A Moment of Bach

Nun komm, der Heiden Heiland (BWV 62) opening chorus

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.

Nun komm, der Heiden Heiland (BWV 62) performed by the Netherlands Bach Society, directed by Jos van Veldhoven

Wachet auf, ruft uns die Stimme (BWV 140): Zion hört (chorale)

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)

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.

Netherlands Bach Society performs the closing chorale of O Ewigkeit, du Donnerwort (BWV 60) under the direction of Shunske Sato

O Lamm Gottes, unschuldig (BWV 656)

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)

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. 

See "Air" from Orchestral Suite No. 3 performed by the Netherlands Bach Society, conducted by Lars Ulrik Mortensen.

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)

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.

BWV 230 as performed by the Netherlands Bach Society

Brandenburg Concerto No. 6: movement 3

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.

Netherlands Bach Society performs Brandenburg 6 (skip to 3rd movement); Shunske Sato, artistic director

Brandenburg Concerto No. 6: movement 2

Welcome back to our yearly miniseries on the Brandenburg Concertos of J. S. Bach! This is part two of three. Today we look at the languid and luscious slow movement of Brandenburg Concerto No. 6.

Music is (often) a setup of expectations, and then the satisfying fulfillment of those expectations OR the clever subversion of those expectations. Bach is especially good at this principle. We focus first on the unusual written-out cello part, separate from the basso continuo, creating a new entity but bound to the bass still (heterophony). Then we look at Christian's two moments, both of expectation and then subversion.

Brandenburg 6 - movement 2 - Netherlands Bach Society

Brandenburg Concerto No. 6: movement 1

Welcome to our yearly miniseries on the Brandenburg Concertos of J. S. Bach!  Here we jump into Brandenburg 6, delighting in the weirdness that results when Bach decides to omit violins, preferring a dark, low sound of violas, violas de gamba, cello, and violone.  This brings us to some more examples across Bach's oeuvre, as well as some others by Brahms, Bruce Broughton, and John Williams.  As any creative person knows, setting limitations for yourself -- "no violins", for example -- is actually a good strategy for stimulating creativity, and results in a more unique creative output.  How fortunate for us, then, that Bach seems to agree.

Brandenburg 6 - movement 1 - Netherlands Bach Society

Other pieces that were used as audio examples:

BWV 18 (cantata with 4 violas and no violins) - Netherlands Bach Society

BWV 80 (Ein feste burg), middle movement (unison chorale) - Netherlands Bach Society

Brahms - A German Requiem - movement 1: University of Chicago Orchestra, University Choir, Motet Choir, Members of the Rockefeller Chapel Choir, James Kallembach, conductor (recording used under Creative Commons Attribution Non-commercial No Derivatives 3.0 license) - refer to the first entry on this IMSLP page

Other pieces that we talked about, but did not play as examples:

Bruce Broughton - score from Tombstone (1993) - Gunfight at the O. K. Corral (4 bassoons can be heard in the first minute of this scene)

John Williams - score from Harry Potter and the Sorcerer's Stone (2001) - Hogwarts Forever (French horn quartet) (can be heard from 0:00 - 1:50)

Goldberg Variations: 7 (canary jig) (part 2)

Today we return to the 7th of the Goldberg Variations, the "Canary Jig." We discuss that peculiar name, and then we get into some smaller moments. Soaring flares up the keyboard, surprising altered tones, and crunchy grace notes are all over. Pushing forward into the ending, a high note leads us to the finish. We discuss why the contour of the hands makes this ending so satisfying.

Goldberg var. no. 7 as performed by Jean Rondeau for the Netherlands Bach Society