A Moment of Bach

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)

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

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"

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

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.

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

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

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

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

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

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.

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!

Listeners! Thank you for 100,000 episode downloads! It's Bachtoberfest, which means we talk about a silly piece by Bach -- this year's is a little parable about a tobacco pipe. We also read some of your comments and suggestions, we drink some Hefeweizen, and we talk about our plans for season 4, coming in 2024. TWO MORE BONUS EPISODES are on their way soon -- a blooper reel for season 3, and a post-concert interview with soprano and previous podcast guest Emily Wood. LOCAL LISTENERS in Southern California: Info about the Christmas Carol Festival organized/directed by Christian at his church: 3:00pm, Sunday December 10, Abiding Savior Lutheran Church, 23262 El Toro Rd, Lake Forest, CA 92630, USA. And check out the Bach: Coffee and Cantata online group organized by listener Thierry -- a place for like-minded Bach lovers to meet and discuss cantatas in the context of the Sunday on which they were written. We mention this in the episode. As always, thanks to Netherlands Bach Society for the use of our audio examples, and Sydney LaCom for our artwork. Until next year... enjoy those moments...

Composer and guitarist Giovanni Piacentini joins us today with guitar in hand and an enthusiasm to share with us one of Bach's most surprising moments. Bach's "Prelude, Fugue and Allegro" is designated for lute or harpsichord. Classical guitarists have long enjoyed the work, which is successfully adapted to the guitar. Near the end of the prelude, Bach takes us down an unexpected path, then gives us a thoroughly strange chord -- Giovanni's moment of Bach today. We discuss two normal ways that this chord could have progressed. But as Giovanni says, "Bach isn't normal!" Instead he takes on a wild trip before returning to the peaceful home key.

Today we take a suggestion from listener Dave, and dive into the wonderfully rich "Trauerode", which was written for the funeral of a princess. Bach put some extra effort into the instrumentation and orchestration. Here we have an aria with not just one complex obligatto instrument line, but three separate obligatto instrument lines (flute, oboe, violas da gamba), all with different material and different timbres. "Laß, Fürstin, laß noch einen Strahl" (Trauerode) (BWV 198) -- tenor aria Link to information about upcoming concert at Alex's church in Orange, CA: Sunday Oct 1 at 4pm, Bach cantata #147

Closing out this set of three chorale preludes on its Trinitarian hymn tune, this sparkly trio (of angels?) dances up and down the organ console. The Three-ness is evident in this piece meant to evoke the third part of the Trinity, the breath-giving Holy Spirit. Three bars by three bars make up the first nine, and three bass notes begin the prelude. Three sturdy eighth notes pin down the dancing texture on occasion, there are three sharps in the key, and there are three independent parts in the trio. In this episode we talk about our favorite pair of moments with a long chain of trilled suspensions against fast notes. Knowing that Bach always used the text, we discuss whether this music is meant to set the stanza about the Holy Spirit and whether it may be the fire of the Spirit upon faithful people rather than angels. Allein Gott in der Höh sei Ehr (organ chorale prelude, BWV 664) by Reitze Smits for the Netherlands Bach Society Netherlands Bach Society: BWV 662 Netherlands Bach Society: BWV 663

When the King of Prussia requested Bach's presence for a visit, Bach probably expected to be asked to improvise some complex music on the king's prototype fortepiano. But did he expect the king to give him such a twisty, chromatic theme? And, after he played an extemporaneous 3-part fugue successfully, was it then even more unfair for the king to ask for a 6-part fugue immediately following that? And, most intriguing to us, was it actually Bach's son who convinced the king to spring this "trap" on Bach, as theorized by Arnold Schoenberg? Today we dive deeper into the Musical Offering, and take a suggestion from listener Darcy, looking at a fairly jazzy few seconds of Bach. Playlist of the entire Musical Offering, performed by the Netherlands Bach Society Or, go straight to the Ricercar a 3. Ricercar a 6, orchestrated by Anton Webern (as mentioned in this episode), with scrolling score, performed by the LA Philharmonic

In this episode we concern ourselves with the inner workings of the fugue. The fugue of the D major set from Book 2 of the Well-Tempered Clavier makes for an excellent study. It is made of a pliable, connectible subject which Bach treats as two small motives. These lend themselves to layering, overlapping, and echoing of all kinds. The atomic building block of this fugue subject gives it all at once simplicity, harmonic ambiguity, rhythmic ambiguity, and momentum. Prelude and fugue no. 5 in D major BWV 874 - Schornsheim

Listening to this, perhaps Bach's weirdest opening chorus (and that's saying a lot!), Alex and Christian get tangled up in the forest of the complexities of this music. We untangle some, but we also sit in and admire the thorniness of this piece of music, which perfectly portrays its text. And we talk about how Bach can make us feel existential fear, not through flashy orchestral effects, but through the deep mysterious complexity of the music itself. The special moment comes in a sudden bass recitative in the middle of the movement, like a clearing in the forest. But this clearing is not free of thorns either... Netherlands Bach Society plays BWV 103, directed by Shunske Sato

Bach's Christmas cantata "Darzu ist erschienen der Sohn Gottes" is resplendent with the joy of the season with its festive horns throughout. But in the tenor aria, Bach offers a more delicate excitement from the horns. In dialogue with the oboes, the horns offer the child-like wonder and excitement of the "Christenkinder" (Christ's children). A middle section contrasts starkly with a scary "frighten" (erschrecken). We also explore the marvelous closing chorale harmonization with its "joy upon joy" and "bliss upon bliss." BWV 40 aria "Christenkinder": Netherlands Bach Society