BWV 36 - Schwingt freudig euch empor

Week 36 (7 January – 12 January 2014)

Recording (BWV 36): Helmuth Rilling, Gächinger Kantorei Stuttgart/Bach-Collegium Stuttgart; Arleen Augér, soprano; Gabriele Schreckenbach, alto; Peter Schreier, tenor; Walter Heldwein, bass

Recording (BWV 36b): Helmuth Rilling, Gächinger Kantorei Stuttgart/Bach-Collegium Stuttgart; Christiane Oelze, soprano; Ingeborg Danz, alto; Marcus Ullman, tenor

Recording (BWV 36c): Peter Schreier, Berliner Solisten/Kammerorchester Berlin; Edith Mathis, soprano; Peter Schreier, tenor; Siegfried Lorenz, bass

I have to admit that following the delay incurred with the previous two cantatas, confronting the multiple variations of BWV 36 was more than a little daunting. But reminding myself what the original intent of this project was, and still is – to achieve familiarity and not to produce a master’s thesis – I plunged in, accepting that even to skim the surface was going to be a multiple-week endeavor. After all, it’s basically three cantatas rolled into one, and while I didn’t want to dwell at length on the secular versions, some familiarity with them is needed in order to properly understand the origins of the sacred version.

 

A chronology is a good place to start, since the Schmieder designations don’t correspond to the actual compositional order:

·         1725 – BWV 36c, Schwingt freudig euch empor (homage cantata for an unknown “teacher”)

·         1726 – BWV 36a, Steigt freudig in die Luft (birthday cantata for Princess Amalie of Anhalt-Köthen)

·         1731 – BWV 36, Schwingt freudig euch empor (Advent cantata)

·         1735 – BWV 36b, Die Freude reget sich (homage cantata for Professor Johann Rivinus)

With the sequence established, a tabular format was helpful in comparing the structure of the surviving works (the italicized text indicates movements that utilize the same or similar musical setting):

 

 

BWV 36c	BWV 36	BWV 36b
Coro	Coro	Coro
­-	Duetto (soprano/alto)	­-
Recitative (tenor)	­-	Recitative (tenor)
Aria (tenor)	Aria (tenor)	Aria (tenor)
­-	Chorale	­-
Recitative (bass)	­-	Recitative (alto)
Aria (bass)	Aria (bass)	Aria (alto)
­-	Chorale (tenor)	­-
Recitative (soprano)	­-	Recitative (soprano)
Aria (soprano)	Aria (soprano)	Aria (soprano)
Recitative (tenor)	­-	­-
Coro/recitatives (S/T/B)	Chorale	Coro/recitatives (S/A/T)

Note that Freude is front and center for all these cantatas, and both the noun and adverb form are matched to joyous music in the opening coro which sets the mood for the following movements. Using a modified binary structure (A-B-A’-B’), the chorus begins with an upwardly striving fugue as the voices enter, lowest to highest. Bach then contrasts the initial tumult of praises raised to heaven with a homophonic B section advising Doch haltet ein! That is, God approaches, so the singers do not need to make so much noise. Whether the text was modified by the original poet of BWV 36c (thought to be Picander) or someone else, there is a brilliant conceptual change here, from good wishes for a learned teacher kept within the earthly sphere, to voices hushed because the Savior’s birth is approaching.

The coro music is essentially the same in all versions, with the only change in instrumentation the use of an obbligato flute throughout BWV 36b (rather than the oboe d’amore). Although in the Breitkopf & Härtel full score for 36b there is no solo violin notated (in accordance with the surviving instrumental parts), it is difficult to imagine that the performance did not include a Violin I, as it is integral to the structure. Possibly the part was either lost or remained with the player, perhaps still to come to light at some point.

This chorus is an excellent anthem for a choir capable of negotiating its challenges. As always, John Eliot Gardiner nails it by describing the chorus as “deeply satisfying once all its virtuosic technical demands have been met” – not such an easy task! There are challenging passages for all voices, for example, the alto melisma in M. 95-96. For English speakers, the text Schwingt freudig euch empor can be challenging, for both vowel sounds and consonant placement. But it is one of those choruses that makes me wish I had been a conductor – it offers so many choices and opportunities. Rilling’s recording is at a moderate, relaxed tempo with a timing of about 4 ½ minutes. Interestingly, when he recorded the 36c version some years later, he used a much faster tempo, shaving a minute off the time, which makes for a very exciting choral performance. It would be interesting to know if Maestro Rilling felt that the slower tempo was more appropriate for the sacred version, or simply rethought his tempo choice years later when he revisited the music to record 36c. I do like the faster tempo, but as discussed, the technical problems for all the choral parts need to be the determining factor.

Unfortunately, there doesn’t seem to be a separate performing version for the coro. I think we would hear choral movements of the cantatas more often – at least in the States – if there were decent and affordable octavo editions available. Besides playable keyboard accompaniments, these could also provide elements such as pronunciation guides and singable English texts as an alternative to the original German. So there’s a project for someone! Is there a market? I would guess there is, at least for the best examples of these choruses – of which Schwingt freudig euch empor is one.

In keeping with the Advent season, the recitatives have been eliminated from BWV 36 so that two well-known hymns (Luther’s Nun komm, der Heiden Heiland and Nicolai’s Wie schön leuchtet der Morgenstern) can be incorporated. Klaus Hofmann, commentator for Suzuki’s cantata cycle, says this “anchors the cantata…in the Advent story” and notes the origins of the Luther chorale setting as the 4^th-century hymn Veni redemptor gentium by Saint Ambrose of Milan. Subsequently published in the Erfurt Enchiridion in 1524, the first occurrence of this tune in BWV 36 is the lovely soprano/alto duet, which is balanced by the tenor chorale on the Nicolai tune in the second part of the cantata.

 

Given its origins and its structural purpose within the cantata, this duet is not flashy or technically difficult. The tessitura of the lines is similar (I am comfortable singing either part) and with voices of equal weight and comparable timbre, a marvelous tonal color is achieved as the lines cross or merge, particularly in the sequences where the voices hand off a figure (e.g., M. 6). The blend of the voices is about perfect on Rilling’s recording.

 

This is a short (approximately 4 minute) movement that is ideal for use in church during the Christmas season. Note that in the B&H vocal score the treble part in the accompaniment is a fabrication meant to take the place of the oboes that double the voice parts in the original – the left-hand corresponds to the notated continuo. It would certainly be appropriate to perform this duet with only the left-hand part accompanying the voices.

 

 

Martin Luther's Setting of a 4th-Century Text in the Erfurt Enchiridion (1524)

 

The tenor aria is owned by Peter Schreier, who recorded it several times. For a good exercise, try matching his long unbroken phrase beginning M. 49. I picked Schreier’s recording of 36c specifically to compare his reading of the score with Rilling’s – they were made about the same time, and undoubtedly each artist was learning from and influencing the other. The tenor’s rendition of this aria for Rilling is to my ear nearly flawless, especially in the creative and sensitive handling of repeated phrases, including the da capo; under his own baton, there seems to be some distraction and not as much attention to detail. The same musical setting is used in 36b and 36c except for minor changes to accommodate text variations.

 

The cheerful bass aria that opens the post-sermon part of the cantata is modified from the secular version, longer by a dozen measures with the added music being a more complex vocal part. It’s obvious that Bach wanted to retain the wonderful string parts, which are essential to the aria. While this movement has the appropriate length and content for a church anthem, it needs either the participation of an excellent violinist, or of an organist capable of negotiating the rippling string line with an appropriate registration.

 

The soprano aria lies in the range D4äG5, with most of the piece in mid-range; thus it is suitable for appropriation by altos! I have had a great time working on this aria, and highly recommend it for any soprano or alto that feels comfortable singing it, both for study and recital use. Tempi used in commercial recordings vary all over the place: Augér’s version clocks in at just over 6 minutes, while Nancy Argenta on John Eliot Gardiner’s recording is a full three minutes longer. I have no problem admitting there has never been a time when I sang at a level in any way approaching Ms. Augér, and while I prefer this aria on the faster end of the spectrum, some relaxation in tempo can enable the singer to execute the ornamentation and melismas easily so that the graceful lilt is maintained.

 

The Breitkopf & Härtel score includes a parenthetical Lento marking, but there does not seem to be an inherent reason for it. The text is not contemplative; rather, in all variants of the cantata, this aria can be considered an extroverted expression of joy. Lots of dynamic choices can be made to express the text: the gedämpfte, schwachen Stimmen are described in relation to resounding angelic voices, a metaphor that is not necessarily an interpretive direction for the singer (since Bach has already referenced this idea by calling for violin con sordino).

The A section of this aria can stand on its own for use in church. If you sing it, you may want to check out a simplified accompaniment available in Michel Rondeau’s arrangement of this aria for trumpet and organ, which is available on IMSLP (along with his recording – a bit jarring at first after listening to so many soprano renditions! – but it shows what a nice prelude piece this would make for an Advent or Christmas service where brass players are available).

 

BWV 36 provided a worthy conclusion to musically-augmented worship prior to the beginning of tempus clausum, which was observed following the first Sunday of Advent through to Christmas. It continues to be one of the more popular cantatas, as evidenced by numerous recordings. Although several commentators note the “secular” origins of the work, nothing that Bach wrote was truly secular – every note he penned was underscored by his faith: hence even the gentle dance rhythm of the tenor aria becomes perfectly at ease in the context of a worship service.

 

A few words on the variants: the music for BWV 36a is lost, although German musicologist Alexander Grychtolik has reconstructed it based on the other surviving scores, the 36a libretto (which was published at the time), and an analysis of Bach’s working method. For the purposes of this project, however, it needed to remain lost – although one wonders how that originally happened given that the older and newer versions did manage to survive. Perhaps the parts for 36a were “marked up” when Bach decided to adapt the cantata for church use, and then destroyed once clear copies were completed for BWV 36. Or perhaps they were presented as a gift for the Princess, who presumably delighted with “her” cantata, probably had no idea it was recycled!

 

BWV 36b was apparently produced for Rivinus’ appointment to the post of Rector of the University of Leipzig. The text refers to his standing as a scholar, with wishes for his further achievements. His listing in German Wikipedia says he was a godparent to Johann Christian Bach (the “London” Bach, youngest son of the master).

 

For his recording of BWV 36b, which supplements the complete recordings of 36 and 36c in his cantata set, Rilling includes only the recitatives and the final chorus-recitative sequence. The latter wraps up the cantata with a fine melismatic passage for the soprano soloist, while the alto recitatives are given lovely readings by Ingeborg Danz. I wish that she had recorded the aria as well, despite the fact the music is virtually identical to the bass aria in 36c, and despite the uninspiring text that goes with it in 36b. With the alto timbre and obbligato flute rather than oboe, an entirely different color would be created.

 

Limitations imposed by time and the intended scope of this project meant that such detours as looking in detail at that final secular coro have remain unexplored. The coro music is quite striking, but the structure requires the presence of the recits, which relate directly to the guest of honor. Perhaps with some minor changes to the text this could become an interesting anthem for use around New Year’s.

 

But I’ll have to leave that analysis for somebody else – I had to cut off somewhere. It’s a difficult thing to do – studying this material is so worthwhile, and so enjoyable – the more you work on it, the more you come to love it. As a musician, there is a great deal to learn here. But the same can be said of all the other cantatas – so time for me to Schwingt freudig euch empor and press on to the learning of BWV 37.

 

 

 

BWV 35 - Geist und Seele wird verwirret

Week 35 (31 December 2013 – 5 January 2014)

Recording: Helmuth Rilling, Bach-Collegium Stuttgart; Julia Hamari, alto

Although this is the first solo cantata encountered when following the Schmieder numbering sequence, BWV 35 was actually the second in a series of cantatas composed for solo alto in mid-late 1726 (the others are BWV 170 and BWV 169). For this work, scholarship suggests that “assembling” may be as apt a term as composing, since some components – notably the virtuosic sinfonia movements for organ that begin each section of the cantata – were apparently borrowed from earlier instrumental works. The challenging vocal music also suggests that a highly competent alto was available, perhaps a professional brought in as a substitute during a time of year when many students may have been occupied with family obligations.

One distinctive feature of this cantata is that Bach selected a text that exactly matched but also amplified the Gospel reading for the Sunday in question: the verses from Mark 7 describing Christ healing the deaf-mute man. The words are those of Georg Christian Lehms (1684-1717), a poet already met several times in this project, whose text explores figurative as well as literal meanings of the condition of being deaf and mute. In the first aria, the wonder of God leaves the awestruck believer taub und stumm. The ability to heal the deaf, mute, and blind is reiterated in the following recitative as proof of the miraculous nature of God. Following the sermon (which logically was surely based on the same scripture reading), the recitative invokes the command Hephata (“be opened”) to heal the recalcitrant who resists placing faith in God. And in the final aria, being released into eternal life with God represents overcoming the loss of senses at death.

If you can master the technical skills required to sing this cantata, you can probably sing just about anything in the Bach alto canon, as the three arias present an encyclopedia of rhythm, pitch, agility, and diction challenges. Any number of vocal exercises can be extracted for general training purposes, e.g., in the first aria M. 30-32 for rhythm and pitches; M.55-56 for rapid passage work; and M. 65-68 as an arpeggio study. This aria, centered on the verb verwirren (to confuse) makes more sense to me if the word is taken in the sense of cheerful or expectant bemusement, rather than in the negative connotation of confusion. After all, the text (and musical depiction) in the B section refers to believers describing God’s miracles mit Jauchzen. The one who contemplates divine greatness is at first so overwhelmed that she cannot comprehend human language or find words to communicate – but it is a positive, hopeful situation.

The technical handling of the somewhat disconnected phrases in this aria must be carefully thought through. In some cases the intent is for a true pause (M. 38), while in others a connection needs to be maintained (that is, the vocal mechanism should not relax but remain active – M. 11). Meanwhile, the continuity of the text itself needs to frame the singer’s musical decisions. This fairly long da capo aria should not be abridged since the B section is needed for textual completeness, but it could be used for a recital (although it is an endurance exercise).

The two long recitatives illustrate that there is fully as much interpretive skill needed in this cantata as in any operatic role. For instance, the lines: Du machst es eben/Dass sonst ein Wunderwerk vor dir was Schlechtes ist. What a concept to try to convey, when there are no theatrical gestures to help you, and only the most delicate musical scaffolding. The meaning that you find in the text must be conveyed through intellectual assimilation and processing of the words so that the subtle partnership between singer and composer is transparent to the listener and it is always the composer that is heard. In both recitatives and arias, Bach’s intent can only speak after you have done a lot of work.

The aria Gott hat alles wohlgemacht which concludes the first part of the cantata is as cheerful and elegant as you will find, a perfect choice for an all-purpose solo anthem for church, or for a bright opening to a recital. The characteristic melisma in M. 8-9 recurs several times in the same or a slightly modified format, so that perfecting that sequence goes a long way to mastering the aria’s technical challenges. The voice definitely needs to be kept light and flexible, without dark, contralto tones. The F major edition invites lower sopranos to partake as well, and that is certainly one solution to obtaining the right tone and weight for these pieces. I pulled this aria out many times over the past months when I wanted something optimistic and happy to sing – and it proved to be a wonderful warm-up piece as well.

The final aria is the most problematic both in meaning as well as structure. The 18^th-century Lutheran idea that one longs for death so as to be with God can be a challenge for our 21^st-century sensibilities. Here the text might also suggest that we can find release from the cares of everyday life by placing ultimate faith in God. The musical format is somewhat atypical, although the aria stands on its own, with its built-in organ introduction and postlude. Once again, the music calls for a light voice, or a lightened voice. That doesn’t mean it can’t be a full, rich sound, but that any heaviness is to be avoided (remembering that this aria was originally sung by a young male alto). The recording with Julia Hamari is the best I heard with a mezzo. There are two very difficult melismatic passages (M. 31-42 and M. 89-95) that will put this aria beyond most singers. While these passages are excellent training exercises, in actual performance they would be pretty treacherous. So if you are looking for a recital piece, there are better choices – this aria works best left within the cantata.

But the cantata done in its entirety is excellent concert material not only for a great singer but also for a fine organist. Another unique aspect of BWV 35 is that in addition to the solo organ movements, the organ is used as the obbligato instrument in the arias. A very cool graduate recital for an ambitious alto would be to marshal your colleagues to present BWV 34 and 35 on a program – you would seldom have the opportunity to do this outside a conservatory setting, and you will seldom find such a rewarding pairing.

The more I have worked with this cantata, the more I have become taub und stumm recognizing all the challenges and rewards of this music. “Assembled” or not, the end result is as unified a structure as you could ask, permeated with the master’s melodic genius. It’s truly a special work, and endlessly gratifying, for a soloist to attempt. I’ll often return to BWV 35 for study and just maybe at some point to perform that second aria!

Finally, an interesting tidbit concerning Bach’s librettist for this work. Lehms’ short but productive life also yielded a series of novels based on Biblical stories that were intended for general readership (i.e. both men and women), and he appears to have been an early advocate for women’s education as well as a proponent of recognizing their literary abilities: he compiled and published a collection of poetry by female authors. This was undoubtedly a controversial position for his time, and with his early death (from tuberculosis) we can only speculate as to whether he would have pursued any further initiatives. But certainly he never could have dreamed that nearly three centuries after his demise, his words would still be read, studied, and sung, by educated women (and men) all over the world.

Excerpt from Title Page of Lehms' Teutschlands Galante Poetinnen
(Dass das Weibliche Geschlecht so geschick zum Studieren als das Männliche)

 

BWV 34 - O ewiges Feuer, o Ursprung der Liebe

Week 34 (17 September – 28 December 2013)

Recording: Rudolf Lutz, Vokalensemble/Instrumentalensemble der Schola Seconda Pratica; Margot Oitzinger, alto; Jens Weber, tenor; Fabrice Hayoz, bass

Yes, that was a mighty long week. But I have managed at last to escape the eternal fire-fighting that is my life to write about Bach’s eternal fires, both sacred and secular. The cantata is certainly not at fault for my tardiness: it’s a lovely work, and I have spent many hours in the company of both the full recording as well as multiple versions of the very special alto aria that, as the linch-pin of the piece, “helps to convey a special color and unity to the whole,” as Sir Hubert Parry describes.

The choral movements and aria derive from an earlier Leipzig wedding cantata, BWV 34a, which bears the same title since it uses the identical opening lines. The work, which does not survive in complete score, must have been composed for a notable marriage, perhaps for a member of the clergy as suggested by the recitative text Dir, dessen Fleiss in Gottes Hause wacht. Certainly the prominence of brass and percussion, as well as full chorus and four soloists, indicates that the event was one with “no expense spared”.

BWV 34 was subsequently assembled to provide music for another festive occasion, Pentecost, or the “birthday of the church”. Recent research cited in the liner notes for Suzuki’s recording indicates that the shorter, sacred version was first performed in 1727, with subsequent use as late as 1740, from which time the surviving manuscripts date.

The brilliant opening chorus evokes divine flames of virtuous love and faith – the ardor of the faithful – first with an instrumental prelude of rising and falling surges of strings and brass, then with the fugal 4-part choral setting depicting both the immensity of eternity and the dancing fire. Note the little syncopation on entzünde (ignite) that leads off the B section – not one detail is ever glossed over. This is an immensely rewarding choral movement, although the da segno form makes it long for use as an anthem, the A section stands on its own – for a nimble and energetic choir that can survive the melismatic flames. Lutz’s performance for the Bach-Stiftung sparkles, with the vocal parts clearly delineated in a warm acoustic.

In adapting his earlier work for Pentecost, Bach was provided (either by his own hand or by an unknown writer) a text focusing on the soul becoming the selected dwelling place of God. This idea of being chosen is emphasized through use of the word erwählen and its derivatives in the recitatives and aria. Note the repetitions in the alto aria (five in the A section alone) of auserwählten (literally, picked out from a larger group).

The magnificent Wohl euch, ihr auserwählten Seelen is surely one of the most beautiful alto arias in the cantatas. Bach reused the music from the earlier BWV 34a; however, in that work the text references the Biblical love story of Jacob and Rachel. John Eliot Gardiner suggests this music “may have had deeper personal significance to Bach than we can fathom today”, but he sagely withholds any further inferences. The meltingly tender melody and the manner in which the singer directly addresses the audience (congregation) bespeak sincere affection. The instrumental setting using two flutes and strings envelops the singer in warmth, and the vocal line must be equally buoyant and ethereal, particularly in the first section of the aria.

In the printed key (A major), the aria is appropriate for lighter altos and lower sopranos who can easily sing a B4 without any chest tone. In order to achieve the necessary ease and fluidity, there has first to be technical mastery, and this aria offers an abundance of challenges that develop and improve vocal technique. One difficult aspect for a female alto is the constant crossing of the lower and middle breaks, which can make achieving a blended sound difficult. Several excellent exercises can be extracted from the aria to facilitate this process, e.g. M. 20-22.

Although rather long (about 6 minutes) for use as a church service selection, the aria’s A-B-A’ structure permits using the last section in that capacity. It’s such a beautiful aria that it should be shared with your listeners even if that must be in an abbreviated form. But by reverting to the original text, what a perfect piece for a wedding (if anyone out there is still asking for Bach)! The original BWV 34a version opened the second portion of the cantata (Post copulationem), and apparently used only violin and continuo for accompaniment, making for a very natural adaptation for voice and organ. The music is available in the Breitkopf and Härtel edition of 1894 (on IMSLP).

Margot Oitzinger’s performance in BWV 34 (also available as a video clip on YouTube) is a wonderful example of a fresh, warm sound with naturally minimal vibrato that nevertheless maintains exceptional intonation. But do not neglect the recording by Janet Baker, which shows how a larger, weightier voice, when managed well, can produce the effortless quality needed in this aria.

A bass recitative summons the adagio choral declaration Friede über Israel, from which flows out the closing chorus of thanks. In an extraordinary passage resolving the brief contrapuntal opening, all four voices repeat dankt in emphatic unison (in the secular version, where this music concludes the first portion of the cantata prior to the sermon, the motif belongs to the word eilt). An instrumental interlude provides more celebratory touches before a short B section and recapitulation.

Given the opulence of the writing in the two surviving choral movements, it’s reasonable to assume that the lost final chorus of BWV 34a was probably something of a tour de force. The 1894 B&H full score includes the extant soprano and bass parts together with fragmentary strings and continuo parts, with the empty alto and tenor staves taunting you in their blankness. The manuscript alto part bears only a blank page where this music should have been – in the flurry to complete all the parts for the performance, the alto and tenor lines must have been written out on separate sheets that disappeared. If I could have some lost pieces found, it would be the other parts for this chorus, whose text alternates the famous benediction from Numbers 6 (May the Lord bless you and keep you) with other words of blessing, and concludes in a long sequence of Amens. A complete BWV 34a would be a significant addition to the repertoire.

Some time has passed and I’m behind in this project, but that was probably inevitable given the scope of the task as well as my hectic schedule. Among other events has come in October the publication of John Eliot Gardiner’s Bach book, Music in the Castle of Heaven. As I have worked through this first year and utilized so many of Sir John’s liner notes from his Cantata Pilgrimage journals, I found myself hoping that somehow these journals would be collected and published separately. And here they are! Well, perhaps not in their entirety, but much of that material has been incorporated here, along with a lifetime’s experience studying, performing, and living this repertoire. If you still owe a musician a Christmas present, here it is.

BWV 33 - Allein zu dir, Herr Jesu Christ

Week 33 (10 September – 15 September 2013)

Recording: Ton Koopman, Amsterdam Baroque Orchestra and Choir; Franziska Gottwald, alto; Paul Agnew, tenor; Klaus Mertens, bass

For mid-September, here is a cantata originally premiered in September, nearly three hundred years ago in 1724. This chorale cantata opens with a large-scale, hybrid sinfonia/coro that blends the extensively-developed instrumental sections with straight-forward utterances of the Konrad Hubert hymn text. From the chorister’s perspective, this can make the movement seem fragmented, but in this case, it’s all about the text. If you want contrapuntal complexity and challenging fugues, look elsewhere. Expressing fundamental concepts of his faith, Bach allows the choral parts to focus on declaiming the words and assigns the complexity to the orchestra. The elaborate orchestral passages highlight the text, setting it off so that the audience can consider each statement.

The movement is in A-A-B-C format, with the sturdy A section affirming the role of Christ as comforter and beacon of hope. The soprano carries the cantus firmus. The declamatory B section clarifies that no mortal can provide a substitute for Christ as leader on the path out of sin and to salvation. Accordingly, the C segment begins with the imploring cry Ich ruf dich an. The soprano line presents the words with calm assurance; the alto/tenor/bass provide a rumbling contrast beneath them with a more urgent entreaty.

Emerging from this collective call are the individual calls in the succeeding recitatives and arias. Using text from an unknown poet that builds on Hubert’s 1540 hymn, Bach gives the soloists ample dramatic opportunity in the interior movements. The bass recitative following the opening chorus is a wonderful study in communicating the ambivalent moods of the seeker after faith, and it ends in a brief arioso with a nice melisma on the capstone verb erfreuen.

Then comes what John Eliot Gardiner refers to as “arguably one of the most beautiful of all Bach’s alto arias”. Having glimpsed ahead to the meltingly tender Wohl euch in BWV 34, I have to wonder what else is out there, since this project has already revealed quite a few beautiful mezzo solos. Wie furchtsam wankten meine Schritte is certainly one of them, but by the random chance of the catalog numbering, this beautiful BWV 33 aria, with its demands on phrasing, line and precise intervals, will be followed by that simple but gorgeous moment of gratitude in BWV 34, and then by the alto cantata BWV 35, where agility, technique and stamina will be tested in a service-length series of arias and recitatives. Good times (and lots of work) for altos!

In this cantata, the alto aria portrays the erring mortal’s hesitation in approaching true faith, but the wavering is mitigated by belief in Christ’s mercy and love. The timid steps – and the initial four consonants of Schritte need to precede the beat despite the context – are depicted by the motive of “drooping” thirds in the A section of the aria. The intervals require clean handling with no scooping, and in the written key the female alto voice has challenges in achieving blend across the lower break. Quick catch-breaths are definitely allowed and are preferable to the alternative of a too-fast tempo that enables unbroken phrases but runs counter to the sense of the text.

An interesting exercise is to play or sing the line with the droops removed, whereupon a stalwart melody emerges, quite similar to the positive statement that enters in the middle of M. 15:

 

Snippet of Alto Aria (M.13-15) - As Written and...

 

 

With a Little Less Uncertainty

 

This observation does not presume to illuminate Bach’s compositional process; rather, it suggests that his genius intuitively processed the potential of a simple structure and reworked it to meet the demands of the text, probably all on a subconscious level.

The unknown poet also enabled Bach to return to a favorite theme in this aria: through Christ’s death and resurrection, everything has been done for us already, dass er für mich genug getan. Emphasizing the insignificance of the individual, the musical line places für mich at the lowest pitch, with upward movement on dass er and genug:

 

At approximately 8 minutes, this great da capo aria is best used in recital – for structural reasons, it should not be abridged. Its chief difficulty lies in interpretation, as it makes few phrasing or technical demands. However, this does not detract from its value as a fantastic study piece. Even if you never plan to perform it, there is a wealth of education here in a far gentler and accessible format than many of the “big” arias.

The tenor recitative parallels the bass verse in its request for tolerance as the sinner makes his slow way to God’s mercy. It includes more wonderful language that allows word-painting such as the setting of verwirf in the first line, as well as whatever emoting fits within the overall shape of the cantata. The subsequent tenor and bass duet is an unusual pairing of the two lower voices. Beginning in a simple block form, the vocal lines become more intricate once the spirit is ignited (entzünde meinen Geist). The vocal lines are evenly matched, requiring both voices to have flexibility as well as robust, complementary timbres. The eight lines of text in the stanza are divided into four sections by their rhyme scheme creating an A-B-C-D structure, and Bach handles each segment differently. For the right voices, this duet would make an interesting choice for a worship service.

The final chorale reverts to Hubert’s text, which appears to be a German version of the Gloria patri and could be used in a similar capacity to introduce a Bach chorale into service music. Although BWV 33 was not composed for one of the high Sundays of the liturgical year, the master ensured with this conclusion that the congregation departed to the resounding statement that by their sincere acts of worship, they had pleased God Hier in dieser Zeit/Und folgends in der Ewigkeit. If the church calendar did not always provide significance, the musical offering did. For Bach, every Sunday was a high Sunday.

 

BWV 32 - Liebster Jesu, mein Verlangen

Week 32 (3 September – 8 September 2013)

Recording: Helmuth Rilling, Gächinger Kantorei Stuttgart/Bach-Collegium Stuttgart; Arleen Augér, soprano; Walter Heldwein, bass

The Schmieder listing (essentially the order in which the cantatas were published by the Bach-Gesellschaft) leads to some interesting juxtapositions. From last week’s philosophically challenging cantata calling for a large orchestra and choir to celebrate and examine the most significant date in the church year, BWV 32 provides a contrast in both musical and thematic scale. Written for a cold January Sunday following the Christmas and Epiphany observances, the cantata is as different as could be imagined from its numerical predecessor.

Labelled on the first page of the score as a Concerto in dialogo, the master presents an intimate, chamber piece that sparkles like a small diamond. The alto and tenor soloists, as well as the choir, are given their vacations, and minimal forces are utilized in this very personal statement of the believer’s encounter with God’s love manifested in Christ. With the appropriate array of talent and a suitable venue, this cantata could be performed by two soloists, an oboe, and a string quartet.

After a few measures of introduction, where the motive of yearning is plaintively depicted by the obbligato oboe, the dialogue begins with the lovely soprano aria from which the cantata takes its name. The singer portrays the soul in search of Jesus, fearful of loss and separation. But the mood is not one of despair, it is instead a most ethereal quest requiring the singer to float languid phrases and match the phrasing of the solo instrumentalist. The vocal part enters in imitation, contrasting the delicate figure for the adjective liebster with the longed-for object, Verlangen. Certain statements, such as Wo find ich dich? (M.15) need to be sung as simply as possible while the oboe churns beneath. The tempo should not be slow to the point where rhythmic integrity is compromised: some recordings show excessive freedom in the solo oboe part, which destroys forward movement as well as Baroque styling.

Beginning in M.35, there is a set of two long melismatic phrases focused on erfreue (which plays off the liebster motive) and umfangen (which riffs on the yearning motive). The 32^nd-note passages parallel the oboe part making ensemble quite difficult. The aria is in A-B-C format and provides a challenge suitable for a graduate-level recital – for the right voice it is stunning. A bit long (about 6 minutes) for a church service, though, and a great oboist is essential.

Arleen Augér is a fine interpreter who can teach you everything you need to know about performing this piece, but the voice is definitely a mature sound. Some listeners may prefer a more boyish sound, such as that of Agnes Giebel in the historic RIAS sessions with Karl Ristenpart conducting, or Rachel Nicholls in Suzuki’s recent recording. In choosing soloists to perform the entire cantata, one factor to keep in mind is that the soprano must be able to negotiate this aria but also hold her own in the upcoming duet (where in Rilling’s recording, Augér would be difficult to better).

The da capo bass aria is a long haul, necessitating very definite ideas on structure and pacing from the singer, but at 2 ½ minutes, the A section could be split off and used as a church solo. Either the obbligato violin or an appropriate organ registration needs to be used (preferably the former). As with the oboe in the soprano aria, the demands made on the violinist are equal to those of a fine concerto, requiring a top-notch player. I’m still puzzling over the interesting use of triple stops – what is Bach representing? It’s almost as if it is a moment of hesitation, or perhaps an obstacle between the perfect blending of soul and Christ which is to follow. The vox Christi invites the troubled one into his realm, but the soul must arrive there by seeking God with sincere faith.

The soprano and bass alternate lines in the following recitative as the Lehms’ cantata text, which at times seems abstruse, here weaves in the famous passage from Psalm 84 that begins Wie lieblich ist doch deine Wohnung. While I wanted to unearth some musical link to Brahms, the arioso has no such connection although it is evocative in its own right.

If you are a soprano and bass who get along, and want to give your audience and yourselves a treat, the soprano and bass duet is a delightful five minutes for either church or recital – easily my favorite cantata duet so far, although the range is a bit wide for an alto to attempt (but in Baroque pitch it may work for some "hybrid" voices with the appropriate vocal partner). The instruments associated with the soloists have remained separate until now, when Bach interweaves them with wonderful, ornate instrumental writing. Yet the association of oboe with soprano, and violin with bass, still persists in the background, as at the start of the B section. The text serves either sacred or secular purposes and needs the same leggiero handling in both. No flirting allowed here – it is Tamino and Pamina reunited after overcoming the odds. This is music that disperses the gloom of the most wintry day – Bach’s Leipzigers were forced to be uplifted despite themselves.

The chorale in bright G major brings again the melody Freu dich sehr, o meine Seele, most recently heard as the concluding movement of BWV 30 (with a different poet and text). There is some disagreement on the origins of this tune: a clear lineage does go back to the Genevan Psalter (1551). Bach probably knew the music from one of the many reprintings of the Psalmen Davids, the German translation of the Psalter by Ambrosius Lobwasser.

Psalm 42 Tune from Lobwasser’s Psalmen Davids (1576 Edition)

This cantata is filled with charm, warmth, and difficulty but would be immensely rewarding for both performers and audience. Numerous recordings are available, but the one I most want to hear features Elly Ameling and Hermann Prey as soloists – I can’t imagine a better pairing. Unfortunately, it has not been re-issued on CD (at least in the U.S.), so it required an extensive eBay search. But I did score a copy purportedly in near mint condition – which now makes two LPs I have acquired for this project that need to be transferred to CD! That will probably occur about the time I hit BWV 199…