem" ("Rejoice, O Jerusalem"), which is from Isaiah 66:10: "Rejoice with Jerusalem, and be glad for her, all you who love her; rejoice with her in joy, all you who mourn over her" (NRSV). Introit Psalm 122 is a psalm of trust, full kjv text https://www.biblegateway.com/passage/?search=Psalm+122&version=KJV. Midway in the six-week Lenten period, Laeteri (https://en.wikipedia.org/wiki/Laetare_Sunday) signifies a change from sorrow to three-fold joy as a moveable feast through the day's Collect "comfort of God's grace," the Epistle (Galatians 4:21–31, Two Covenants) of the true freedom of the "children born after the spirit," and the Gospel refreshment in the "giving of the bounteous Christ," says Strodach (Ibid.: 121). Laeteri Sunday also is known as "Refreshment Sunday" for the Gospel, John 6:1-15, the Miracle of the Feeding of the 5000 with bread and fish (https://www.biblegateway.com/passage/?search=John+6%3A1-15&version=KJV).2 Because of the Laeteri and Judica Sundays emphasis on affirmation (see https://groups.yahoo.com/neo/groups/BachCantatas/conversations/messages/39495), Bach's NLGB prescribed the following chorales: Hymn of the Day, "Herr Jesu Christ, wahr Mensch und Gott" (Lord Jesus Christ, true man and God, NLGB 338, Death & Dying); and the Communion/Pulpit Hymns, "O Jesu Ch

New at BachCantataTexts.org: “Ich geh und suche mit Verlangen” BWV 49 http://BachCantataTexts.org/BWV49 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

We are pleased to present a performance of J. S. Bach's "Was frag ich nach der Welt” BWV 94 directed by Steven Warnock with a lecture by Daniel R. Melamed. Links to the program and to an annotated translation of the text are in the notes below the video. https://youtu.be/trpN330n24A

Do you wish you had more opportunities to learn about and engage in thoughtful conversations about Bach's sacred cantatas? Are you looking into an entry point into this exceptional, yet both intimidating and underexposed, body of work? If you answered yes to at least one of these questions, consider joining the Bach Coffee and Cantata Meetup, an online platform of Bach lovers dedicated to discovering the musical wonders hidden among the first 200 items in the catalog of Bach's works. Once a month, we meet on Zoom to examine two or three sacred cantatas, discuss their historical and liturgical context, engage in some technically accessible analysis of the movements, point out connections with other works by Bach or other composers, and listen to examples of particularly compelling moments in the score. Finally, we watch an entire performance of the works, offered by today's most engaging performers. Meetings take place one Sunday a month, from 10am to 12:15 pm EST (New York/Washington, DC time). We look forward to meeting you and listening to great music together. Thierry van Bastelaer thierryvanbast@...

There is no closing chorale in Lehms' text for Cantata 54 in E-flat Major. A possibly is plain chorale BWV 353 in g minor (http://www.bach-chorales.com/BWV0353.htm), says Martin Petzoldt,4 found in the Dresdener Gesangbuch 1725 , No. 287, Johann Rist 1662 melody (Zahn 6804), "Jesu, der du meine Seele" (Jesus, it is by you that my soul, http://www.bach-cantatas.com/CM/Jesu-der-du-meine-Seele.htm); Bar Form text stanza 16, "Jesum nur will ich lieb haben" (Only Jesus I shall hold dear); Martin Jahn 1661 "Jesu meiner Seele Wonne" (Jesus, delight of my so), http://www.bach-cantatas.com/Texts/Chorale023-Eng3.htm. 4 Petzoldt, Bach Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs; Vol. 2, Die Geistlichen Kantaten vom 1. Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: B?renreiter, 2007: 640, 645). -- William Hoffman

While the periods of Advent and Lent were closed times in Leipzig, Bach was able to provide in his one-year lectionary this music during his tenure in Weimar where, from 1714 to 1717, he was able to compose cantatas for all four Sundays in Advent 1-4 (BWV 61, 70a, 186a, 147a) and for Oculi (3rd Sunday in Lent), BWV 54 and 80a. The Bach Mailing List has a 2018 article, Musical Context of Bach Cantatas: "Motets & Chorales for Sundays in Lent" (https://www.bach-cantatas.com/LCY/M&C-Lent.htm) which reveals chorales for all five Sundays in Lent. For the five Lenten Sundays, the Neu Leipziger Gesangbuch of 1682 lists for Invocavit, "Vater unser im Himmelreich" (Lord's Prayer); for Reminiscere and Oculi, "Ich ruf zu dir, Herr Jesu Christ," "Wenn wir in h?chsten N?ten sein,” "Gott der Vater wohn uns bei," "Erbarm dich mein, o Herre Gott," and "Ein feste Burg ist unser Gott"; for Laeteri and Judica, "Herr Jesu Christ, wahr Mensch und Gott," "Herr Jesu Christ, meins Lebens Licht," and "In dich hab ich gehoffet Herr." German composers with cantatas for Lent involved music consistently presented at the Gotha Court (Christian Friedrich Witt, Gottfried Heinrich St?lzel, Wolfgang Carl Briegel, and Georg Benda), as well as Georg Philipp Telemann in Frankfurt and Hamburg and Christoph Graupner in Darmstadt. In Weimar, it is assumed that Kapellmeister Johann Samuel Drese and his son, Johann Wilhelm, alternated with Bach in the presentation of the Sunday cantatas each month between 1714 and 1717, with Bach as court organist presenting chorale music. Today's current three-year Revised Common Lectionary, says John S. Setterlund,1 provides music for three years from 2025 onwards, beginning with Ash Wednesday (https://en.wikipedia.org/wiki/Ash_Wednesday), Year C, 5 March 1725, gospel Matthew 6:1-6, 16-21 (alms giving & prayer, https://www.biblegateway.com/passage/?search=Matthew%206%3A1-6%2CMatthew%206%3A16-21&version=RSV), preferred Cantata 32 (1st Sunday after Epiphany, https://www.carusmedia.com/images-intern/medien//30/3103200/3103200x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv32bca31?path=firstsundayafterepiphany0, alternate Cantata 136 (8th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3113600/3113600x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv136bca111?path=eighth-sunday-after-trinity); Year A, 18 February 2026, gospel Matthew 6;:1-6, 16-21 (alms & prayer, https://www.biblegateway.com/passage/?search=Matthew%206%3A1-6%2CMatthew%206%3A16-21&version=RSV), preferred Cantata 199 (11th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3119900/3119900x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv199bca120?path=eleventh-sunday-after-trinity), alternate Cantata 26 (24th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3102605/3102605x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv26bca162?path=twenty-fourth-sunday-after-trinity); Year B, 10 February 2027, gospel , gospel Matthew 6;:1-6, 16-21 (alms & prayer, https://www.biblegateway.com/passage/?search=Matthew%206%3A1-6%2CMatthew%206%3A16-21&version=RSV), preferred Cantata 135 (3rd Sunday after Trinity https://www.carusmedia.com/images-intern/medien//30/3113500/3113500x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv135bca100?path=third-sunday-after-trinity), alternate Cantata 181 (Sexagesimae, https://www.carusmedia.com/images-intern/medien//30/3118100/3118100x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv181bca45?path=sexagesimae); Ash Wednesday, single lectionary, gospel Matthew 6;:1-6, 16-21 (alms & prayer, https://www.biblegateway.com/passage/?search=Matthew%206%3A1-6%2CMatthew%206%3A16-21&version=RSV), preferred Cantata 135 (see above Year B, preferred), alternate gospel Luke 7:36-50 (Sinful woman forgiven), preferred Cantata 135 (see above, Year B, preferred); Years A-C, alternate gospel, Luke 18:9-14 (Parable of Pharisee & Tax Collector): Year A, Cantata 199 (see above, Year A, Preferred Cantata 199; Year B

J. S. Bach’s cantata interpretations with focus on the new Rudolf Lutz cycle (2006 – 2024) Fans of J. S. Bach’s cantatas cannot complain about the enormous quantity of available recordings! In my opinion, the best source of information about these recordings is the “Bach Cantatas Website” created by Aryeh Oron in 2000. See https://www.bach-cantatas.com/ Recordings of JSB’s oeuvre started more than 120 years ago with the first mechanical recordings of violin solo pieces by Joseph Joachim (1903) and Fritz Kreisler (1904). According to the same source (Martin Elste, “Meilensteine der Bach-Interpretation 1750-2000”, J.B. Metzler – B?renreiter, 2000), Bach first complete cantata recording (BWV 50) dates from October 4, 1928 listed in the BCW as a 78 rpm record and only 6 years later, the same cantata is available as LP and CD, see https://www.bach-cantatas.com/BWV50-Rec1.htm. Discussions of interpretations (see https://bach-cantatas.com/Order.htm ) Background I have followed the content of this part of the BCW since its first round from 1999 to 2003. Participants are a wide range of cantata lovers with diverse backgrounds and interests. Some have a well-known name in musical performance and/or theory; others are simply enthusiastic lovers of Bach’s cantatas. See lists of members at https://www.bach-cantatas.com/Topics/IndexTopics9.htm . Most of the first discussions are opened by Aryeh Oron himself describing his predilections for the different recordings. Initially these comprehend the (at the time more or less complete) cycles by Richter, Rilling, Harnoncourt-Leonhard (H-L) and many of earlier LP recordings (Cantata Label, reissued by the Vanguard label in the 1970's with Hans Heintze, Helmut Kahlh?fer, Wilhelm Ehmann etc. as conductors. In these years of the first discussions, many even older recordings were released on CD (from previously LP releases in the Democratic Republic of Germany) – e.g., Günther Ramin, Kurt Thomas, Erhard Mauersberger, Hans-Joachim Rotzsch, as well as an almost complete cycle by Fritz Werner launched by Erato (later reissued as CD boxes in three volumes by Warner). Passionate (and sometimes embarrassingly aggressive) discussions focus the spotlight on the so called “HIP” (Historically Informed Performance) interpretations, initially mostly comparing Karl Richter’s and Helmut Rilling’s recordings with the already completed H-L cycle but soon joined by the new upcoming complete cycles by Gardiner, Koopman, Herreweghe, Suzuki and Leusink and many other current partial recordings. Similarly, many divided opinions emerge around the so called ‘OVPP’ (One Voice Per Part) interpretations started as a cycle of Weimar cantatas by Joshua Rifkin & The Bach Ensemble (unfortunately not completed!) followed by Andrew Parrot, Sigiswald Kuijken, Konrad Junghaenel, The Purcell Quartet as well as many other consort type ensembles. Consequently, these contributions can be divided basically into two groups: A - those who describe how and why they enjoy certain interpretations and B - others who argue about what in their view would be the correct or ‘authentic’ interpretation of a Bach cantata. Group A - taste is a very personal matter, but I believe it mostly depends on the listeners age and how his lifetime allowed access and opportunity to enjoy their first cantata recordings and from there on the ability to compare with many following decades of new interpretations. Mostly tastes vary around soloists, choir size, tempo, and instrumentation of individual movements. It is easy to understand how a certain soprano aria performed by Edith Mathis, Johannette Zomer, boy sopranos Wilhelm Wiedl and Peter Jelosits, Barbara Schlick, Midori Suzuki or Ruth Holton may appeal to different listeners – but also to one and the same listener who is able to appreciate all of them in the context of their different recording dates! There is an interesting section in the BCW titled ‘My First Cantata’, started by Aryeh Oron in 2001 where he describes hearing BWV 4 in the interpretation of Wilhelm Ehmann in the early 1970ies for the first

The de tempore (Proper Time) first half of the church year on the ministry of Jesus Christ begins with the Sundays in Advent, followed by the Christmas Season through Epiphany Feast (January 6), then EpiphanyTime Sundays in January. In Bach's time, the single lectionary had some three Sundays after Epiphany (https://www.carus-verlag.com/en/bach-1724-1725/: scroll down to 1725/2025), followed by the three pre-Lenten "gesima" (Lord's Day) Sundays (Septuagesimae, Sexagesimae, Quinquagesimea Estomihi) with the fixed feast of the Purification of Mary on February 2 (see https://www.bach-cantatas.com/Topics/Gesima-Cantatas.htm). Today's 3-year Revised Common Lectionary uses all four gospels for the Sundays after Epiphany (https://www.bach-cantatas.com/Articles/Hoffman-20250212.htm), focusing on the beginning of Jesus ministry (https://www.bach-cantatas.com/LCY/M&C-Epiphany-Time.htm), says John S. Setterlund,1 while Bach's 1-Year Lectionary focuses on Jesus maturing. Following the 5th Sunday after Epiphany on 9 February (Gospel, Luke 5:1-11, Jesus calls first disciples, Bible Gateway), the pre-Lenten Sundays begin with Septuagesimae, 16 February; Sexagesimae, 23 February; and Quinquagesimae, 2 March, also known as the Last Sunday after Epiphany, which in the 3-Year Lectionary can be observed as Transfiguration Sunday but not observed in Bach's time. Meanwhile, Bach's second church-year cycle of chorale cantatas is listed at Carus-Verlag, the 300th anniversary of that cantata cycle. Here are the gospel readings and cantatas appropriate for the "gesima" Sundays: Septuagesimae (3rd Sunday before Lent, https://www.bach-cantatas.com/LCY/Septuagesimae.htm), gospel Matthew 20:1-16 (Labourers in vineyard, https://www.biblegateway.com/passage/?search=Matthew%2020%3A1-16&version=RSV); Sexagesimae (2nd Sunday before Lent), gospel Luke 8:4-15 (Parable of Sower, https://www.biblegateway.com/passage/?search=Luke%208%3A4-15&version=RSV); Quinquagesimae Estomihi (Sunday before Lent), gospel Luke 18:31-43 Jesus foretells his death in Jerusalem, blind man receives sight, https://www.biblegateway.com/passage/?search=Luke%2018%3A31-43&version=RSV). In today's lectionary, the 4th Sunday after Epiphany: 2 February 2025, gospel Luke 4:21-30 (Scripture has been fulfilled, https://www.biblegateway.com/passage/?search=Luke%204%3A21-30&version=RSV), Year C, preferred Cantata 181 (https://www.carusmedia.com/images-intern/medien//30/3118100/3118100x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv181bca45?path=sexagesimae), alternate Cantata 167 (Feast of John the Baptist, https://www.carusmedia.com/images-intern/medien//30/3116700/3116700x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv167bca176?path=feasts-for-st-john-st-michael-and-for-the-reformation); Year A, 1 February 2026, gospel Matthew 5:1-12 (Beatitudes, https://www.biblegateway.com/passage/?search=Matthew%205%3A1-12&version=RSV), preferred Cantata 107 (7th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3110700/3110700x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv107bca109?path=seventh-sunday-after-trinity), alternate Cantata 78 (14th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3107803/3107803x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv78bca130?path=fourteenth-sunday-after-trinity), alternate Cantata 69.1(a) (https://www.carusmedia.com/images-intern/medien//30/3106950/3106950x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv69abca123?path=twelfth-sunday-after-trinity); Year B, 31 January 2027, gospel Mark 1:21-28 (Healing of unclean spirit, https://www.biblegateway.com/passage/?search=Mark%201%3A21-28&version=RSV), preferred Cantata 78 (see above, Year A), alternate Cantata 69.1(a) (https://www.carusmedia.com/images-intern/medien//30/3106950/3106950x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv69abca123?path=twelfth-sunday-after-trinity). The 5th Sunday after Epiphany: 9 February 2025, gospel Luke 5:1-11 (Jesus calls first disciples, https://w

Dear BCW, According to Ockham's razor, the most likely solution to a mystery is the most obvious???? On the other hand, often counterintuitivity reigns supreme. I'm not sure if i have that right, but the Aussie Robin Williams, erstwhile host of the Science Show on Radio National, was quite fond of referring to this conundrum. I'd like to suggest given that Bach's standard subscript was "Soli Deo gloria", he himself may well have written some of his own librettos... it is well known that he could be quite irascible and amend words that didn't quite fit the message he wanted to convey, or the music. I believe his faith was a key motivating factor.... some scholars perhaps overlook this. I'm always amazed at his resilience. Burying 13 children & 1 wife before his own demise would break most people, even drive them to suicide or a lesser kind of despair. Clearly he was a brilliant man & would've been capable of such writing, particularly during the chorale 2nd cycle. It seems these are mostly 'librettist unknown'. Here he was working with hymns already well known, so it makes sense that he might easily have edited his own scores, composing the words & the music at the same time... a symbiotic exercise no doubt. I'm no scholar, but have a creative mind... & enjoy any opportunity to sing his music, even on my bicycle. i also run a discussion on zoom @ 8pm Korean/japanese time on thursday nights looking at the previous sunday's cantata. During tempus clausum, we look at the passions, including those pseudonymously ascribed to Bach. We focus on the theology. I look forward to the discussion.... Martin Beach, apt 1102, Hanil Baeghab, Bugockdong, Gimcheon, 740-110 Gyeongbookdo, SKorea. Ph+8210 4132 1912 Big plans need small steps.... and faith...

We are pleased to present a performance of J. S. Bach's "Gott ist unsre Zuversicht” BWV 197 directed by Curtis Foster with a lecture by Daniel R. Melamed. Links to the program and to an annotated translation of the text are in the notes below the video. https://youtu.be/skpoxPN3fww

Hello! I’m sorry to report that our mom died last week, the day before her 95th birthday. Below my signature is the obituary as published in the Boston Globe. Please feel free to contact me with any questions. Thank you! Amy Wallace (daughter) 661 Nicklaus Street Paso Robles, CA 93446 408-206-1955 aboutlifeactually@... WALLACE, Barbara Louise (Mitchell) Acclaimed Boston-Area Soprano February 19 1930 - February 18 2025 Barbara Louise (Mitchell) Wallace died peacefully, Tuesday, at the California home of her daughter, Amy, surrounded by the love of family, friends and neighbors. She is survived by four of her five children, Amy, Charles, John and Martha, and a gaggle of grandchildren, great-grandchildren, nieces and nephews. She was preceded in death by her husband, Charles Wallace Sr. and her daughter, Lisa. Born in 1930 in Melrose, Barbara was the youngest of three sisters. She met the love of her life, Charles (former manager, The Harvard Club and Wellesley College Club), in 1947; they were married for 38 years until his death in 1987. Graduating from the New England Conservatory in 1952, she embarked on a remarkable career as a classical, liturgical and operatic singer and was considered to be one of the premier sopranos in the Boston area for decades. She performed with the BSO, Handel & Haydn Society, Boston Opera Company and other ensembles. For over 25 years, Barbara was the lead soprano with the King's Chapel music program, under the direction of Daniel Pinkham. She also taught voice for several years at the Conservatory. In 1973, Barbara and Charles purchased the historic Fitzwilliam Inn in NH, where they became cherished innkeepers. She continued her singing career while co-managing the inn. After Charles' death, she helped run the inn until its sale in 1996. Barbara then moved to Ogunquit, ME and later, Eliot, ME. In 2017, she relocated to Craftsbury, VT to live with daughter, Martha and later, to Paso Robles, CA, spending her final years with Amy and her partner, Sam Lazarus. She died one day short of her 95th birthday.

We are pleased to add a new text and translation: “Am Abend aber desselbigen Sabbats" BWV 42 http://BachCantataTexts.org/BWV42 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

We are pleased to add a new text and translation: “Was frag ich nach der Welt?” BWV 94 http://BachCantataTexts.org/BWV94 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

Dear BML members, Teri Noel Towe (AKA TNT), classical music expert, art historian, music historian, radio broadcaster, record producer, and photographer, author of "Choral Music On Records", left us earlier this month. Teri contributed a lot of information and material to the BCW along the years. About 10 years ago he asked me to host his website "The Face of Bach" on the BCW: https://www.bach-cantatas.com/thefaceofbach/index.htm RIP, Teri Aryeh Oron Webmaster of Bach Cantatas Website (BCW) https://www.bach-cantatas.com/ Moderator of Bach Mailing List (BML) /g/Bach -- ????"? ??? ???? ?????? ??????? ?? ??? ????? Avast antivirus. www.avast.com

The Bach Cantatas Website (BCW, https://www.bach-cantatas.com/index.htm#google_vignette) Bach Mailing List (BML, https://www.bach-cantatas.com/Topics/IndexTopics9.htm#google_vignette) has two rounds of discussion on Bach's Chorale Cantata 2nd Cycle, beginning May 18, 2014 (https://www.bach-cantatas.com/Topics/Cycle-2.htm: scroll down to "Chorale Cantata Cycle, William L. Hoffman wrote (May 18, 2014):"), and continuing with "Jun 12, 2024: Bachfest Leipzig 1724, chorale cantata (2nd) cycle" (https://www.bach-cantatas.com/Order-2024.htm). The current discussion resumes with "Jan 7, 2025: 3-Year Lectionary Revised Standard Version: de tempore Half of Church Year (https://www.bach-cantatas.com/Articles/Hoffman-20250107.htm). The distinction between the two halves of the church, de tempore (Proper Time, on the ministry of Jesus Christ), and omnes tempore (Common Time, invvolves the teaching of the church through the Thematic Patterns in Bach's Gospels: Parables, Miracles, Teachings (https://www.bach-cantatas.com/Read/Readings.htm, https://www.bach-cantatas.com/Read/Readings.htm: scroll down to "Thematic Patterns in Bach's Gospels." The current de tempore half of the church year has the more popular, well-known chorales beginning with Sundays in Advent (https://www.bach-cantatas.com/LCY/M&C-Advent.htm), followed by Christmas Festival (https://www.bach-cantatas.com/LCY/M&C-Christmas.htm#google_vignette), Turning Time (Christmas to Feast of Epiphany, https://www.bach-cantatas.com/LCY/M&C-Turning-Time.htm), and Epiphany Time (primarily Jesus Hymns, https://www.bach-cantatas.com/LCY/M&C-Epiphany-Time.htm), with the entire year-long accounting found at "Motets & Chorales for Events in the Lutheran Church Year/Chorales by Theme (https://www.bach-cantatas.com/LCY/M&C-Table.htm). Continuing the discussion of the "3-Year Lectionary Revised Standard Version: de tempore Half of Church Year" following the Feast of Epiphany. Following the Feast of Epiphany on the 6th of January, the 3-year Revised Common Lectionary shows the next three Sundays in January relate to the beginning of Jesus Christ's Ministry (https://www.bach-cantatas.com/LCY/M&C-Epiphany-Time.htm), says John S. Setterlund,1 while Bach's 1-Year Lectionary focuses on Jesus maturing: 1st Sunday after Epiphany, Luke 2: 41-52 Jesus in the Temple (https://www.biblegateway.com/passage/?search=Luke%202%3A41-52&version=NRSVUE, https://bach-cantatas.com/LCY/1.So.n.Epiph..htm); Today's 3-Year Lectionary presents the following: 1st Sunday after Epiphany, Baptism of Our Lord, 12 January 2025, currently Year C, Luke 3:15-17, 21-22 (Baptism of Jesus, https://www.biblegateway.com/passage/?search=Luke%203%3A15-22&version=RSV), preferred Cantata 123 (Epiphany Feast, https://www.carusmedia.com/images-intern/medien//30/3112300/3112300x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv123bca28?path=epiphany), alternate Cantata 7 (John's Day, https://www.carusmedia.com/images-intern/medien//30/3100700/3100700x.pdf), https://iopn.library.illinois.edu/scalar/bachcantatas/bwv7bca177?path=feasts-for-st-john-st-michael-and-for-the-reformation); Year A, Gospel Matthew 3:13-17, Baptism of Jesus (Bach's 1-year lectionary), 11 January 2026 (https://www.biblegateway.com/passage/?search=Matthew%203%3A13-17&version=NRSVUE); preferred Cantata 7 (see above, 1st Sunday after Epiphany), alternate Cantata 37 (Ascension Day, https://www.carusmedia.com/images-intern/medien//30/3103703/3103703x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv37bca75?path=ascension); Year B, Mark 1:4-11, 10 January 2027 (Parable of Sower, https://www.biblegateway.com/passage/?search=Mark%204%3A1-11&version=NRSVUE), preferred Cantata 37 (see above, Year A), alternate cantata 123 (see above, Year C). 2nd Sunday after Epiphany (https://www.bach-cantatas.com/LCY/2.So.n.Epiph..htm0, in Bach's 1-Year Lectionary, Wedding Feast at Cana, Gospel: John 2: 1-11 Christ turns water into wine (https://www.bach-cantatas.com/Read/Epiphany2.htm, https://www.bach-cantatas.com/LCY/2.So.n.Epiph..htm); Today's 3-Year Lectionary pr

We are pleased to present a performance of J. S. Bach's "Ich ruf zu dir, Herr Jesu Christ” BWV 177 directed by Jennifer Kirby with a lecture by Daniel R. Melamed. Links to the program and to an annotated translation of the text are in the notes below the video. https://www.youtube.com/watch?v=lcg_-XkUoDI

CD reviews: Bonizzi: "Complete works for viola bastarda (Venice 1626)" Paolo Biordi, Andrea Perugi J Chabanceau de La Barre: Airs à deux parties Claire Lefilli?tre, Luc Bertin-Hugault, Les ?popées/Stéphane Fuget Richafort: Missa O Genitrix - Missa Veni Sponsa Christi Cappella Mariana/Vojtěch Semerád "Si a la muerte imita el sue?o - Tonos humanos de José Marín (1618-1699)" Música Ficta see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus