A Moment of Bach

Du Hirte Israel, höre (BWV 104): bass aria

Just after Good Shepherd Sunday, we settle in to this comforting pastorale.  Not the famous opening movement -- no, this is another beautiful sicilienne-type dance, a bass aria, in which Bach gives a masterclass on melodic writing in just 5 seconds of music.  Melodic shape, sequence, pedal point, and effective parallel motion in triads -- these are all showcased in the first few measures.  Then, Alex points out his favorite moment, in the B section of the aria: a long note sung by the bass soloist.

Du Hirte Israel, höre performed by the Netherlands Bach Society (this link takes you straight to the bass aria "Beglückte Herde"

Goldberg Variations: 7 (canary jig) (part 1)

In our second look at the monumental Goldberg Variations, Christian selects the beginning of the sprightly and innocent "gigue" (jig), a particular dance set here for an interplay between two hands. The jaunty rhythm of the dance is rather uneven; this leads us into a discussion about how music is naturally not even in this way (and when it is, it's too square). We discuss the Goldberg bass line which underpins the whole sequence of 30 variations and discover how it works with this one also. 

In two weeks, Christian will return to this variation and get more into the weeds with particular notes.

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

Chorale: Ich steh an deiner Krippen hier (BWV 469)

Just as the three wise men brought their gifts of gold, frankincense, and myrrh to the young Christ, so also this trio brings their soprano voice, viola da gamba, and theorbo (a lute variant) as musical gifts.... and we, the listeners, are the ones who are lucky enough to receive these gifts.  Here we discover the plain serenity of this original hymn tune by Bach, set to simple accompaniment, and paired with a tender Christmas text by the venerated hymnist Paul Gerhardt.

Performance of "Ich steh an deiner Krippen hier" (BWV 469) by Viola Blache, Mieneke van der Velden, and Mike Fentross for the Netherlands Bach Society

Speaking of gifts -- we must, as always, thank the Netherlands Bach Society and the evergreen gift they provide for the world, the All of Bach project.  They are working to complete a full set of high-quality recordings of Bach's complete oeuvre, along with video for each piece.  This is a staggering amount of music.  These are the recordings we have used on this podcast since its inception.  Thanks again to the Netherlands Bach Society for granting permission to use these excellent recordings.

Mass in B minor: Sanctus ("Pleni sunt coeli...")

The Mass in B minor is a well which never runs dry; we return to it year after year, and this time to celebrate Easter Monday we jump into the splendid "Sanctus" section. Christian uses the fugue subject on the text "Pleni sunt coeli et terra gloria ejus" (heaven and earth are full of thy glory) to describe one of the best text paintings in history. This blossoming motif doesn't just leap to heaven and fall to earth; it then covers over and under both of them with the glory (gloria) of God. 

 

"Pleni sunt coeli..." fugue section of the "Sanctus," Mass in B minor as performed by the Netherlands Bach Society

St. Matthew Passion: "O Mensch, bewein" chorale fantasia (mvt. 29)

Here we do a full "Bach-n-talk" runthrough of the famous "O Mensch, bewein" chorale fantasia which ends the first half of the St. Matthew Passion, which happens to end on Alex's favorite moment.  Join us as we unpack a moment of mode mixture here, at the choir's closing cadence.  The borrowed minor modality gives the necessary spice to give a more complex flavor to the otherwise light and airy music.  But don't be fooled, listener, into thinking the woodwind parts are all just fluff.  They carry a darker undertone in the meaning of this music.  Remember: the flute's not cute.

"O Mensch, bewein dein Sünde groß" from St. Matthew Passion performed by the Netherlands Bach Society

Different version of "O Mensch, bewein dein Sünde groß" as mentioned in this episode; from the 1725 revision of St. John Passion, also performed by Netherlands Bach Society

VIVALDI — L'inverno (Winter), RV 297: I. Allegro non molto

Welcome to a moment of something different for once! 

We take a momentary diversion from our regular programming to give you a "moment of Vivaldi."

In Shunske Sato and the Netherlands Bach Society's rendition of Vivaldi's "Winter" of the "Four Seasons," Sato stuns with innovative solo violin timbres which embody the icy cold themes of the season. We don't normally hear such sounds when we hear baroque music whatsoever!

Christian focuses on one Vivaldi moment - a simple low trill, but when rendered with an extreme "sul ponticello" bowing (near the bridge), cold and dry harmonic overtones are heard instead.

 

"Winter" from the Four Seasons, Netherlands Bach Society

Sonata No. 1 for viola da gamba and harpsichord (BWV 1027): mvt 3

In this gem of a sonata, played on an original instrument, Bach hides the simplest musical theme in plain sight: one note.  Alex looks at the end of movement 3, where Bach gives a pedal point E to the viola da gamba, asking for over 30 seconds of one sustained note on this instrument.  Simple, yes, but perfectly aligned with the notes around it.  It's just another gem in the sea of jewels that is Bach's oeuvre.

Performance of this sonata by Mieneke van der Velden and Emmanuel Frankenberg for the Netherlands Bach Society

Nun komm, der Heiden Heiland (BWV 61) recit.: ”Der Heiland ist gekommen”

At the beginning of our podcast seasons, we always look at a new part of BWV 61. This week Christian chooses an unusual bass trill from the sparkling tenor recitative. For this moment Bach opens up the narrating voice and enters a half-aria section so that the singer can repeat the words "You come and let your light shine with full blessing." The lilting cello and bright harpsichord offer repeated "shines" in this section, which concludes with our surprising trill in the basso continuo.

This episode's featured recitative as performed by the Netherlands Bach Society
Nicholas Mulroy, tenor

BachCantataTexts.org annotated translation of BWV 61

Nun danket alle Gott (BWV 192): opening chorus

Welcome to Season 4!  Thanks so much to all our listeners!  

Today we give thanks -- not just for all of you wonderful listeners, but for Bach's creativity in the opening chorus of this cantata, which he based on the classic Lutheran chorale "Now Thank We All Our God".  We explore the origin of the poetry by Martin Rinckart, a man who, like Job from the Old Testament, lost everything dear to him, but still remained faithful -- and grateful -- to his God.  Then, we dive into the music and the clever text painting, and, after hearing so many hundreds of Bach's works, we delight in the way he continues to surprise us. We can always find something new. And that, wonderful listeners, is something we can all be thankful for.

Video link: Shunske Sato conducts the Netherlands Bach Society in a performance of BWV 192

Even MORE thanks to Netherlands Bach Society for the permission to use audio examples from their high-quality recordings, and also to Syndey LaCom for our delightful artwork.

BONUS: Post-concert chat: Herz und Mund und Tat und Leben (BWV 147) with soprano Emily Wood (BACHTOBERFEST bonus 1 of 2)

In this bonus episode, we have a chat with soprano Emily Wood, a featured soloist in the recent concert performance of BWV 147 at Alex's church.  We hear about Emily's personal experience singing this wonderfully challenging solo which is nestled in the very heart of this cantata; we also reflect on the whole 10-movement masterpiece.

Audio recordings of BWV 147 in this episode are from the recording of this concert, at St. John's Lutheran Church, Orange, CA, USA, featuring Cathedral Singers and Chamber Orchestra, conducted by Alex Guebert.

Keep an eye out for the second bonus episode soon -- the blooper reel from Season 3!