![A Moment of Bach](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583.jpg)
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Welcome to A Moment of Bach, where we take our favorite moments from J. S Bach's vast output—just a minute's worth or even a few seconds—and show you why we think they are remarkable. Join hosts Alex Guebert and Christian Guebert for weekly moments! Check wherever podcasts are available and subscribe for upcoming episodes. Our recording samples are provided by the Netherlands Bach Society. Their monumental All of Bach project (to perform and record all of the works of J. S. Bach) serves as source material for our episodes. https://www.bachvereniging.nl/en https://www.bachvereniging.nl/en/allofbach Artwork by Sydney LaCom
Episodes
![Fugue no. 2 in C minor, Well-Tempered Clavier Book I (BWV 845)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
5 days ago
5 days ago
The famous C minor fugue near the beginning of the Well-Tempered Clavier expresses the emotions of sadness, loneliness, and melancholy, according to harpsichordist Masato Suzuki. Suzuki provides a sensitive performance with attention to articulate detail in the fugue subject.
This, naturally, leads Christian and Alex into a comparison with race cars.
But, more straightforwardly, this fugue is part of the large journey that is the whole two books of preludes and fugues. The first prelude is a walk in the garden; its fugue is a hopeful step forward. But the following prelude in C minor is intrepid and fearless, boldly marching out the door. So, this fugue is when we finally run onto the road, with all of the uneasiness this entails. Explore with us how these first four parts of the WTC work together, what a countersubject (or even a second countersubject) is, and how this fugue embodies the very word root of "fugue" (to fly, flee).
Fugue in C minor as played by Masato Suzuki for the Netherlands Bach Society
![Mein Herze schwimmt im Blut (BWV 199): middle aria "Tief gebückt"](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jul 15, 2024
Mein Herze schwimmt im Blut (BWV 199): middle aria "Tief gebückt"
Monday Jul 15, 2024
Monday Jul 15, 2024
Vivid and subtle, this cantata follows the spiritual journey of the soprano soloist who carries the weight of sin on her shoulders. The journey is one from darkness into light, and our moment, sent in by listener Dave, comes at the cathartic middle movement, where hope is found in patience.
Soprano Julia Doyle delivers a heartfelt rendition of this stirring cantata, one of Bach's most openly emotional. We discuss how Bach's choice to make this a solo cantata is a masterstroke in itself, and we talk about how thrilling it is when Bach (and other artists/creators, even video game developers!) allow their works to be driven by the story and characters of the text, rather than trying to force the work into a predetermined structure. The music is subservient to the emotional journey that is the heart of the text. This, we think, is what gives Bach's cantatas and passions their magic.
Companion video by the Netherlands Bach Society: interview with soprano Julia Doyle
![Kyrie, Gott heiliger Geist (Clavier-Übung III; BWV 671)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jul 08, 2024
Kyrie, Gott heiliger Geist (Clavier-Übung III; BWV 671)
Monday Jul 08, 2024
Monday Jul 08, 2024
On the last note of Mozart's "Kyrie eleison" in his requiem, he chooses a stark and intense open fifth instead of a triad. What happens when a composer finishes...not correctly? Is this allowed?
When using old melodies which start and end on scale degree 3 (relative to major), Bach adapts this old Phrygian mode to his idiom, but this does create an unexpected ending. Even more surprising is the wild hellish chromaticism of the final passage leading up to the Phrygian ending of this "Kyrie" setting. Even by Bach's own standard, this chromatic passage goes beyond.
BWV 669 (text on God the Father)
BWV 670 (text on Christ the Son)
Mozart Requiem II. Kyrie (excerpt): Public Domain recording
![Nun komm, der Heiden Heiland (BWV 62) opening chorus](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jul 01, 2024
Nun komm, der Heiden Heiland (BWV 62) opening chorus
Monday Jul 01, 2024
Monday Jul 01, 2024
We take a suggestion from listener Bruce, and jump into the "other" Nun komm cantata, BWV 62. Yes, BWV 61 is admittedly the one we prefer, having talked about it several times on this podcast over the last four years. But sometimes it's good to shine some light on the facets of a hidden gem. The opening movement of BWV 62 contains multitudes.
![Wachet auf, ruft uns die Stimme (BWV 140): Zion hört (chorale)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jun 24, 2024
Wachet auf, ruft uns die Stimme (BWV 140): Zion hört (chorale)
Monday Jun 24, 2024
Monday Jun 24, 2024
Yes -- the famous one!
One of Bach's most universal melodies, the melody in the strings opens a profoundly perfect setting of a verse of the hymn "Wake, Awake, for Night Is Flying" in the central movement (4th of 7) in the beloved masterwork "Wachet auf" cantata. Here is the exceptional performance by the Netherlands Bach Society.
Why does this opening string melody stick with just about all listeners? There are secrets hidden in the very first few notes that we will dissect. Then there is the stately hymn tune which Bach seamlessly incorporates, with a text calling for longing, joy, love, and reverent magnificence.
PATREON for A Moment of Bach - always optional, always appreciated.
Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast.
Thanks also to Syndey LaCom for our podcast artwork.
![O Ewigkeit, du Donnerwort (BWV 60): "Es ist genung" (closing chorale)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jun 17, 2024
O Ewigkeit, du Donnerwort (BWV 60): "Es ist genung" (closing chorale)
Monday Jun 17, 2024
Monday Jun 17, 2024
In four notes, Bach reframes our idea about what is possible in common practice harmony. This is one of the weirdest moments of Bach, coming from one of the weirdest openings to a hymn tune. But as always, it makes sense in the context of the text. It even makes sense harmonically, as we see when the hymn tune closes on four much more normal-sounding notes... and Bach repeats these, adding closure to the text "es ist genung" (it is enough). This little repetition at the coda, even more than the wildly inventive opening, shows the genius of Bach, the subtle choices that make him enduringly great.
![O Lamm Gottes, unschuldig (BWV 656)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jun 10, 2024
O Lamm Gottes, unschuldig (BWV 656)
Monday Jun 10, 2024
Monday Jun 10, 2024
A textbook "moment" of Bach -- in a charming setting of the three verses of the German song "O Lamb of God, Most Holy," suddenly near the end of the third verse Bach finally heeds the text and shows us the strange despair we are praying for mercy to avoid. He employs several musical devices in this sudden moment: a change in meter, a suggestion of a distant tonality, and a barrage of harsh chromaticism (notes outside of the key).
First we learn the background and the tune "O Lamm Gottes, unschuldig" before showing how Bach introduces this Cantus Firmus (melody) in this organ prelude's beginning and first verse where it is heard on top. The Cantus Firmus moves lower in the second verse, and in the third it is down at the bottom in the organist's pedalboard. Here the text of the last line changes from "have mercy on us" to "grant us peace." Ending strong and firm, Bach gives us peace from that sudden harsh "moment."
Netherlands Bach Society: "O Lamm Gottes, unschuldig" as played by Wolfgang Zerer for All of Bach
Thank you to listener David for the excellent suggestion.
![Air on the G String (Air from Orchestral Suite No. 3, BWV 1068)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday Jun 03, 2024
Air on the G String (Air from Orchestral Suite No. 3, BWV 1068)
Monday Jun 03, 2024
Monday Jun 03, 2024
One of Bach's most famous works, and one of the greatest melodies of all time -- this comes to us by way of an almost impossibly good performance/recording by the Netherlands Bach Society. By having the first violin part played by a section rather than a solo, they give Bach's wandering melody more purpose than it has in the famous version for solo violin, "Air on the G String", which is actually a re-arrangement of this original version -- and one which, we assert, does not stack up to the original version's greatness. That greatness comes not only from getting the first violin part back in its proper higher register and key, but also from the interplay of the inner lines in the second violin and viola parts, as well as the famous walking bass line of the continuo part.
Ultimately, though, it is that upper melody which enchants us most. Is there any wonder that it has enchanted generations since Bach -- it seems to reach toward some meaning, something just out of grasp -- and will enchant generations to come? Yes, the melody wanders... but not all who wander are lost.
PATREON for A Moment of Bach - always optional, always appreciated.
Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast.
Thanks also to Syndey LaCom for our podcast artwork.
![Lobet den Herrn (BWV 230)](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday May 27, 2024
Lobet den Herrn (BWV 230)
Monday May 27, 2024
Monday May 27, 2024
Did Bach write this? Many think not. It's brilliant nonetheless!
We get into a talk about aspects of this motet which would or would not be hallmarks of Johann Sebastian.
![Brandenburg Concerto No. 6: movement 3](https://pbcdn1.podbean.com/imglogo/image-logo/10619731/IMG_0583_300x300.jpg)
Monday May 20, 2024
Brandenburg Concerto No. 6: movement 3
Monday May 20, 2024
Monday May 20, 2024
This delightful jig closes out our miniseries on Brandenburg 6. Here we speak about the third movement's jumpy beats. and how these rhythmic anticipations give the whole piece a bouncy energy. Bach, the expert violist among so many other things, gives the two viola parts the most intricate material, playing off each other and passing along the musical line. Yet, in the ritornellos, he always doubles them, allowing for a rich, sweet viola tone to dominate in this delightful musical treat.