A Moment of Bach

Italian Concerto (BWV 971): second movement

Why do we play games?  Because they're fun?  Or is it because they give us a sense of structure and a clear goal, a refreshing contrast to our real lives, which are messy, unpredictable, and complicated?

In the same way, we listen to Bach to give a much-needed feeling of structure and clarity to our hectic, messy lives.  

But sometimes, he doesn't quite give us what we expect.  He breaks the patterns. And it's at those moments when we can catch a glimpse of the angels in the architecture.

Italian Concerto, BWV 971, second movement, as performed by Christine Schornsheim for the Netherlands Bach Society

"Wandering Flame", from the soundtrack to Final Fantasy X; this track is by the composer Masashi Hamauzu

Link to chapter 1 of "Travels in Hyperreality" by Umberto Eco; the discussion on Disneyland mainly takes place on pages 43-48 of this document

Fugue no. 4 in C# minor (Well-Tempered Clavier Book I)

An austere fugue subject here begins with a strange leap. To play this four-note opening on a keyboard is to outline a symmetrical structure, reminding us of the bare pillar that holds up the structure. Adorned on the structure are two faster, florid themes which enter later in this long piece. 

But our moment today is its ending -- a deceptive ending leads to a brief coda, but when it happens, its harmony strikes us with a surprising dissonance, feeling almost like the resolute major tonic triad that it wants to become. But a pesky A natural, the sixth scale degree, dashes this to pieces. 

 

Bertrand Cuiller plays the C# minor fugue (with prelude) for the Netherlands Bach Society

Liebster Gott, wenn werd ich sterben (BWV 8): opening chorus

Today we bring you 24 repeated notes on the same pitch.  Can you think of any other Bach piece which features this special effect?  Certainly this is unique in the orchestrational context here: a high-pitched recorder, beeping out a digital-sounding alarm clock noise.  Or is it a bell ringing?  We explore what this all means -- because, of course, with Bach, it MEANS something.  

Liebster Gott, wenn werd ich sterben (BWV 8) performed by the Netherlands Bach Society. Shunske Sato, conductor; Benny Aghassi, recorder solo

Der Herr denket an uns (BWV 196): duet (ending)

In his early twenties Bach produced this compact, delightful cantata, likely for a wedding. The text of the duet is still applicable in a religious school community:

The Lord shall increase you
more and more,
you and your children.

Bach saves a special effect for the last two measures, where a modern technique is used: from highest of highs to the lowest note of the cello, a single line is passed across the string instruments. 

We discuss Christian's recent programming of this cantata on Aug. 25, 2024 for a service honoring school faculty and beginning a school year.

"Der Herr segne euch" duet by Netherlands Bach Society

Violin Concerto in D minor (BWV 1052R)

Bach proves his mastery of the Baroque concerto here, as in the Brandenburgs -- except this time, we don't have the original music!  We do have a harpsichord concerto as well as an organ concerto version of the first movement (which is actually from a cantata)... but we do not have the violin concerto version, which scholars assume must exist.  The reason for this assumption is that this music is suited exceptionally well for the violin, and so, this reconstruction was made.  

The first six bars of this piece are some of the most dynamic in Baroque music -- if you ever hear someone complain that classical music is "boring", hand them some good headphones and turn this one on!  

Violin Concerto in D minor - the main recording we talk about on this episode: Netherlands Bach Society, led by Shunske Sato

Another recording of the same piece by Netherlands Bach Society, led by Shunske Sato

Cantata "Wir müssen durch viel Trübsal" (BWV 146) (featuring the source music for this concerto)

Herz und Mund und Tat und Leben: bass aria "Ich will von Jesu Wundern singen"

"I shall sing of the wonders of Jesus." The trumpet reflects the text purely before the singer begins. The oboes and violins join in and play off the trumpet, each finishing each other's musical lines. 

You probably know this cantata for its most famous movement -- two verses of what we would call in English "Jesu, Joy of Man's Desiring." 

But there is much more brilliance to be explored in this cantata. 

Bass aria "Ich will von Jesu Wundern singen" as performed by the Netherlands Bach Society

Cantata Herz und Mund und Tat und Leben (BWV 147), entire

Gottes Zeit ist die allerbeste Zeit: "sanft und stille"

A hidden gem, a fully-formed masterpiece from a young Bach, a cantata unburdened by his later fascination with Italian-style recitative and da capo arias: it is the incomparable Gottes Zeit ist die allerbeste Zeit.

We look at this cantata for a third time (see season 1 episode 8 for the sonatina, and season 3 episode 15 for the soprano solo ending moment).  Near the end of the cantata, we are placed in the viewpoint of the criminal on the cross, who receives forgiveness by Christ and is told "today, you will be with me in Paradise".  Bach weaves in a Luther hymn about departing this earth peacefully... and at a critical moment, the Christ solo ends and the hymn is all that's left, with the words "gentle and quiet".  The Netherlands Bach Society interpretation of this moment is unique and powerful -- they let the moment breathe.

Performance of BWV 106 "Gottes Zeit" by the Netherlands Bach Society, led by Jos van Veldhoven

or, skip ahead to "Heute wirst du mit mir im Paradies sein"

Fugue no. 2 in C minor, Well-Tempered Clavier Book I (BWV 847)

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

Playlist with the entire Well-Tempered Clavier

Mein Herze schwimmt im Blut (BWV 199): middle aria "Tief gebückt"

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.

Aria "Tief gebückt" from this cantata, Mein Herze schwimmt im Blut (BWV 199), as performed by Julia Doyle and the Netherlands Bach Society

Companion video by the Netherlands Bach Society: interview with soprano Julia Doyle

Kyrie, Gott heiliger Geist (Clavier-Übung III; BWV 671)

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. 

 

Leo van Doeselaar plays BWV 671 (the focus of this episode and the text on the Holy Ghost) for the Netherlands Bach Society

BWV 669 (text on God the Father)

BWV 670 (text on Christ the Son)

 

Mozart Requiem II. Kyrie (excerpt): Public Domain recording