开云体育

Review Festival Early Music Utrecht 2024 CD reviews: G Bononcini: "How are the mighty fallen" Soloists, Choir of Queen's College Oxford, Academy of Ancient Music/Owen Rees Dandrieu: - Premier livre de Pièces d'Orgue Pieter-Jan Belder, organ - "Trois Livres de Pièces de Clavecin" Pieter-Jan Belder, harpsichord Guido: Sonates à violon seul avec accompagnement de basse et de clavecin Ensemble Hortensia Virtuosa Handel: "Handel's Tea Time" Dorothee Mields, Die Freitagsakademie 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

New at BachCantataTexts.org: “Liebster Gott, wenn werd ich sterben?” BWV 8 http://BachCantataTexts.org/BWV8 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).

+BCW General, https://bach-cantatas.com/CM/index.htm +BCW Chorale Melodies, texts, https://bach-cantatas.com/Links/Links-Chorales.htm +BCW Bachfest Leipzig 1724, chorale cantata (2nd) cycle, https://www.bach-cantatas.com/Articles//Bachfest-Leipzig-1724.htm. +BCW Chorale Cantatas: Unity through diversity, https://www.bach-cantatas.com/Articles/Hoffman-20240626.htm +BCW Chorale Cantata Cycle: Challenges, Ingredients, Scope, https://www.bach-cantatas.com/Articles/Hoffman-20240621.htm. +BCW Bachfest Leipzig 1724, chorale cantata (2nd) cycle, https://bach-cantatas.com/Articles//Bachfest-Leipzig-1724.htm +BCW Chorale Addendum: Borrowings, Adaptations, Sources, https://bach-cantatas.com/Articles/Chorale-Addendum.htm +BCW Works Catalogue BWV3: Chorale Collections, Sources, Usages; Sacred Songs, https://bach-cantatas.com/Topics/Cantata-Odyssey.htm#Part6 +BCW BWV3 Catalogue, BCW Chorale Resources, https://bach-cantatas.com/Topics/Cantata-Odyssey.htm#Part7. +BCW World of the Bach Chorale Settings, https://bach-cantatas.com/Articles/World-Chorale-Settings.htm. +BCW Chorale Cantata Cycle: Part 1; Part 2: Early Reception History, https://bach-cantatas.com/Books/B0221-2.htm +BCW Motets & Chorales for Events in the Lutheran Church Year, https://bach-cantatas.com/LCY/M&C-Table.htm +BCW Chorale Cantata Cycle: sections: "Chorale Cantata Overview," "Anatomy of a Chorale Cantata," Lutheran Chorale Tradition," "Chorale Cantata Cycle," "Genesis of Chorale Cantata Cycle" (cycle 1 proto-chorale cantatas BWV 43, 95, and 73 plus BWV 138), "Chorale Cantata Elements," "Innovation & Balancing Act," "Compositional Challenges," "Cantata Cycle Incomplete," "Chorale Cantata Obstacles," and "Chorale Cantata Librettist(s)" which probes the great enigma of the identity of the cycle librettist(s) and the reasons for Bach's cycle cessation at Easter 1725 (https://www.bach-cantatas.com/Topics/Cycle-2.htm: scroll down to "Chorale Cantata Cycle" +BML (Bach Mailing List): articles, 2014, https://www.bach-cantatas.com/Order-2014.htm: scroll down to "Choral Cantatas, Cycle II"; https://www.bach-cantatas.com/Order-2015.htm#google_vignette; +BCW Chorale by Theme. Passion Chorale (November 16-18, 2004) Motets & Chorales for Christmas (February 28, 2015) Clavierübung III, German Organ Mass/Catechism Chorales, BWV 669-689 (July 9+16, 2017) Luther's Deutsche Messe, Other Liturgical Chorales (July 21, 2017) Christological Cycle: Penitential/Communion Chorales (July 25, 2017) Chorales: Psalms, Christian Life, Troubles, Thanks, Weddings (July 28, 2017) Gloria Settings, BWV 260; Free-Standing Chorales, BWV 253-438 (September 23, 2017) Trinity 21-23, Death & Dying Chorales (December 3, 2017) Last Trinity Time Sundays' Cantatas, Chorales (December 7, 2017) Devotional Hymns: Morning, Evening Songs (December 14, 2017) Blessing & Thanks Hymns as Chorales at Meals; Tafelmusik (December 21, 2017) Eschatological Chorales, Coming in Judgement (December 24, 2017) Passiontide Devotional Chorales, Other Wei?e Hymns (February 20, 2018) Holy Week Passion Chorales (March 25, 2018) Good Friday Chorales (March 31, 2018) Easter Season Chorales (April 11, 2018) Chorale-Song Collections, Student Work (October 14, 2018) Christological Cycle: Part 2, Latin Church Music, Chorale Settings (November 21+24, 2018) Christological Cycle Summary: Oratorios, Related Cantatas, Latin Church Music; Chorales (December 1, 2018) Other articles Uwe Wolf, "The chorale cantata year-cycle and the St. John Passion," https://blog.carus-verlag.com/en/choral-works-in-focus/the-chorale-cantata-year-cycle-and-the-st-john-passion/ +Wikipedia, Chorale Cantatas, https://en.wikipedia.org/wiki/Chorale_cantata_(Bach). Charles Sanford Terry, Bach’s Chorals, 3 vols., https://oll.libertyfund.org/people/charles-sanford-terry. +Alfred Dürr, "Bach's Chorale Cantatas": In BACH: Essays, ed. Yo Tomita et al (Burbank CA: Ashgate Publishing, 2011: 111-119 (Chapter 11); In Cantors at the Crossroads: Essays in Church Music in Honor of Walter E. Buszin (St. Louis: Concordia, 1967: 507-517); https://swb.bsz-bw.de/DB=2.355/SET=1/PRS=HOL/SHW?F

When Bach assumed his cantor and music director post in Leipzig on Pentecost Sunday 1723 he had a grand design for his first two church-year cantata cycles. For the heterogeneous first cycle of some 60 services, he recycled 30 cantatas originally composed in Weimar and Cothen, altering some from services not available in Leipzig during the closed periods of Advent and Lent or serenades to be parodied for new services. Bach's compositional process required him to secure a series of libretto books with consecutive services from available librettists in which he picked the appropriate chorale and liturgical text and outlined the internal movements to be paraphrased. Bach was following various compositional patterns. Bach's employer, the Leipzig Town Council, had authority over the location of the service and approval of the texts for the next series of services. Only a handful of such libretto books is extant, primarily covering de tempore festive services in the first half of the church year. As Bach compiled his first cycle he examined the recommended hymns for each service and focused on the Hymn of the Day in the second half of the church year, omnes tempore for Trinity Time, now called the Pentecost Season on the life of the Christian Church. Here, Bach was guided by the appropriate motets and chorales for each service (see events in the church year, https://www.bach-cantatas.com/LCY/M&C-Table.htm: scroll down to 1st Sunday after Trinity [Trinity 1]). A special template is found in the "Trinity Time Thematic Patterns in the Gospels," focusing on three literary patterns or genres: Parables - short moralized allegories within the larger narratives of events in the life of Christ; Miracles - short self-contained narratives of miraculous healings; and Teachings -? excerpts from longer hortatory discourses by Christ. The first four Sundays after Trinity is a sequence of four gospel parables: Trinity 1, Luke 16: 19-31 Dives and Lazarus; Trinity 2, Luke 14: 16-24 Parable of the great supper; Trinity 3, Luke 15: 1-10 Parable of the lost sheep; and Trinity 4, Luke 6: 36-42 Be merciful and do not judge. Overall, the Trinity season seems to explore the human condition, its weakness, wavering, sinfulness, and mortality, emphasizing these qualities so as to demonstrate the need for both fear of God’s judgment and trust in His mercy.” The first third (1-8) emphasizes Lutheran fundamental teachings, the second third (9-19) on the theological underpinnings, while the final third is the eschatological (Last Time) themes of “Last Days, Resurrection of the Dead, and Eternal Life" found in the last pages of Bach’s hymnbook, Das neu Leipziger Gesangbuch (NLGB Nos. 836-992. Wikipedia). Chorale Cantata Cycle Schedule An accounting of the actual performances of the homogeneous 2nd church year cycle of chorale cantatas (https://en.wikipedia.org/wiki/Chorale_cantata_cycle) shows that from the period of the First Sunday after Trinity with Cantata BWV 20 (11 June 1724), Bach composed 40 chorale cantatas until the Feast of the Annunciation (25 March 1725) with Cantata BWV 1, “Wie sch?n leuchtet der Morgenstern.” During that nine-month period, Bach systematically produced chorale cantatas for virtually every Sunday and all the feasts days. At that time he did not compose and present three chorale cantatas for the following services: the 4th Sunday after Trinity since it coincided with the Feast of John the Baptist (24 June 1724, BWV 7); the 6th Sunday after Trinity (16 July 1724), when no work was presented but a chorale cantata text completed and later set as BWV 9; the 12th Sunday after Trinity 27 August 1724), when no work was presented. Interestingly, Bach subsequently filled these three gaps with chorale cantatas composed individually and added to the cycle until 1735: Cantata BWV 177 for Trinity +4 in 1731, Cantata BWV 9 for Trinity +6 in 1735, and Cantata BWV 137 for Trinity +12 in 1725). In addition, for the period of Trinity Time through the Feast of the Annunciation during Lent, Bach composed two additional chorale cantatas on Sundays tha

Released On: 01 Sep 2024 Available for 29 days 59 minutes As the summer holidays come to an end, and parents toast their kids' return to school, Hannah French explores JS Bach's role as a teacher at St. Thomas' Church in Leipzig. The school had a very specific set of rules that had to be followed by both students and staff... or woe betide...! https://www.bbc.co.uk/sounds/play/m0022c4y

We are pleased to add a new text and translation: “Ich armer Mensch, ich Sündenknecht” BWV 55 http://BachCantataTexts.org/BWV55 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: "Lasst uns sorgen, lasst uns wachen" BWV 213 http://BachCantataTexts.org/BWV213 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: Grancini: Novelli Fiori Ecclesiastici Nova Ars Cantandi/Giovanni Acciai - Mannelli: Trio sonatas Op. 3 Ensemble Giardino di Delizie - Mossi, Montanari: "Golden Strings - Sonatas for violin and basso continuo" Anima & Corpo Palestrina: "Volume 9" The Sixteen/Harry Christophers 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

We are pleased to add a new text and translation: “Aus tiefer Not schrei ich zu dir” BWV 38 http://BachCantataTexts.org/BWV38 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: - MF Cannabich: "Sigr. Canaby - All flute sonatas by Martin Friedrich Cannabich" Lorenzo Gabriele, Matthias Bergmann, Seulki Bae - "Prussian Blue - Flute music at the court of Frederick the Great" Sophia Aretz, Alexander von Hei?en Ingegneri: - "Volume Two: Missa Voce mea a 5" - "Volume Three: Missa Susanne un jour a 5" Choir of Girton College, Cambridge, Historic Brass of the Royal Welsh College of Music and Drama/Gareth Wilson Telemann, Heinichen: "Early Cantatas" Ensemble Polyharmonique, {oh!} Orkiestra/Alexander Schneider 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

Following the second early communion chorale in his second chorale cantata BWV 2 for the 2nd Sunday after Trinity on 18 June 1724, Bach turned to festival chorale Cantata 7 for St. John's Day feast, also known as the Feast of John the Baptist, 24 June 1724 on a Thursday between the 4th and 6th Sundays after Trinity, which often took precedence over an adjacent regular Sunday service (Carus 1724/25 calendar, https://www.carus-verlag.com/en/bach-1724-1725/). The official Bach Cantatas Website (BCW) 1723 calendar (https://bach-cantatas.com/LCY/1723.htm) shows no recorded performances on 4th Sunday after Trinity (July 2) which fell on the feast of the Visitation or the 6th Sunday after Trinity (July 16) but chorale Cantata 10 performed for Visitation on Friday, July 2. 2nd Chorale Cantata Cycle Now, the 2nd, chorale cantata cycle 1724/25 commenced with all new works (BCW calendar, https://bach-cantatas.com/LCY/1724.htm). Assisting Bach from the first cycle had been his accounting of Early Trinity Time appropriate chorales (Hymn of the Day, Pulpit & Communion Hymns, https://www.bach-cantatas.com/LCY/M&C-Trinity1.htm) and liturgy (readings; https://www.bach-cantatas.com/Read/index.htm: scroll down to 1st Sunday after Trinity), which are the two key textual ingredients in Bach's vocal music cantatas, oratorios (great cantatas), and Latin Church Music. Bach's cantata cycles were governed by his single-lectionary of readings ( https://www.lcms.org/worship/lectionary-series#one-year-lectionary) which drew on the best-known gospel and epistle readings in the Lutheran Prince Heinrich's 1540 Saxon Agenda and Church (https://acollectionofprayers.com/wp-content/uploads/2016/09/the-saxon-agenda-of-1540.pdf). A special supplement is Paul Zeller Strodach's The Church Year: Studies in the Introits, Collects, Epistles, and Gospels.1 Current Revised Common Lectionary A new, three-year Revised Common Lectionary ( https://en.wikipedia.org/wiki/Revised_Common_Lectionary) was created in the 20th century for the Catholic and progressive Protestant churches with Year B representing the Gospel of Mark (2023-24); Year C, the Gospel of Luke; and Year A, the Gospel of Matthew. Important selective Johannine readings are found in all three years. Portions of the Gospel of John are read throughout Eastertide, and are also used for other liturgical seasons including Advent, Christmastide, and Lent where appropriate. Complementing this lectionary is John S. Setterlund's Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary.2 "Bach Through the Year has reassigned the cantatas, as well as the motets, passions, and oratorios, to the Sundays and festivals with whose current readings and themes they most closely correspond. In each commentary, the relationship between a lectionary reading, usually the gospel, and the designated cantata is highlighted, says Setterlund (Ibid.). Besides the Sunday and feast-day services, Bach Through the Year covers single observances during the closed periods of Advent and Lent, as well as saints days and "minor changes in the liturgical year itself that have been made since the time of Bach," he says (Ibid.: Preface). "Although Bach clearly indicated the occasion on which most of his cantatas were performed [on score ms. title page], the readings, and therefore the theme of the day do not necessarily coincide with the readings and themes of the modern church" (Ibid.: Preface). Thus, "Bach Through the Year has reassigned the cantatas to the Sundays and festivals with whose current readings and themes they most clearly correspond. In each commentary the relationship between a lectionary readings, usually the gospel, and the designated cantata is highlighted. Sometimes these relationships are explicit, other times they are more general." "Since Bach composed several cantatas for most occasions, there are approximately as many to be distributed as there are Sundays in the modern three-year lectionary." "Where no year-designation is given [A,B, or C], the day or occasion is intended for An

CD reviews: Aldrovandini: "Trio sonatas Op. V" Archipelago Avondano: Morte d'Abel Soloists, Divino Sospiro/Massimo Mazzeo Erlebach, J & JCF Fischer, Kusser: "Ouvertures & Suites" Altberg Ensemble/J?rg-Andreas B?tticher "Grands Motets, Vol. 2 - Compositeurs des ?tats du Languedoc" Ensemble Antiphona/Rolandas Muleika The harpsichord in 18th-century Paris Jos Van Immerseel, harpsichord 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

CD reviews: "Berlin Harpsichord Concertos" Philippe Grivard, Ensemble Diderot - Fontana: "Complete Sonatas for Violin and Basso continuo" Lux Terrae Baroque Ensemble - Uccellini: "Violin Sonatas from Opp. 3-5" Noxwode/Conor Gricmanis Handel: "Dixit Dominus - Laudate pueri - Nisi Dominus" RIAS Kammerchor Berlin, Akademie für Alte Musik Berlin/Justin Doyle La Hèle: Missa Praeter rerum seriem El León de Oro/Peter Phillips, Marco Antonio García de Paz Praetorius (M), H Schütz: "Sacred Works" Weser-Renaissance Bremen/Manfred Cordes 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

Bach set another Communion Hymn, Martin Luther’s early chorale setting of Psalm 12, (Salvum me fac, Help, Lord),"Ach Gott vom Himmel sieh darein"1 (Ah God, from heaven look on us, trans. Z. Philip Ambrose) as Trinity 2 chorale Cantata BWV 2, for the next Sunday, the 2nd after Trinity (18 June 1724), a week following chorale Cantata BWV 20, “O Ewigkeit, du Donnerwort I”. In Cantata 2, the opening chorale fantasia motet chorus, the cantus firmus enters in the alto voice at measure 16 in Cantata 2, found only in one other cantata, BWV 96, “Herr Christ, der einge Gottes Sohn,” for the 18th Sunday after Trinity 1724, notes Alberto Basso in the Oxford Composer Companions: J. S. Bach.2 Cantata 2 “contrasts sharply with the opening movements of cantatas, Nos. 20 and 7, and the contrast is underlined by the presence, as a kind of ostinato, of the passus duriusculus (a chromatic descent through the interval of a 4th) -- a feature also of the earlier Cantata 12/2 [chorus “Weinen, Klagen Sorgen Zagen,” Jubilate (Easter +2)] and the later Cantata 78/1 [chorale fantasia, “Jesu, der du meine Seele,” Trinity +24, 1724].” Luther Motet Style Bach’s treatment of the chorale text and melody is quite simple and straightforward in Cantata 2, following the complexity of its predecessor, Cantata 20, in the opening fantasia and four of the internal arias and recitatives (https://bach-cantatas.com/BWV20-D6.htm#google_vignette). In the opening Cantata 2 motet setting (https://www.youtube.com/watch?v=1mH5TUOMQq0), “It is interesting that the phrase structure remains quite clear and one could almost say simple,” observes Craig Smith in Emmanuel Music Cantata 2 notes.3 “When we think of the elaborate phrase overlaps in the treatment of the previous week's chorale tune, O Ewigkeit, du Donnerwort (https://www.youtube.com/watch?v=FU_COgaxiCU), these phrases seem very direct. One senses that the very complexity of harmony is enough for Bach here. Also there is an extraordinary economy of motive.” Martin Luther takes pride of place in the motet-like early chorales as realized in Bach. Daniel Melamed, in his survey J. S. Bach and the German Motet,4 notes that chorales whose texts are by Luther are especially chosen for motet-style treatment: *BWV 2/1 [SATB motet chorale chorus], "Ach Gott vom Himmel sieh darein," 2nd Sunday after Trinity 1724 (M. Luther); *BWV 4/5 [SATB & continuo chorale chorus], S. 4, “Es war ein wunderlicher Krieg” (It was a strange battle), Christ lag in Todesbanden (Christ lies in the death’s bondage), Easter Festival 1707, 1724-25 (M. Luther); *BWV 14/1 [chorale fantasia], “W?r Gott nicht mit uns diese Zeit,” 4th Sunday after Trinity 1735 (M. Luther); *BWV 28/2 [motet chorale chorus], “Nun lob mein Seel), Sunday after Christmas 1725 (J. Gramann, 1530); *BWV 38/1 [chorale fantasia], “Aus tiefer not schrei ich zu dir,” 21st Sunday after Trinity, 1724 (M. Luther] *BWV 80/1 [chorale fantasia], “Ein fests Burg ist unser Gott,” Reformation c.1730]. Either there is a text by Luther, or a "dictum" specially suited to the objective, didactic workings of a strict motet form (M. Luther) *BWV 121/1 [chorale fantasia], “Christum wir sollen loben schon,” 2nd Day of Christmas, 1724 (M. Luther); *BWV 182/7 [chorale chorus with orchestra], “Jesu, deine Pasion,” “Jesu Leiden, Pein und Tod,” Palm Sunday, 1714, 1724 and 1728 (P. Stockman, 1663). In his definitive article, "Bach's Chorale Cantatas," Alfred Dürr5 observes that because most of the hymns are from the Early Reformation (1517-77) and Lutheran Orthodoxy (1577-1677), the "chorale cantatas show how closely tradition and modern writing go hand in hand in Bach's work. The concertizing arrangements of old-fashion chorale melodies and, above all, the settings of chorale texts in the form of recitatives and arias proves this." Opening Chorale Fantasias: Varied Forms The varied forms of the opening chorale fantasias are the subject of Julian Mincham’s Commentary introduction (https://www.jsbachcantatas.com/documents/chapter-3-bwv-2/): <<This cantata [BWV 2] is a full ten minutes shorter [20 minutes] t

CD reviews: - "Corelli after Schickhardt - Triosonatas" Serendipia Ensemble - Schickhardt: "Sonate a quattro op. 22" Epoca Barocca Gesualdo da Venosa: "Dolcissima mia vita - Madrigali a cinque voci, Libro quinto (1611)" Collegium Vocale Gent/Philippe Herreweghe Isaac: "Choralis Constantinus 1508 - Heinrich Isaac in Konstanz" ensemble cantissimo, Concerto Dell'Ombra/Markus Utz Jeffreys: "Lost Majesty - Sacred Songs and Anthems" Solomon's Knot/Jonathan Sells "A Musical Tour from Renaissance to Baroque" Cantar alla Viola 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

CD reviews: "The Queen's Masque - A female representation of power in English 16th century consort music" Carine Maree Tinney, ensemble feuervogel, Ziv Braha Schütz: "Da Pacem" Ricercar Consort/Philippe Pierlot "The sword and the lily - 15th-century polyphony for Judgement Day" Fount & Origin/James Tomlinson "Teatro Sant'Angelo" Adèle Charvet, Le Consort/Théotime Langlois de Swarte Giuseppe Torelli: - "12 Concerti grossi op. VIII" Ensemble Locatelli/Chiara Cattani - "Travelling with a violin" Sue-Ying Koang, Diana Vinagre, Parsival Castro, Vincent Bernhardt 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

Correction, ENDNOTES: 11 Robert L. Marshall, "Father and Sons: Confronting a Uniquely Daunting Paternal Legacy." In Mary Oleskiewicz, Bach Perspectives 11 : J. S. Bach and His Sons (Urbana IL: University of Illinois Press, 2017; https://academic.oup.com/illinois-scholarship-online/book/14115/chapter-abstract/167938593?redirectedFrom=fulltext: 13). -- William Hoffman

Bach was fully prepared in Leipzig to create a chorale cantata cycle, as his cantor predecessors and colleagues had done, although not required to. Although lacking a university degree which prejudiced him against his employer, the Pfennig-pinching Leipzig Town Council, Bach was thoroughly versant in Latin, had passed his theology exam with the Leipzig Lutheran Consistory, and was a thorough musician as a teacher composer, conductor, renowned organist and organ builder. In the field of the German chorale, he had no equal. As church organist, he had created such works as the chorale-partita-designed composer of Easter Cantata 4,1 "Christ lag in Todes Banden," he had built a repertory of organ chorale works such as the Orgelbüchlein, Neumeister Chorales, and the "Great 18" Leipzig Chorales. Other early cantatas used instrumental and vocal chorales in Cantatas 71, 106, and 131, and he began in Weimar closing his church cantatas with plain chorales in Cantata 18 (c1713). Meanwhile, he began his Passion studies with the Brauns "Markus Passion," BWVV 1166.1 (https://www.bach-cantatas.com/Other/Brauns-Markus-Passion.htm) and his own Weimar-Gotha Passion, BWV deest (BC D 1, https://en.wikipedia.org/wiki/Weimarer_Passion). Bach observed Martin Luther's dictum that parents teach their children the Catechism and related hymns, creating family music books for eldest son Friedemann, (Klavierbüchlein für Wilheln Friedemann Bach, https://www.bach-cantatas.com/NVD/AMN.htm) and second wife Anna Magdalena (Notenbüchlein für Anna Magdalena Bach, 1725; https://www.bach-cantatas.com/Vocal/BWV508-523.htm). Cycle 1 Proto-Chorale Cantatas Finally, in his first church-year cantata cycle, Bach created proto-chorale cantatas beginning with his Estomihi probe Cantatas BWV 22 and 23, with closing chorale choruses in the style of the opening chorale chorus fantasias in 27 mostly de tempore chorale cantatas (They are: BWV 1, 2, 7, 8, 10, 14, 20, 26, 33, 41, 62, 78, 96, 99, 111, 114, 115, 116, 121, 123, 124, 127, 130, 133, 135, 138, 139; source, https://www.bach-cantatas.com/Topics/Cycle-2.htm#google_vignette: scroll down to paragraph beginning "The most used category. . . ."). In the first cycle, Bach set 32 cantatas with elements of the chorale cantata such as tropes, multiple insertions, hybrid and poetic materials, and elaborate closing choruses in his newly-composed cantatas. The next category were interpolated chorale and poetic recitative materials "treated in various ways and usually found during the omnes tempore Trinity Time having lesser-known chorales. The most common insertions are the chorale trope in the recitative found in seven cantatas: BWV 3, 38, 91, 94 (2 tropes), 122, 125, and 126. In eight cantatas Bach used multiple insertions, with as many as two troped recitatives and a separate chorale aria in BWV 92, 93, 101, 113, 122, 125, 126, and 178. Cantata 180 has a troped recitative and chorale aria. Bach also had made effective use of hybrid chorale and poetic materials in original Leipzig Cantatas BWV 43, 95, and 173 while Trinity 15 Cantata 138 comes closest to the typical chorale cantata with three extended, troped chorale choruses (Nos. 1, 2-3, 4-5). Interestingly, another 12 earlier cycle 1 compositions have elaborate closing chorale choruses (BWV 75, 76, 25 and 49 in two parts; 23, 48, and 190 in different arrangements of the same chorale; and 77, 25, 48, and 107 in wordless instrumental chorales sounded in choruses. Bach composed only one chorale cantata of the second cycle, BWV 107 for Trinity 7, that has a closing chorale chorus, instead of the usual plain chorale setting. It also is Bach’s only Cycle 2 example of a complete original hymn text setting (seven stanzas), called per omnes versus, in one internal recitative and four successive arias. The reason for this sole example is that perhaps on this occasion Bach’s librettist was for some reason unable to supply the usual hymn paraphrase. Trinity 1 Chorale Cantata 20, O Ewigkeit, du Donnerwort Bach's plan for his first chorale cantata opening the second church-year cycle is

CD reviews: - "Un air d'Italie - The mandolin in Paris in the 18th century" Marc Mauillon, Pizzicar Galante - "The mandolin in London" Marina Bartoli, Artemandoline Arne: "Organ Concertos (1751)" Andrzej Mikolaj Szadejko, Goldberg Baroque Ensemble JM Haydn: Kaiser Constantin I. Feldzug und Sieg Soloists, Purcell Choir, Orfeo Orchestra/Gy?rgy Vashegyi "Maltese sacred music of the 18th century" Ensemble Auditorium Pacis/Diego Cannizzaro, organ Schütz: "Schwanengesang" (SWV 482-494) La Capella Ducale, Musica Fiata/Roland Wilson 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

As Bach prepared for his ultimate compositional challenge in the late spring of 1724 in Leipzig, a church year homogeneous cycle of unique chorale cantatas, he encountered various other challenges. As cantor at St. Thomas School he was also responsible for teaching students musical performance, both vocal and instrumental, and composition while he also had created a body of instrumental collections and sought further pursuits. He also was responsible for all bridal Mass settings and funeral works, as well as for major works such as the annual oratorio Passion. As Leipzig music director, Bach was provided profane congratulatory works for Leipzig University functions, which he had neglected (see https://www-unimusik-uni--leipzig-de.translate.goog/universitaetschor/festmusiken?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc), as well as other Leipzig patrons and leaders. Thus Bach was engaged in a balancing act. Beyond the almost weekly requirement for a new cantata with a new text whose actual chorale and movement choices he also dictated in advance, Bach also had to seek a librettist for his annual Passion as well as plans for other major works such as a feast day oratorio for Easter and a suitable librettist for secular drammi per musica. Meanwhile, he increasingly brokered plans for further compositions, both sacred and profane which he was often unable to complete or are lost, as found in the new Bach Werke Verzeichnis, BWV 3, works catalogue (https://www.bach-cantatas.com/Topics/BWVSystem-4.htm). Consequently, Bach was mastering certain principles and templates to further his ambitious agenda. One was the concept of compositional unity through diversity and the underlying, supportive activity of recycling previously-composed works to help fill the void, an activity still questioned by some Bach scholars who consider self-parody (new-text underlay) to be little more than self-plagiarism. In order to advance the concept of the church-year cantata (and its extended oratorio) as a musical sermon, Bach found published theological commentaries on various subjects and incorporated them into his cantatas, along with (one assumes) working collaboration with his librettists and the primary pastors whose sermons on the service's liturgy followed the cantata before communion. Trinity Time Teachings Bach faced a special challenge with the chorale cantata. Here, the musical theme and substance were dictated by the textual poetic stanzas and the underlying message of the hymn's author. The internal stanzas of the hymn were paraphrased as recitatives and arias to Bach's accompanying music, rather than madrigalian settings reflecting the service's liturgical teachings, a particular requirement in the services of the first half of the church year, de tempore (proper time) on the ministry of Jesus Christ, especially during Christmas and Easter, in contrast to the other half, omnes tempore (usual time), Trinity Time, on the teachings of the church, Martin Luther's New Testament teachings in his Catechism and general Christian themes, such as “Christian Life and Conduct” and “Trusting in God, Cross and Consolation.” For this half which Bach undertook for the some 26 services beginning with the 1st Sunday after Trinity, now known as the 2nd Sunday after Pentecost, Bach had a special template, "Trinity Time Thematic Patterns in the Gospels." Instead of dramatic gospel narrative, the Trinity Time services focus on three literary patterns or genres: Parables - short moralized allegories within the larger narratives of events in the life of Christ; Miracles - short self-contained narratives of miraculous healings; and Teachings ? excerpts from longer hortatory discourses by Christ. There is also a series of groupings which would have been part of the critical apparatus of both theologians and musicians such as Bach who had such a finely-tuned ear for the literary shape of scriptural passages. A brief outline of the half season: 1) Sundays after Trinity 1-4 is a four-week sequence of parables; 2) Trinity 5-8 has a series of paired miracles and