A Moment of Bach

Jesu, der du meine Seele (BWV 78): 1. Chorus

-The second part of our look into Cantata 78, where we look at the opening chorus. 

For an overview of this cantata and a deeper look at the wonderful duet and the rest of the parts, see the episode previous.

For this lamentation hymn about Christ's anguish used as ransom for our salvation, Bach chose to accompany the tune with a "lament bass." To start, he sets up this sad descending bass line as a repeated pattern under a varying texture (passacaglia). The stress on beat 2 of 3 is a Sarabande metric figure, reminding us of his more famous passacaglia "Crucifixus" in the B Minor Mass.

When voices enter, the tortured chromaticism is imitated and they herald the coming of the soprano melody, which would have been recognized by the churchgoers on that Sunday in 1724. Variations in musical texture always match the line of text currently being sung. In the many variations, the lamenting line can be in any instrument or voice, and may also be inverted and ascend in a sort of wailing prayer.  

BWV 78 as performed by the Netherlands Bach Society

Jesu, der du meine Seele (BWV 78): 2. Duet and overview of mvts. 3-7

In this year's Leaving Certificate for students in Ireland, the music exam consists of examples from Tchaikovsky's Romeo and Juliet, Irish composer Gerald Berry's Piano Quartet, and Queen's Bohemian Rhapsody. Also in the exam is this chorale cantata composed in 1724 in Leipzig for a church service in which the biblical story of Jesus healing the lepers was read. 

The hymn Bach based this work on was flexible enough for a dramatic span of affectations across the seven parts of the cantata. In this episode we will look at moments in the duet, and also speak to the other parts, through the final chorale. 

The relative simplicity of the final chorale is defied by its several complexities. Its text is prayer-like, much like the other movements, with its first line reminiscent of the familiar saying "Lord, I believe; help me in my unbelief (weakness)." Even in relatively simple harmonization, the text is full of vivid emotion. Bach enjoys a chance for a militaristic trill near "Streit" (battle) and a Picardy third on the last note of hopefulness ("sweet eternity"). 

In the preceding recitatives and arias, the text painting is even more on-the-nose, as is the case with Bach. But while other cantatas have a single affectation, this one is always changing. 

BWV 78 as performed by the Netherlands Bach Society

Christ lag in Todes Banden (BWV 4): tenor solo aria

Welcome to A Moment of Bach, where we sometimes zoom in so close that our targeted moment consists of only one note!  But Bach leaves us no choice but to pick this moment from BWV 4, where the music screeches to a halt, almost cartoonishly fast.  One thing's for sure: when ever the word "nichts" comes up, Bach can't resist giving us some interesting text-painting.

Performance of BWV 4 by Netherlands Bach Society, conducted by Rene Jacobs

Mass in B minor: Et incarnatus est

Here is, almost certainly, Bach's last composition for voices.

"Et incarnatus est" is the short choral movement in the Mass in B minor which precedes and sets up the central "Crucifixus." Being not quite yet Christ's death, the "Et incarnatus est" depicts the sighing descent of Christ being made man. A mournful coincidence: this music also imminently preceded Bach's death. He likely finished it in 1750, the year of his death, to complete the compilation of the masterfully crafted and structured Mass in B Minor. 

Christian focuses on one of the single most haunting and uncommon chords: the augmented sixth chord, which in Baroque music is found only in the most sorrowful moments.

**Music theory note!** When we discuss the other augmented sixth chord example from "O Schmerz" in the St. Matthew Passion, this chord has that augmented sixth interval inverted, so while the effect is similar, this interval becomes a diminished 10th (from B in the bass to D flat in the tenor)! 

"Et incarnatus est" choral movement from the Credo section of Bach's Mass in B minor BWV 232, as performed by the Netherlands Bach Society

Badinerie from Orchestral Suite no. 2 in B minor (BWV 1067)

Today: we talk about Nokia ringtones, how Bach is the best at bass; Bach's French wordplay, and "Bach can be played at any tempo".

Performance of "Badinerie" by the Netherlands Bach Society

Toccata in E minor BWV 914: fugue

This week's moment of Bach is a blissful ascending sequence in the fast final fugue movement of this keyboard toccata, which reminds us of the audacious repeating steps up and up (and down and down) of Monteverdi's "Si ch'io vorei morire." 

Does this fugue opening sound familiar? Its subject is ALMOST another much more famous one. The fugue's ending is no less spectacular.

Fugue from Toccata in E minor BWV 917 as performed by Bart Jacobs for the Netherlands Bach Society

Si ch'io vorrei morire (Claudio Monteverdi): translation

 

Easter Oratorio: closing chorus (BWV 249.11)

"Complex" is Bach's default setting. 

On this 300th anniversary of the Easter Oratorio, which was premiered in Leipzig on Easter Sunday 1725, we talk about duet recitatives, recorders and bassoons (shout out to Benny Aghassi), and Bach's marvelous trumpet writing.  

See the performance of the Easter Oratorio here, by the Netherlands Bach Society, conducted by Jos van Veldhoven

St. John Passion: "Mein teurer Heiland" bass aria and chorale (BWV 245.32)

After witnessing Christ's death, we experience a frozen scene -- an aria -- which is a space for reflection that Bach so often gives us in his cantatas and passions. But this time we also experience some harsh tonal whiplash as first we hear Christ's head falling in death, then a dancing, hopeful aria. This aria with interspersed chorale is filled with questions, and the positivity of one final answer. 

Bach produces an innovative and complex "theological counterpoint" of the bass aria's poetry with the simultaneous chorale text. The answer is a confident affirmative; the bass holds a moment and then nods "ja." And so, our question "can I inherit the kingdom of heaven? Is this the redemption of the world?" is answered: as Christ lowered his head in death, he silently bowed his head "yes."

 

Aria "Mein teurer heiland" with chorale "Jesu, der du warest tot" as performed by Drew Santini and the Netherlands bach Society

St. John Passion: "Es ist vollbracht" alto aria (BWV 245.30)

"It is finished."  This falling melody, sung by Christ at the moment of His death, is followed by the pivotal alto aria "Es ist vollbracht".  We explore the musical texture, the dramatic contrasts, the foreshadowing of the "vivace" middle section, and the way that silence can speak louder than words or music.   We also uncover a truth about the word "finished" in this biblical passage. 

"Es ist vollbracht" as performed by Marine Fribourg (alto), Meineke van der Velden (viola da gamba solo) for the Netherlands Bach Society

Link to the devotional book Alex mentioned at the end of the episode.  Thank you to listener and friend Marcia Biang for this book recommendation!

Goldberg Variations: 25 (the "Black Pearl")

Why, at number 25 of 30 variations mostly in sunny G major, is here one of the most profoundly sad things he ever wrote? This one gets at something deep. He certainly knew suffering; was it his personal experience? Bach's full range of expressions is at play in the Goldberg Variations, here including sorrow. 

Dubbed the "Black Pearl" by keyboardist Wanda Landowska, the long and wandering variation retains its structure, yet takes us to such lonely and desolate places. 

The Goldberg Variations (var. 25) as played by Jean Rondeau for the Netherlands Bach Society