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In the section "Holy Week, Annunciation Feast," insert after "(Lo now, there a virgin is pregnant, Philip Z. Ambrose trans.), Footnote 2a Incipit translations: Z. Philip Ambrose, J. S. Bach: J. S. Bach: The Vocal Texts in English Translation with Commentary (Bloomington IN: Xlibris, 2020), https://www.uvm.edu/~classics/faculty/bach/, https://www.amazon.com/J-S-Bach-English-Translation-Commentary/dp/1664120114. -- William Hoffman

CD reviews: Bencini, A Scarlatti: "Vêpres romaines" Ensemble Jacques Moderne/Jo?l Suhubiette Carolo: X Sonates à deux Violes de Gambe Space Time Continuo/Amanda Keesmaat Charpentier, Desmarest: Te Deum Ensemble Les Surprises/Louis-No?l Bestion de Camboulas Kauffmann: "Rüstet euch, ihr Himmelsch?re - Complete Sacred Works" Soloists, Collegium Vocale Leipzig, Merseburger Hofmusik/Michael Sch?nheit "Vestiva - Embellishing 16th and 17th Century Music" Lux Musicae London 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

Beethoven in one of his conversation books (Heft 71 at 19v-20r) makes a list of musical scores to take with him to the country for the summer of 1824. Among them are CPE Bach's Klavierschule and Passion music. Also on the list of scores to take along is the following mysterious entry: +Joh. Sebatins [sic] Bach Fünfstim[mige] Me?e an schweiz. The German editors of the Conversation Books were unable to determine what this could be referring to. Perhaps the long reach of the Bach Mailing List can provide a clue as to what this "five-voice Mass 'an schweiz'" might be. Any ideas? Is this a misattribution? The next two items on the list, for reference, are Mozart works, the score to Abduction from the Seraglio and his Requiem. Other items on the list are Haydn's Paukenmesse and Seven Words, as well as compositions by Albrechtsberger. Many thanks, Mark S. Zimmer

We are pleased to add a new text and translation: “T?net, ihr Pauken! Erschallet, Trompeten!” BWV 214 https://bachcantatatexts.org/bwv214 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).

CD reviews: "The sound of Thuringian residences" Capella Jenensis/Gertrud Ohse "Le berger innocent" Ensemble Danguy/Tobie Miller Nola: "Mass for 5 voices, two violins, cello and organ" Ensemble Festina Lente/Michele Gasbarro Senfl: Motets & songs Singer Pur, Ensemble Leones Tartini: "Diavolo - 6 Violin Sonatas" La Serenissima/Adrian Chandler 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

The final phase of Bach's first church year cycle in 1724 began to embrace a trilogy of three events with distinctive Johannine theology: the Passion oratorio at the Leipzig Good Friday vespers concluding Holy Week; the three-day Easter Feast embracing the Resurrection, Walk to Emmaus, and the Upper Room, as well as the first two Sundays after Easter, Quasimodogeniti (https://www.bach-cantatas.com/LCY/Quasimodogeniti.htm) and Misericordias Domini (https://www.bach-cantatas.com/LCY/Misericordias-Dom..htm); and the Johannine Jesus Farewell Discourse to His Disciples involving eight services from Jubilate Sunday to Trinity Sunday (https://www.bach-cantatas.com/Read/index.htm), omitting the feast of the Ascension (https://www.bach-cantatas.com/Read/Ascension.htm#google_vignette). Eric Chafe's monograph, J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725,1 covers the music of the Christological period in Bach's first cycle of 1724, as well as in 1725, involving 14 extant liturgical works (BWV 245.2, 249.3, 6, 42, 85; 103, 108, 87, 128; 183, 74, 68, 175, 176), the last nine being a cantata mini-series commissioned in 1724 for Leipzig poetess Christiane Mariane von Ziegler (https://www.bach-cantatas.com/Lib/Ziegler.htm) to texts of John's gospel, including the Chapter 16 Jesus Farewell Discourse to His Disciples. Lacking was an unknown cantata for Easter Tuesday (possibly Cantata 158 or repeat of chorale Cantata 4). Another mini-cycle was the Easter season cantatas in 1724-1725 with a special movement structure (see below, paragraph beginning "In 1724, Bach had as back-up texts . . . ." Easter-Pentecost 1724 In his compositions, particularly the long and complex St. John Passion, BWV 245.1, Bach utilized a variety of techniques and resources beyond the traditional scope of an isolated study, "considering its meaning from a variety of musical and historical standpoints," says its description in footnote 1. Chafe uses "a multi-layered approach to religion in Bach's compositional process,"focusing on "two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation. Bach's non-synoptic St. John Passion emphasizes the positive concept of the classic Christus Victor ransom theory of atonement, as contrasted with the synoptical satisfaction theory that Jesus' sacrifice satisfies the Father's requirement in order to free mankind from death. Thus Christ on earth is both, simultaneously, fully God and fully man, as espoused by Martin Luther in his Theology of the Cross with divine revelation, in contrast to the human Theology of Glory, where Jesus is punished by man, and God's demand or justice is fulfilled. Bach’s original choice to use John’s non-synoptic version of the Passion in 1724 involved three factors. Lutheran tradition of the readings of the four gospel accounts during Holy Week prescribed John Chapters 18 and 19 to be read on Good Friday. John’s Passion account is the shortest, requiring the least musical treatment and with Matthew is the most-often treated musically in Protestant Germany. In contrast to the three synoptic readings from Matthew, Mark, and Luke, John’s Lutheran theological emphasis on Christ’s sacrifice and death was the Christus Victor concept of atonement rather than the Anselm satisfaction concept. During the quarter century following its premiere during the Good Friday vespers, this dramatic, gospel-driven Passion oratorio, underwent significant changes in its five versions. Chorales in Passions, Good Friday Vespers The initial almost-totally John's Passion gospel version of 1724 in Chapters 18 and 19, has two additional brief, dramatic synoptic gospel citations: Peter weeping bitterly following his denial as a disciple of Jesus (Mt. 26:75) and the rending of the veil of the temple at the earthquake following

Greetings, Some years ago I researched Bach cantatas where all movements are based on a single hymn tune or chorale, but I've since lost track of that work. If I remember quickly, there were 10 (or 12?) cantatas that are like this - no recits or arias, just movements based on a single hymn tune. BWV 137 and 192 come to mind. Is there a quick way to find the others -- or perhaps someone knows this offhand? We are performing BWV 137 (Lobe den Herren) next weekend, and I'd like to include a brief comment on this particular form of Bach's cantatas in the printed program. Thanks! Cheers, -Bruce

CD reviews: Aliotti: Il trionfo della morte per il peccato d'Adamo Soloists, Les Traversées Baroques/?tienne Meyer Luzzaschi: "Il Concerto Segreto" La Néréide B Marcello: "Sinfonias & Cantatas" Nuria Rial, La Floridiana/Nicoleta Paraschivescu Naudot: "Fantaisies Champêtres - Arcadian Concerts" Les Ambassadeurs ~ La Grande ?curie "Oboe Concertos at the Court of Thurn und Taxis" Xenia L?ffler, Alfredo Bernardini, Michael Bosch, Batzdorfer Hofkapelle 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

To mark the 100th text on BachCantataTexts.org, we are pleased to add a new text and translation: “Was Gott tut, das ist wohlgetan” BWV 100 http://BachCantataTexts.org/BWV100 The project will continue with the texts of further works by J. S. Bach. On the horizon are more cantatas from Bach's 1724-25 chorale cycle (celebrating its 300th anniversary) and the St. Matthew Passion. 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/Bloomington Bach Cantata Project). Please share this message with colleagues, friends, and audiences. There is a sign-up page linked from the site for an e-mail announcement list.

We are pleased to present a performance of J. S. Bach's "Gott ist mein K?nig" BWV 71, the final cantata of the BBCP’s 2023-24 season. Links to the program and to an annotated translation of the text are in the notes below the YouTube video. https://www.youtube.com/watch?v=56RKiQon2VQ Performances like this are made possible by the continued generosity of our donors—we rely on them for almost all of our income. If you value live music in Bloomington and the opportunity of hearing Bach’s cantatas in performances modeled on his own, if you want to support the next generation of early music specialists, and if you can help us continue sharing one-of-a kind presentations of this music, please consider a gift now. Donations of any size help and are appreciated. We do rely on gifts of significant amounts—$500, $1000, $1500, and more—from those for whom they are possible. Our fiscal year for donations starts on January 1, so if you have not donated since 2023 we would be most grateful for your support of the upcoming season. You can make a donation at melamed.org/bbcpdonate.html or by sending a check payable to Bloomington Bach Cantata Project to BBCP, Bloomington Early Music, P.O. Box 734, Bloomington, IN 47402. Stay tuned this summer for updates on the 2024-25 season, the BBCP’s fifteenth.

CD releases: April 2024 CD reviews: Benevoli: Missa Tu es Petrus I Fagiolini, The City Musick/Robert Hollingworth "Forza Azzurri!" Tabea Debus, La Serenissima/Adrian Chandler Lully: Te Deum ("Grand motets, Vol. 3") Les ?popées/Stéphane Fuget "Musikalische Exequien: Schütz, Bach" Concentus K?nig/Jorge Suárez Quentin, Corelli: "Flute Sonatas" Anna Besson, Myriam Rignol, Jean Rondeau 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

The final, triumphal portion of Bachs's Christological Cycle begins with the Resurrection of Jesus Christ, which symbolically represents the final part of the Great Parabola of descent-ascent, or the Uplifting in glory, also known as the anabasis or fulfillment, embracing the in-dwelling inhabitatio of unio mystica (mystical union) involving the sacred and divine, the eternal reincarnation of spirit and flesh (source, https://www.bach-cantatas.com/Topics/Easter-Cantatas.htm). The Easter season/time of 50 days (six Sundays) is a unique period in the church year which, in Bach's Leipzig involved Easter Sunday to Misericordias Domini (second after Easter), designated de tempore (Proper Time) of the life of Jesus Christ, followed by the Gospel of John's Jesus' Farewell Discourse to His Disciples in the omnes tempore (Ordinary Time) tradition of the life of the church, embracing both times simultaneously in the paradoxes of humanity that is both sacred and profane and the Christ who is both truly man and God. The end of Easter is the eschatological celebration of God's eternal Time on Pentecost Sunday signifying God for us, with us, and within us in the Trinitarian divine dance, as Father Richard Rohr says,1 as well as the birthday of the church. Three-Day Easter Festival, Easter Season The Easter season/time in Bach's Leipzig began and ended with two three-day festivals at Easter and Pentecost when Bach, following his annual presentation of an oratorio Passion on Good Friday — the fulcrum or rest/pivot of the Great Parabola — was required to present a cantata musical sermon also on Easter Monday and Tuesday. For Bach in his first years in Leipzig presenting three cycles of church year music, usually cantatas, this period theologically signified the centrality of Johannine theology with two versions of his St. John Passion that were followed by the St. Matthew Passion in 1727. Meanwhile, because Bach's Lenten endeavors were focused on the Passion sacred drama concluding Holy Week, he modified his compositional activities during Easter Season, which required six days of Easter and Pentecost festive cantatas, the Ascension Feast and the Trinity Festival. In his first Easter Season of 1724, Bach was able to present repeats of Weimar works on the two festive Sundays and then parodied C?then congratulatory vocal serenades for the two festive Mondays and Tuesdays of Easter and Pentecost. During the final period of his second cycle (https://en.wikipedia.org/wiki/Chorale_cantata_cycle), also requiring 14 cantatas for eight festival days, Bach in the 1725 Easter Season ceased composing new chorale cantatas, substituting works conceived possibly the previous year and followed by new works using commissioned texts of Leipzig poet Mariane von Ziegler from Jubilate to Trinity Sunday. The next year in the 1726 Easter Season (https://www.bach-cantatas.com/LCY/1726.htm), Bach substituted cantatas of cousin Ludwig Bach while composing the St. Matthew Passion. Bach's Cantor Demands, Chorale Cantata Cycle Terminated A second factor motivated Bach's Easter period Grand Design. As cantor at St. Thomas church and school, Bach focused these seven weeks on his cantor duties at the close of the school year on Trinity Sunday. In addition to his teaching duties, he gave final exams, auditioned new chorus members, chose assistants and special students for the coming school year, accounted for the musical and educational resources, and compiled annual reports involving a well-appointed church music for which he was steward. A third factor during the Easter Season and the termination of the chorale cantata cycle may have been because of the paucity of designated chorales in the Lutheran hymnbooks for the specific Sundays after Easter. "We possess a rich store of Passion music , but relatively few outstanding pieces of Easter music," observes Alfred Dürr.2 "Such a disproportion is also perceptible in Bach's output. Settings of the Passion apparently laid such a strong claim on his creative power that no original Easter Sunday music survives from his mature

CD reviews: Bach Family: "Family Affairs" Ensemble Polyharmonique, Teatro del Mondo/Andreas Küppers Giardini, JC Bach: "The Courts of Turin and London - Quartets & Quintets" L'Astrée Lully: "Benedictus" ("Grand motets, Vol. 3") Les ?popées/Stéphane Fuget Marenzio: Missa Jubilate, Magnificat sexti toni Cappella Musicale della Cattedrale di Vercelli/Denis Silano "The Spohr Collection, Vol. 3" Ashley Solomon, Rowan Pierce, Florilegium 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

On Good Friday 7 April 1724 Bach's St John Passion was performed for the first time. This BBC Radio programme, 59 minutes long, is available for listening until 22 April 2024. Link: https://www.bbc.co.uk/programmes/m001q128 Miguel Prohaska Toronto

Bach's first cycle of music for the church year (1723-24), neared completion with the de tempore Christological double service of Palm Sunday and the Marian Feast of Annunciation (https://www.carusmedia.com/images-intern/medien/pdf/kataloge/Bach_Kalendarium_en.pdf: Page 4, also https://en.wikipedia.org/wiki/Bach%27s_first_cantata_cycle), which was the beginning of Holy Week and the annual Passion oratorio at Good Friday afternoon vespers. It was a fruitful time for Bach as he pursued his calling of a "well-regulated church music to the glory of God," with the first cycle of church pieces for the closing season of Easter-Pentecost, some of which were delayed a year. He used the Leipzig tempus clausum (closed period) of Lent to complete his first full Passion, according to John, BWV 245.1, and to plan for his second (homogeneous) cycle of chorale cantatas and his second annual Passion, according to Matthew, BWV Anh. 169 with a published libretto of Picander (https://www.bach-cantatas.com/BWVAnh169-D.htm. Early Music of Joy, Sorrow Bach had extensive experience with both music of joy and sorrow from his earliest days in Arnstadt, c.1706 with joyous works for weddings — Quodlibet BWV 224 (https://www.bach-cantatas.com/Vocal/BWV524.htm, Cantata 196, https://www.bach-cantatas.com/BWV196.htm), and Cantata 195 (https://www.bach-cantatas.com/BWV195-D4.htm), as well as town council installations (Cantata 71, https://www.bach-cantatas.com/BWV71.htm), Cantata BWV 1138.1=Anh. 192, https://www.bach-cantatas.com/BWVAnh192.htm), and Cantata BWV 1138.2, which may be early versions of Cantata 143, https://www.bach-cantatas.com/BWV143.htm and https://www.baerenreiter.com/en/shop/product/details/BA5936_01/, and Cantata 21, fugal choruses Nos. 2, 6, 9, 11 (https://www.bach-cantatas.com/BWV21-D7.htm; also Peter Wollny has an NBArev edition, BA 5940-01, of Pre Weimar Cantatas BWV 21, 106, 131, 150, https://www.baerenreiter.com/en/catalogue/complete-editions/bach-johann-sebastian/nbarev/overview-of-volumes/. Music of sorrow involved memorial Cantata 150 (https://www.bach-cantatas.com/BWV150-D6.htm); Cantata 106 (https://www.bach-cantatas.com/BWV106-D8.htm), Cantata 131 (de profundis, Psalm 130; https://www.bach-cantatas.com/BWV131-D7.htm), Missa Kyrie “Christe du Lamm Gottes” in F Major, BWV 233a, dated to 6 April 1708, Good Friday Service of Confession and General Absolution; and Easter Sunday chorale Cantata 4 (https://www.bach-cantatas.com/Books/B0226-4.htm). Holy Week, Annunciation Feast One entire week, Holy Week, a moveable observance, "is the most sacred week in the liturgical year in Christianity," says Wikipedia (https://en.wikipedia.org/wiki/Holy_Week). "Holy Week begins with the commemoration of Christ's triumphal entry into Jerusalem on Palm Sunday, marks the betrayal of Jesus on Spy Wednesday (Holy Wednesday), climaxing with the commemoration of the Mystical or Last Supper on Maundy Thursday and the Passion of Jesus on Good Friday. Holy Week concludes with Christ's rest in death and descent into hell on Holy Saturday. One fixed date observance during Lent is the Marian Feast of the Annunciation1 of Our Lord (Mariae Verkündigung) on March 25 (Gospel Luke 1:26-38 (https://www.bach-cantatas.com/Read/Annunciation.htm), which also occurred in 1724 on Palm Sunday for dual services with two cantatas, "Siehe eine Jungfrau ist schwanger"2 (Lo now, there a virgin is pregnant, Philip Z. Ambrose trans.), BWV 1135 (previously BWV Anh. 199; music lost; https://www.bach-digital.de/receive/BachDigitalWork_work_00001510?lang=en)[2] and Weimar cantata "Himmelsk?nig, sei willkommen" (King of heaven, thou art welcome, Ps. 40:8-9, Ambrose trans.), BWV 182 restaged (https://en.wikipedia.org/wiki/Himmelsk?nig,_sei_willkommen,_BWV_182). An extensive discussion of Annunciation double bill Cantatas 182 and 1135 is found at https://www.bach-cantatas.com/BWVAnh199-D.htm. The most appropriate Bach works for the Annunciation feast, says John S. Setterlund,3 are the Visitation feast chorus Cantata 147.2, "Herz und Mund und Tat und Leben" (Heart and mouth and dee

New at BachCantataTexts.org: “Der Herr ist mein getreuer Hirt” BWV 112 http://BachCantataTexts.org/BWV112 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/Bloomington Bach Cantata Project). Please share this post with colleagues, friends, and audiences. There is a sign-up page on the site for an announcement list.

CD reviews: JS Bach: St John Passion (BWV 245) Werner Güra, Gli Angeli Genève/Stephan MacLeod Graupner: "Christ lag in Todesbanden - Complete Cantatas for Two Sopranos & Bass" Marie Luise Werneburg, Hanna Zumsande, Dominik W?rner, Kirchheimer BachConsort/Florian Heyerick Handel: Dixit Dominus - Ferrandini: Il pianto di Maria Deborah Cachet, Rachel Redmond, Sophie Rennert, Vlaams Radiokoor, Il Gardellino Baroque Orchestra/Bart Van Reyn "Alla Polacca - Polish influences in baroque music" Ensemble Giardino di Delizie/Ewa Anna Augustynowicz M Corrette: "Concerti op. 26" Vital Julian Frey, Hannfried Lucke, Orchester Le Phénix see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... https://twitter.com/jvveen2010 https://www.facebook.com/JohanvanVeen3512 website: http://www.musica-dei-donum.org twitter: https://twitter.com/johanvanveen weblogs: http://themusicalclock.blogspot.com http://hortusmusicus.wordpress.com

*Am Sontag Judica (3 April 1729), BWV 209a (https://www.bach-cantatas.com/Topics/Lent-Cantatas.htm: scroll down to "4th, 5th Sundays in Lent, Judica Cantata BWV 209a"), text Picander, Google trans., original https://www.bach-cantatas.com/BWV209.htm. 1. Aria B?se Welt, ich schm?h immerhin, Bad world, I insult after all, Ich will dulden, ich will ich weigen, I want to tolerate, I want to refuse, Mein Gewissen wird mir zeigen, My conscience will show me Da? ich nicht zu la?tern bin. Da Capo That I'm not too bad. 2. Recit. Welt, ?age, was du wilt, von mir, World, say what you want from me, Es steht dir fren, You are free to Und mir gilts einersen, And I feel one way, Die Wahrheit ist doch nicht ben dir: The truth is not with you: Die Lu?gen ist dein Element, Lying is your element, Und wer ben dir die Wahrheit nennt, And whoever tells you the truth Der hei?t ein Samariter, His name is a Samaritan, Ward Jesus doch von dir auch so gescha?ndt, Even though Jesus was so violated by you, Wie soll denn ich, sein Jünger besser seyn? How can I, his disciple, be better? Es geht zwar bitter Jedoch gedultig ein, Although it is bitter but patient, 3. Aria Errette mich von meinen Feinden, Deliver me from my enemies, Die mir geha??ig ?eyn, Those who are hateful to me Ich will die Wahrheit nicht verspahren, I don't want to block the truth, Dein Ehre wilt ich offenbahren, I want to reveal your honor, Gott, sich mir bey, die Sach Ist dein. Dc God, be with me, the matter is yours. 4. Recit. Recht mu? doch recht verbleiben, Right must remain right, Dem h?ngen alle Frommen an; All pious people adhere to this; Ist es der Welt nicht recht gethan, Isn't it right for the world? So mag sie mich von ?ich vertreiben, So let her drive me away from her, Ihr Grimm und ihre Hand voll Stein. Her anger and her hand full of stone. Jaget mich fr?lich zum Himmel hinein. Chase me happily into heaven. 5. Choral Mir hat die Welt trüglich gericht't The world has judged me deceitfully, Mit Lügen und mit falschem G'dicht with lies and false words, Viel' Netz' und heimlich' Stricke; with many snares and secret ropes. Herr, nimm mein wahr in dieser G'fahr, Lord, pluck me from these dangers, B'hüt' mich vor falscher Tücke! protect me from lying malice! Stanza 5, "In dich hab' ich gehoffet, Herr" (In you I have placed my hope, Lord), https://www.bach-cantatas.com/Texts/Chorale010-Eng3.htm, English trans. Francis Browne; BWV 244/32, 247/34 https://www.bach-cantatas.com/CM/Z2461.htm. *Cantata 203 Gustav Adolf Theil assembled a four-movement Picander-parodied sacred cantata using the music of profane bass solo Cantata 203, "Amore traditore" (Treacherous love) arias (Movements Nos. 1 and 3) as well as the recitative (No. 2), “Nun, falsche Welt! (Now, false world!) from Cantata BWV 95, Christus, der ist mein Leben (Christ is my life), for the 16th Sunday after Trinity 1723, and the closing chorale, “Jesu, der du meine Seele” (Jesus, by whom my soul), BWV 354, for a parody arrangement of the 1728 Picander Lenten cantata text, “Valet will ich dir geben” (I want to bid you farewell) in a score with forward, published by Forberg Verlag in Bonn, 1984 (Source, Schmieder BWV [203] catalog 1990: 328). 1. Aria 203/1 Amore traditore, Treacherous love Tu non m'inganni più. you will not deceive me any more. Non voglio più catene, I no longer want chains, Non voglio affanni, pene, I no longer want anxieties, pains, Cordoglio e servitù. dc heartache and slavery. 3. Aria 203/3 Chi in amore ha nemica la sorte, If someone has destiny for his enemy in love ? follia, se non lascia d'amar, it is madness, not to cease from loving. Sprezzi l'alma le crude ritorte, His soul should despise the cruel bonds Se non trova mercede al penar. dc if he does not find a reward for his suffering. https://www.bach-cantatas.com/Texts/BWV203-Eng3P.htm *6th Sunday after Epiphany 13 February 1729 replaces Septuagesimae Sunday (Ich bin vergnügt mit meinem Stande) 1. Chorale with Recit. Valet will ich dir geben I want to bid you farewell, Du arge falsche Welt, You evil, false world, Was hat ein Schrift vor Luft ben di

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, his coming, from above and oneness with the Father, to whom he ultimately returns," says Eric Chafe.1 The 4th Sunday in Lent, Laetere, 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 fourth Sunday in Lent, Laetare (https://en.wikipedia.org/wiki/Laetare_Sunday), signifies "Laetere 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). Last 3 Sundays in Lent, John's Gospel While the Lenten season in six Sundays moves from Jesus tempted in the desert to his ministry in the world and eventually to his triumphal entry into Jerusalem, the Passiontide culminates in his sacrificial atonement in his Passion on the cross on Good Friday. 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 5,000 with bread and fish (John 6:1-15, https://www.biblegateway.com/passage/?search=John%206%3A1-15&version=KJV) on Laetare Sunday, and in his confrontation with the Pharisees saying, "Verily, verily, I say unto you, before Abraham was, I AM (John 8:58f, https://www.biblegateway.com/passage/?search=John%208%3A58-59&version=KJV) 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 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 current three-year Revised Common Lectionary offers readings from John's Gospel for the following services in Lent: +3rd Sunday in Lent, John 2:13-22 (Lextionary Library); +4th Sunday in Lent, John 12:20-33 (Lextionary Library); Palm Sunday, Mark 11:1-11 or John 12:12-16 (Lectionary Library); +Monday in Holy Week, John 12:1-11 (Lectionary Library); Tuesday in Holy Week, John 12:20-36 (Lectionary Library); +Wednesday in Holy Week, John 13:21-32 (Lectionary Library); +Maundy Thursday, John 13:1-17, 31b-35 (Lectionary Library); Good Friday, John 18:1-19:42 (Lectionary Library); +Holy Saturday, Matthew 27:57-66 or John 19:38-42 (Lectionary Library). The three-year Revised Common Lectionary for Laetare 4th Sunday in Advent, says John S. Setterlund,2 suggests the most appropriate cantata the Laetare Gospel (John 6:1-15) is anytime chorus Cantata 21.1, Part 1, "Ich hatte viel Bekümmernis" (I harbored so much distressing woe, Ps. 94:19; Ambrose trans.; https://www.bach-cantatas.com/BWV21-D7.htm). In today's 3-year lectionary Year B, Laeteri, 10 March 2024, readings (https://lectionary.library.vanderbilt.edu/texts.php?id=74), the Gospel reading Jn. 3:14-21 uses the Pentecost Monday chorus Cantata 68, "Also hat Gott die Welt geliebt" (In truth hath God the world so loved, Jn. 3:16, Ambrose trans.; https://www.bach-cantatas.com/BWV68-D5.htm), alternat

CD reviews: Cavalieri: "Lamentations" Profeti della Quinta/Elam Rotem "Les Hautbois à la Chambre du Roi" Syntagma Amici/Jérémie Papasergio, Elsa Frank "Septem Verba & Membra Jesu Nostri" Ensemble Correspondances/Sébastien Daucé Telemann: "Franz?sischer Jahrgang 1714/15 - Complete Cantatas Vol. 2" Soloists, Gutenberg Soloists, Neumeyer Consort/Felix Koch see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... https://twitter.com/jvveen2010 https://www.facebook.com/JohanvanVeen3512 website: http://www.musica-dei-donum.org twitter: https://twitter.com/johanvanveen weblogs: http://themusicalclock.blogspot.com http://hortusmusicus.wordpress.com