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Cantata BWV 48, Rudolf Lutz & J.S. Bach-Stiftung, St. Gallen, compared to other four main HIP recordings. This is my first contribution to the discussion group. I have previously posted a general commentary on the complete Lutz cycle at: https://www.bach-cantatas.com/Performers/Lutz-R-Gen1.htm My name is Frits V. Herbold, I am an 80 years old Dutch citizen; grew up in the Netherlands and Brazil and studied in Germany, where I sung my first cantatas as bass in a small local choir and reside in Nashville, TN, USA since 2014. As a big fan of J. S. Bach’s cantatas and his other vocal works, I have been hearing and studying the cantatas during the last 60 years of my life, which allows me to compare the many great recordings made available in this time period. I started to appreciate the new Rudolf Lutz cycle with the J.S. Bach-Stiftung, St. Gallen on DVD since its launch in 2006. BWV 48 is the first cantata of his cycle, recorded live at the Evangelic Church in Trogen. Strangely, the booklet mentions two different recording dates: October 20, 2006, two days before the 19th Sunday after Trinity and June 5, 2008 (printing error?). See also the Bachipidia link https://www.bachipedia.org/werke/bwv-48-ich-elender-mensch-wer-wird-mich-erloesen/ with links to the concert (YouTube), workshop and reflexion. The names of all performers, including all choristers can also be found there. His minimal choir and orchestration follows the original scoring of the NBA, see https://www.bach-digital.de/receive/BachDigitalWork_work_000000063 with one exception: the preserved sources of both original score and parts (see NBA: I/24) clearly prescribe a trumpet (‘tromba’ in the score or ‘clarino’ in the part). During the workshop that accompanies the DVD editions, Lutz announces the use of a ‘tromba da tirarse’ as brass instrument to play the instrumental chorale melody in the opening movement. Something must have gone wrong here, because during the concert he only uses the two oboes (Kerstin Kramp and Meike Gueldenhaupt) as wind instruments. The BC is performed following Bach’s most usual combination of (chest) organ (Ives Bilger), contrabass (Iris Finkbeiner), violoncello (Martin Zeller) and bassoon (Susann Landert). The two violins are played by Renate Steinmann (concertmaster) and Livia Wiersich and the single viola by Joanna Bilger. Lutz does not use the great church organ. In a private e-mail exchange, he justifies (freely translated from German): ‘It would have been nice (German: “sch?n”) to use the great organ; this (instrument) though, is romantically arranged and would not match the sound of the old a’= 415 (Hz) instruments. Also, it (the organ) is tuned well-tempered; however, we use the Vallotti and Young (temperaments)’. The relatively small choir is composed of 3 sopranos, 3 altos, 3 tenors and 3 bases and their excellent performance is successfully proven in the cantata’s very elaborate first movement (Chorus) Bearing in mind that this is the first performance of the choir in this cycle, they master the below described complexities by A. Dürr with great attention and perfect entries, supported by the fact that Rudolf Lutz conducts this cantata in standing, without playing the organ or harpsichord himself, as in many following cantatas. Both other chorale movements 3 and 7 are equally performed with great clarity. The alto movements 2 (Recitative) and 4 (Aria), are sung by the invited German mezzo-soprano Ruth Sandhoff (see https://www.bach-cantatas.com/Bio/Sandhoff-Ruth.htm . She recorded the first version of Bach's Magnificat BWV 243a, singing the soprano II part, with Helmuth Rilling in March 2000 and participated in other 5 Lutz recordings as Mezzo-soprano. In my opinion, she uses too much vibrato and doesn't match the level of other women’s altos in the Lutz cycle like Margot Otzinger, Michaela Selinger or Claude Eichenberger. The accompaniment of oboe and minimal strings (violin 1 and 2, one viola) in the aria is very delicate, transparent and well played. The voice of German tenor Johannes Kaleschke (see https://www.bach-cantat

The website, "Which Bach Cantata Today" (https://www.whichbachcantata.be/all-cantata-days/) has posted recommended Bach sacred vocal music for Holy Saturday or Sabbatum Sanctum with the Motets, BWV 225-230 and the St. Mark Passion, BWV 247; for Easter (Sunday) Chorale Cantata 4, Cantata 31, and the Easter Oratorio, BWV 249; for Easter Monday, Cantatas 66 and 6; and for Easter Tuesday, Cantatas 134, 145, and 158. -- William Hoffman

The three-day festival of Easter was initially observed in the Heinrich Schütz Resurrection History: Historia der Auferstehung Christi, SWV 50, his first Historiae of 1623, with the Resurrection story (John 20:1-18), the Walk to Emmaus (Luke 24:13-35), and the Upper Room meeting of Jesus and His Disciples (Luke 24:36-49). In 1725, during his second (chorale cantata) cycle, Bach ceased composing and presenting chorale cantatas on Easter Sunday with Cantata 4.2 (https://www.carus-verlag.com/en/bach-1724-1725/), although Bach selectively added per omnes versus chorale cantatas to fill selected services (see https://en.wikipedia.org/wiki/Chorale_cantata_(Bach): scroll down to "Later additions to the chorale cantata cycle"). Tradition shows that in Bach's time in Leipzig, Easter Tuesday as a feast day was not observed while his closest competitor, Telemann in Hamburg, composed Easter oratorios for two oratorio cycles in the early 1730s and one sacred oratorio, Die Auferstehung und Himmelfahrt Jesu, TWV 6:6 (https://imslp.org/wiki/Die_Auferstehung_und_Himmelfahrt_Jesu%2C_TWV_6:6_(Telemann%2C_Georg_Philipp), in 1760. The Easter Vigil, held in darkness between sunset on Holy Saturday and sunrise on Easter Day, is a vespers of prayer and liturgy (https://en.wikipedia.org/wiki/Easter_Vigil). Holy Saturday uses the gospel of Matthew 27:57-66 (Burial of Jesus, https://www.biblegateway.com/passage/?search=Matthew%2027%3A57-66&version=RSV). This is appropriate for both Bach's one-year lectionary and today's three-year Revised Common Lectionary, observes John S. Setterlund. His preferred work for this day is Cantata 156 (3rd Sunday after Epiphany, https://www.carusmedia.com/images-intern/medien//30/3115600/3115600x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv156bca38?path=thirdsundayafterepiphany. The Christian Worship lectionary of the Wisconsin Evangelical Lutheran Synod (2021, https://www.christianworship.com/preview/scripture) prefers the St. Matthew Passion closing (parts 62-68, see https://www.bach-cantatas.com/Texts/BWV244-Eng3.htm) or Cantata 106 (funeral music, https://www.carusmedia.com/images-intern/medien//30/3110600/3110600x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv106bcb18?path=funeral-and-memorial-services). While the three day festival of Easter is not observed much today, other observances are, such as Easter Sunrise outdoor vigil (https://en.wikipedia.org/wiki/Sunrise_service), using the gospel of John, 20:1-18 (Resurrection of Jesus, https://www.biblegateway.com/passage/?search=John%2020%3A1-18&version=RSV), reading preferred in the one- and three-year lectionaries: Year C, 20 April 2025, preferred Easter Oratorio, BWV 249.3 (https://www.carusmedia.com/images-intern/medien//30/3124900/3124900x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv249bcd8?path=index-first-lines), alternate Cantata 67 (Quasimodogeniti Sunday, https://www.carusmedia.com/images-intern/medien//30/3106700/3106700x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv67bca62?path=quasimodogeniti); Year A, 5 April 2026, preferred Cantata 66 (Easter Monday, https://www.carusmedia.com/images-intern/medien//30/3106600/3106600x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv66bca56?path=easter-monday), alternate Cantata 31.2 (Easter Sunday, https://www.carusmedia.com/images-intern/medien//30/3103100/3103100x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv31bca55?path=easter-sunday), Bach's one-year lectionary, preferred Easter Oratorio, BWV 249.3 (see above, Year C); Year B, 27 march 2027, preferred Cantata 4 (Easter Sunday, https://www.carusmedia.com/images-intern/medien//30/3100400/3100400x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv4bca54?path=easter-sunday), alternate Cantata 137 (12th Sunday after Trinity, https://www.carusmedia.com/images-intern/medien//30/3113700/3113700x.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv137bca124?path=twelfth-sunday-after-trinity). Easter Day: Year C, 20 April 2025, gospel Luke 24:1-12 (Re

Thanks, David, this sounds like a very interesting and useful book - and very reasonably priced! Cheers Melissa Raven (Adelaide, South Australia) On 15 Apr 2025, at 7:52 pm, David Stancliffe via groups.io <david.stancliffe@...> wrote: ? Unpeeling Bach What have we learned over the past 50 years about how Bach performed his sacred vocal music, and how has our performance practice changed? by David Stancliffe, The Real Press, April 2025 My book on what we've learned about how Bach performed his vocal music has just been published, and you can find it on Amazon. Here are some commendations. I researched and wrote it in the lockdown, when we couldn't perform live and I had time to read the research articles and books, and was encouraged that much of what I had discovered by trial and error was indeed how JSB had most likely performed his work himself. Praise for this book: “David Stancliffe peels Bach with an almost unrivalled combination of musical and theological experience. He looks forward to Bach from the practices of his predecessors as well as backwards, from our own assumptions. And he mines his own developing practice throughout the last fifty years, together with many of the major new discoveries in Bach scholarship and performance..” John Butt, director of the Dunedin Consort, and Gardiner Professor of Music at Glasgow. “How we perform Bach has changed radically in the last half century, and continues to change as we better understand the musical world he took for granted. David Stancliffe‘s fresh and challenging study opens all kinds of new possibilities for recovering what Bach was aiming to do. Combining the best of musicological scholarship with the experience of a seasoned practitioner, it will be a vital and welcome addition to the bookshelf of any musician or musical enthusiast...”Rowan Williams, former Archbishop of Canterbury and then Master of Magdalene College, Cambridge. “This book is a treasure trove of information about Bach, brilliantly illuminated throughout by the author’s long experience and special insight interpreting his music and his religious beliefs. The combination makes this work an invaluable resource for all those who love Bach and his genius...” Nic McGegan, flautist, harpsichordist and renowned conductor of the baroque. It was in the late-1950s when David Stancliffe - a future bishop of Salisbury, but then still a schoolboy - was caught breaking into the organ loft in St Martin’s, Ludgate Hill to play the organ by the organ-builder himself, Noel Mander. But Mander wasn’t cross. He approved his means of entry - which left no traces - and put David and his bike in the back of his Volvo and drove him straight off to look around his organ works in Bethnal Green. So began a lifetime’s involvement with historic organs and period instruments and, above all, with the music of Johann Sebastian Bach - and the furious debate, which has raged now for half a century, about what that music sounded like to him and his eighteenth-century contemporaries. Since leaving Salisbury in 2010, David has devoted his energies to conducting every one of those Bach vocal works he never had the chance to perform before. That makes this book not just an inspirational guide to the debate, it is also a comprehensive companion to Bach’s sacred vocal works and how to perform them, by an enthusiast and expert who has himself wrestled with practical issues like where performers should stand and how many there should be. Living in Upper Weardale, David is a Fellow of St Chad’s College, Durham, and directs small groups of singers and period instruments not only in the Durham area but abroad under the name of The Bishop's Consort. He has a passion for historically informed performance practice and in Bristol in the early 1970s he founded The Westron Wynd, a small singing group working with the first generation of period instrument players, with whom he gave the first performance of the B minor Mass by an English group on period instruments. That group performed Bach’s St John Passion, the Christmas Oratorio and the Magnifi

As with Protestant German Passion Musical accounts, Holy Week in Leipzig in Bach's time produced a plethora of Passion versions which he realized through all four gospel accounts with multiple versions of the three according to John (BWV 245), Matthew (BWV 244), and Mark (BWV 247), as well as extensive use of Passion chorales primarily in the format of the Oratorio Passion form with the full gospel versions, as well as the Passion Oratorio form of a poetic paraphrase, best known in the development of the Brockes Passion (https://www.bach-cantatas.com/Other/Brockes-Passion-List.htm), as well as similar poetic forms such as Gottfried Heinrich St?lzel 's Gotha Passion, "Ein L?mmlein geht und tr?gt die Schuld" (https://en.wikipedia.org/wiki/Ein_L?mmlein_geht_und_tr?gt_die_Schuld_(St?lzel) which Bach premiered on Good Friday, 23 April 1734, in the St. Thomas Church. A third distinct form was the Passions-Pasticcio developed by Bach in the 1740s, a mixture of various Passion-style music involving the "Keiser"/Handel Pasticcio, BWV 1166.3, 31 March 1747 (https://www.carusmedia.com/images-intern/medien/30/3550203/3550203x.pdf), and the "Beitr?ge (Contributions) zur Passionsmusik" of Carl Heinrich Graun's "Kleiner Passion," ?12 April 1748, BWV 1167 (https://www.bach-cantatas.com/Vocal/BWV1088.htm). Before these three forms were developed in the 18th century, the Lutheran Tradition established the gospel readings of the Passion accounts as follows: Palm Sunday, St. Matthew, Chapters 26 and 27; Tuesday, St. Mark, Chapters 14 and 15; Wednesday, St. Luke, Chapters 22 and 23; and Good Friday, St. John, Chapters 18 and 19. In Leipzig in Bach's favored chorale book, the Gottfried Vopelius' Passion chorales in Das Neu Leipziger Gesangbuch (NLGB) of 1682 (https://en.wikipedia.org/wiki/Gottfried_Vopelius#p._125), Johann Walther's setting of Matthew (NLGB 83) was presented on Palm Sunday (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA179#v=onepage&q&f=false) and John (NLGB 84) on Good Friday (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA227#v=onepage&q&f=false). Lutheran tradition built on this with congregational chorales that emphasized both the theology and the biblical accounts, most notably in the multi-stanza settings Passion Gospel harmony of Siebald Heyden's 23-stanza 1530 "O Mensch, bewein dein Sünde gro?" (O man, weep for your great sins, https://en.wikipedia.org/wiki/O_Mensch,_bewein_dein_Sünde_gro?), emphasizing the Stations of the Cross, as ell as the satisfaction atonement sacrificial model, Paul Stockmann's 34-stanza 1633 "Jesu Leiden, Pein und Tod" (Jesus suffering, pain, and death, https://www.bach-cantatas.com/Texts/Chorale152-Eng3.htm), the Johannine Christus Victor concept. Bach favorite composer Paul Gerhardt ( https://www.bach-cantatas.com/Lib/Gerhardt.htm) composed two extended Passion chorale narratives: the 10-stanza ""Ein L?mmlein geht und tr?gt die Schuld" (https://www.bach-cantatas.com/Texts/Chorale267-2-Eng3.htm), and the 16-stanza, "O Welt, sieh hier dein Leben" (https://www.bach-cantatas.com/Texts/Chorale102-Eng3.htm). By Bach's time, Passion musical settings ranged from the Brockes poetic oratorio Passion gospel harmony versions, beginning in Hamburg in 1712 and popular throughout Germany, to various municipal liturgical Passion settings of chorales, similar to Johann Kuhnau's 1722 Leipzig St. Mark Passion and the Bach apocryphal St. Luke Passion. While Bach composed music only for the Good Friday services in Leipzig, his vocal music is appropriate for the other days of Holy Week, using the gospel of John, as found in John S. Sutterlund's study of the current three-year Revised Common Lectionary.1 Liturgically in Bach's time, the Gospel readings for Monday to Thursday were: Monday, John 12:1-11 (Mary annoints Jesus, https://www.biblegateway.com/passage/?search=John%2012%3A1-11&version=RSV); Tuesday, John 12:20-36 (Jesus speaks of his death, https://www.biblegateway.com/passage/?search=John%2012%3A20-36&version=RSV); Wednesday, John 13:21-32 (Jesus foretells his betrayal, https://www.biblegateway.

CD reviews: JS Bach: "Passionsoratorium" (BWV Anh 169) (ed. Alexander Grychtolik) Soloists, Ripienists, Il Gardellino/Alexander Grychtolik Handel: Messiah (version 1741) (HWV 56) - Soloists, Gutenberg-Kammerchor, Neumeyer Consort/Felix Koch - Soloists, The Dallas Bach Society Chorus & Orchestra/James Richman "Another kind of Rossi - Michelangelo Rossi, Tarqvinio Merula, Mavrizio Cazzati" Arparla From the archive: Lambert: Le?ons de Ténèbres (1662/63) Marc Mauillon, Myriam Rignol, Thibaut Roussel, Marouan Mankar-Bennis 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 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.