On the program:
Trio Sonata No. 6 in G, BWV 530 - Robert Quinney, organ (Frobenius organ at The Queen's College, Oxford, England)
Cantata BWV 114 Ach, lieben Christen, seid getrost (translation) - Charles Humphries, alto; Mark Padmore, tenor; Stephan Loges, bass; Monteverdi Choir and English Baroque Soloists, John Eliot Gardiner, conductor
Brandenburg Concerto No. 3 in G, BWV 1048 - Musica Amphion, Pieter-Jan Belder, director
TRANSCRIPT:
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Brian McCreath Bach’s Cantata 114 grabs you from the start, with the sound of undeniable urgency…
Something serious is clearly on the way, and this opening chorus only scratches the surface of the remarkable depth – and contrast – of expression that follows. You’ll hear all of it, coming up on The Bach Hour.
Hello, I’m Brian McCreath; welcome to The Bach Hour, from 99-5 WCRB, a part of WGBH Boston. Each week on the program, one of Bach’s sacred vocal works takes the spotlight. And this week, we’ll hear the Cantata No. 114, Ach, lieben Christen, seid getrost, or “Ah, dear Christians, be comforted.” You can find a translation of that piece by visiting us online at Classical WCRB dot org, where you can also hear this program again on demand. Again, that’s at Classical WCRB dot org.
Bach’s music has its origin in several layers of motivation. Some are as deeply rooted as his intense religious beliefs. And some are from a more practical point of view, like the necessity of works that satisfy the requirements of a particular situation or occasion. But no matter WHAT the motivation, the music itself invariably gives us a picture of a consummate craftsman, taking every opportunity to create works of art that are continually fascinating to hear.
That goes for the many keyboard works he wrote to teach his own children and the students he taught at the St. Thomas School in Leipzig. Here’s one example. This is the Trio Sonata in G for organ, performed by Robert Quinney on the Frobenius instrument at The Queen’s College, Oxford.
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Brian McCreath That’s the Trio Sonata in G by Bach, performed at the Frobenius organ at The Queen’s College, Oxford, by Robert Quinney. That name may not ring a bell for you, but it’s likely that you’ve heard Quinney’s playing before. He’s been featured in several prominent performances over the years, but probably none more so than in 2011 at the marriage of the Duke and Duchess of Cambridge, better known as Prince William and Princess Kate.
Ach, lieben Christen, seid getrost, or “Ah, dear Christians, be comforted,” is the title and opening line of the Cantata 114. But there’s actually very little comfort in what we hear as the piece begins.
A chorus with a driving dialogue between parts of the orchestra underpins a chorale tune in the choir, the words continuing with, “Since the Lord brings affliction upon us … we have truly deserved punishment, everyone must recognize this…” Its theme is, on the surface, a reflection of the harshest corners of Bach’s Lutheran faith.
But that language has a purpose, setting up the first part in the cantata’s theme of contrasting despondency and consolation.
Consolation, though, is still some distance away as the tenor sings an aria following that opening chorus. It’s the emotional centerpiece of the work, with an emptiness you can hear from the very beginning.
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Brian McCreath The virtuosity of the flute is symbolic of questioning and searching, which is picked up by the tenor soloist with the words, “Where, in this valley of suffering, is the refuge of my spirit?”
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Brian McCreath A bit of lightness and hope take over as the soloist sings, “…to Jesus' fatherly hands I will turn in my weakness…”
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Brian McCreath But it proves to be only momentary as the mood returns to that searching and emptiness soon thereafter.
The Cantata 114 then continues as the bass connects the theme to a passage from the Gospel of Luke: “For everyone who exalts himself will be humbled, and he who humbles himself will be exalted.”
The chorus then takes over, singing a metaphor of one of the key components of the belief system of Bach’s time and place: “The grain of wheat bears no fruit, unless it falls on the ground; so must also our earthly body become dust and ashes, before it comes to … glory…”
That glory - or at least the comfort that has yet to show up in this piece - finally arrives when the alto soloist sings, “You make me, o death, no longer fearful now … I will depart in peace…”
Bach echoes that individual believer’s perspective in the community voice of a consoling final chorus.
Remember, you can see the entire translation of this piece online at Classical WCRB dot org.
Here is a performance of the Cantata No. 114, featuring alto Charles Humphries, tenor Mark Padmore, and bass Stephan Loges. They’re joined by the Monteverdi Choir and English Baroque Soloists and conductor John Eliot Gardiner, here on The Bach Hour.
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Brian McCreath J.S. Bach’s Cantata No. 114, Ach, lieben Christen, seid getrost, or “Ah, dear Christians, be comforted.” The Monteverdi Choir and English Baroque Soloists were conducted by John Eliot Gardiner. And the soloists included alto Charles Humphries, tenor Mark Padmore, and bass Stephan Loges.
Earlier we heard music from Bach The Teacher in the form of a Trio Sonata for organ. And the Cantata 114 is one of hundreds written as an expression of Bach’s faith.
Next is a piece we might assign to Bach the ambitious, sometimes sharp-elbowed professional. As with just about everything else he wrote, there’s a magnetic creativity that’s so strong and forceful it makes you wonder how anybody could ignore his work. But that’s exactly what happened with a set of works meant to impress the Margrave of Brandenburg. Here is Musica Amphion with the Brandenburg Concerto No. 3.
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Brian McCreath The Brandenburg Concerto No. 3 by Bach, with Musica Amphion and director Pieter-Jan Belder.
Remember, you can hear this program again at Classical WCRB dot org, where you can also find more resources to learn about Bach. Again, that’s all at Classical WCRB dot org.
Thank you for joining me today, and thanks also to audio engineer Antonio Oliart Ros. I’m Brian McCreath, and I’ll hope to have your company again next week on The Bach Hour.