A Moment of Bach

Welcome to season 5 of A Moment of Bach! We kick off the season with a suggestion from Charles Raasch -- the Great Fantasia and Fugue.  Does Bach know where he's going with this one?  Of course he does, but, it's still fun to get lost in the music.  Come with us as we wander into the complex harmonies, built mostly on fully-diminished dissonances, until Bach finally leads us home to a supremely sonorous G major ending. Great Fantasia and Fugue (BWV 542) performed by Leo Van Doeselaar for the Netherlands Bach Society Give to the Netherlands Bach Society -- help them finish All of Bach! PATREON -- a new opportunity to donate to A Moment of Bach -- always optional, always appreciated!   

Our fourth season was the best year yet for our downloads. Thank you for your listenership! And we still welcome your listener "moments" of Bach as ideas for future episodes.  For this season closer, we invite Reverend Eric Clausen, a Lutheran pastor, to help us unpack the background of BWV 80 (A Mighty Fortress Is Our God). The bold and powerful text of the source hymn comes directly from Martin Luther. Bach's cantata incorporates the four hymn stanzas plus poetry by Salomon Franck. Two aMoB listeners suggested moments from BWV 80; we discuss the specific moment requested for the second movement.  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. BWV 80 Ein feste Burg ist unser Gott, as performed by Netherlands Bach Society under the leadership of Shunske Sato, Artistic Director

Martin Luther, J.S. Bach, and Reformation Sunday -- this most Lutheran of all cantatas is our subject for today.  "Ein feste Burg" was the battle-cry of the Reformation: "A mighty fortress is our God!"  Bach's cantata weaves in all 4 stanzas of Luther's strong hymn. We marvel at movement 1 with its "dizzyingly complex counterpoint" (as Richard Atkinson puts it in his video).  This is one of the maybe 2 or 3 most complex opening chorale fantasias in all of Bach's cantata ouevre, and that's a high bar to clear!  But then we zoom in on a more tender moment, the end of the alto/tenor duet in movement 7: "[the heart] will finally be crowned, when it slays death". Here, the bass line drags down in twisting chromatic motion, the tempo slows, and Bach resists the urge to return to an "A" section of text, instead closing the movement with a short instrumental coda. BWV 80 Ein feste Burg ist unser Gott, as performed by Netherlands Bach Society under the leadership of Shunske Sato, Artistic Director Come see this very cantata, BWV 80, in Orange, California at a free concert put on by Alex's church music program!  October 20, 4pm, more details at this link.  Also on the program: a new arrangement of A Mighty Fortress, orchestral liturgical music, BWV 29 sinfonia, and "Dona nobis pacem" from Mass in B minor. Translation of the text of BWV 80 from bachcantatatexts.org, which we mentioned in this episode A great article about BWV 80 featured on the Bach Choir of Bethlehem's website Dizzyingly Complex Counterpoint in BWV 80: video by Richard Atkinson which we mentioned in this episode "In Your Eyes" by Peter Gabriel, a song that was referenced in this episode.  The last minute or so of the song features the dense instrumentation that Alex mentioned: 2 bassists, 2 drummers, etc. Also, here is a great episode of the podcast Strong Songs which breaks down "In Your Eyes".

The organ, a sacred sound, gets an unusual role in this cantata for solo voice. We hear the organ leaping all over with a virtuoso part against violins and oboes and the alto soloist. There is no better way to convey the rich concept of the "confused joy" of the believer who witnesses miracles.  In this cantata, which took place during the Sunday where the story is read of Jesus healing the deaf and mute, Bach sets his poet's words:  Spirit and soul become confused, when they gaze on Thee, my God. For the miracles they know, And which the people tell with joy, have made them deaf and mute.   Geist und Seele... from BWV 35, as performed by the Netherlands Bach Society

Organist Katrina Liao joins us to talk about one of her favorites, this chorale prelude that is crackling with spiritual fire.  The off-beat bass at the beginning is a neat touch -- could Bach have meant to signify the Holy Spirit by focusing on the 3rd division of the beat? -- but, Katrina's favorite moment comes in the second verse, when the bass gets to carry the melody with a strong, reedy pedal sound.  Christian also points out a hidden "B-A-C-H" motif. "Komm, Gott Schöpfer, Heiliger Geist" organ chorale prelude (BWV 667) performed by Reitze Smits for the Netherlands Bach Society

Why do we play games?  Because they're fun?  Or is it because they give us a sense of structure and a clear goal, a refreshing contrast to our real lives, which are messy, unpredictable, and complicated? In the same way, we listen to Bach to give a much-needed feeling of structure and clarity to our hectic, messy lives.   But sometimes, he doesn't quite give us what we expect.  He breaks the patterns. And it's at those moments when we can catch a glimpse of the angels in the architecture. Italian Concerto, BWV 971, second movement, as performed by Christine Schornsheim for the Netherlands Bach Society "Wandering Flame", from the soundtrack to Final Fantasy X; this track is by the composer Masashi Hamauzu Link to chapter 1 of "Travels in Hyperreality" by Umberto Eco; the discussion on Disneyland mainly takes place on pages 43-48 of this document

An austere fugue subject here begins with a strange leap. To play this four-note opening on a keyboard is to outline a symmetrical structure, reminding us of the bare pillar that holds up the structure. Adorned on the structure are two faster, florid themes which enter later in this long piece.  But our moment today is its ending -- a deceptive ending leads to a brief coda, but when it happens, its harmony strikes us with a surprising dissonance, feeling almost like the resolute major tonic triad that it wants to become. But a pesky A natural, the sixth scale degree, dashes this to pieces.    Bertrand Cuiller plays the C# minor fugue (with prelude) for the Netherlands Bach Society

Today we bring you 24 repeated notes on the same pitch.  Can you think of any other Bach piece which features this special effect?  Certainly this is unique in the orchestrational context here: a high-pitched recorder, beeping out a digital-sounding alarm clock noise.  Or is it a bell ringing?  We explore what this all means -- because, of course, with Bach, it MEANS something.   Liebster Gott, wenn werd ich sterben (BWV 8) performed by the Netherlands Bach Society. Shunske Sato, conductor; Benny Aghassi, recorder solo

In his early twenties Bach produced this compact, delightful cantata, likely for a wedding. The text of the duet is still applicable in a school community: The Lord shall increase you more and more, you and your children. Bach saves a special effect for the last two measures, where a modern technique is used: from highest of highs to the lowest note of the cello, a single line is passed across the string instruments.  Local SoCal listeners: Christian has programmed this cantata in its entirety THIS coming Sunday (August 25) for a service honoring school faculty at 10:15am at Abiding Savior Lutheran (23262 El Toro Rd, Lake Forest CA 92630). "Der Herr segne euch" duet by Netherlands Bach Society

Bach proves his mastery of the Baroque concerto here, as in the Brandenburgs -- except this time, we don't have the original music!  We do have a harpsichord concerto as well as an organ concerto version of the first movement (which is actually from a cantata)... but we do not have the violin concerto version, which scholars assume must exist.  The reason for this assumption is that this music is suited exceptionally well for the violin, and so, this reconstruction was made.   The first six bars of this piece are some of the most dynamic in Baroque music -- if you ever hear someone complain that classical music is "boring", hand them some good headphones and turn this one on!   Violin Concerto in D minor - the main recording we talk about on this episode: Netherlands Bach Society, led by Shunske Sato Another recording of the same piece by Netherlands Bach Society, led by Shunske Sato Cantata "Wir müssen durch viel Trübsal" (BWV 146) (featuring the source music for this concerto)

"I shall sing of the wonders of Jesus." The trumpet reflects the text purely before the singer begins. The oboes and violins join in and play off the trumpet, each finishing each other's musical lines.  You probably know this cantata for its most famous movement -- two verses of what we would call in English "Jesu, Joy of Man's Desiring."  But there is much more brilliance to be explored in this cantata.  Bass aria "Ich will von Jesu Wundern singen" as performed by the Netherlands Bach Society Cantata Herz und Mund und Tat und Leben (BWV 147), entire

A hidden gem, a fully-formed masterpiece from a young Bach, a cantata unburdened by his later fascination with Italian-style recitative and da capo arias: it is the incomparable Gottes Zeit ist die allerbeste Zeit. We look at this cantata for a third time (see season 1 episode 8 for the sonatina, and season 3 episode 15 for the soprano solo ending moment).  Near the end of the cantata, we are placed in the viewpoint of the criminal on the cross, who receives forgiveness by Christ and is told "today, you will be with me in Paradise".  Bach weaves in a Luther hymn about departing this earth peacefully... and at a critical moment, the Christ solo ends and the hymn is all that's left, with the words "gentle and quiet".  The Netherlands Bach Society interpretation of this moment is unique and powerful -- they let the moment breathe. Performance of BWV 106 "Gottes Zeit" by the Netherlands Bach Society, led by Jos van Veldhoven or, skip ahead to "Heute wirst du mit mir im Paradies sein"

The famous C minor fugue near the beginning of the Well-Tempered Clavier expresses the emotions of sadness, loneliness, and melancholy, according to harpsichordist Masato Suzuki. Suzuki provides a sensitive performance with attention to articulate detail in the fugue subject. This, naturally, leads Christian and Alex into a comparison with race cars.  But, more straightforwardly, this fugue is part of the large journey that is the whole two books of preludes and fugues. The first prelude is a walk in the garden; its fugue is a hopeful step forward. But the following prelude in C minor is intrepid and fearless, boldly marching out the door. So, this fugue is when we finally run onto the road, with all of the uneasiness this entails. Explore with us how these first four parts of the WTC work together, what a countersubject (or even a second countersubject) is, and how this fugue embodies the very word root of "fugue" (to fly, flee).    Fugue in C minor as played by Masato Suzuki for the Netherlands Bach Society Playlist with the entire Well-Tempered Clavier

Vivid and subtle, this cantata follows the spiritual journey of the soprano soloist who carries the weight of sin on her shoulders. The journey is one from darkness into light, and our moment, sent in by listener Dave, comes at the cathartic middle movement, where hope is found in patience. Soprano Julia Doyle delivers a heartfelt rendition of this stirring cantata, one of Bach's most openly emotional.  We discuss how Bach's choice to make this a solo cantata is a masterstroke in itself, and we talk about how thrilling it is when Bach (and other artists/creators, even video game developers!) allow their works to be driven by the story and characters of the text, rather than trying to force the work into a predetermined structure.  The music is subservient to the emotional journey that is the heart of the text.  This, we think, is what gives Bach's cantatas and passions their magic. Aria "Tief gebückt" from this cantata, Mein Herze schwimmt im Blut (BWV 199), as performed by Julia Doyle and the Netherlands Bach Society Companion video by the Netherlands Bach Society: interview with soprano Julia Doyle

On the last note of Mozart's "Kyrie eleison" in his requiem, he chooses a stark and intense open fifth instead of a triad. What happens when a composer finishes...not correctly? Is this allowed? When using old melodies which start and end on scale degree 3 (relative to major), Bach adapts this old Phrygian mode to his idiom, but this does create an unexpected ending. Even more surprising is the wild hellish chromaticism of the final passage leading up to the Phrygian ending of this "Kyrie" setting. Even by Bach's own standard, this chromatic passage goes beyond.    Leo van Doeselaar plays BWV 671 (the focus of this episode and the text on the Holy Ghost) for the Netherlands Bach Society BWV 669 (text on God the Father) BWV 670 (text on Christ the Son)   Mozart Requiem II. Kyrie (excerpt): Public Domain recording  

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

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.

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

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. 

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.

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

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

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

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

Bach's organ chorales are some of his best-known works for the instrument.  He had a way of clothing the simple hymn tunes with layers of heavy material.  The final product becomes something almost unrecognizable, and yet you can feel the essence of the tune hiding in there somewhere...  When you look for it, it's woven into the fabric of the work. If you want to hear the previous episode on the first of the three organ chorale preludes on this hymn tune, see Episode 16 of this season of A Moment of Bach. Allein Gott in der Höh sei Ehr (organ chorale prelude, BWV 662) by Reitze Smits for the Netherlands Bach Society

Sir John Eliot Gardiner writes about this cantata: "[Bach] recognized that small lives do not seem small to the people who live them." Bach had an interest in portraying the ordinary anxiety of the guilt-ridden person. Nowhere is this more evident than in Cantata 105 where he focuses on the human rather than the divine. Voices plead "Lord! Lord! Enter not into judgment with your servant." The first two voices seem to shout early! This jarring effect overlaps the apparent beginning of the next section of music.  In the closing chorale, a quickly pulsating string heartbeat is fast and anxious. Bach incrementally slows it down using longer and longer note values. The result is a  gradual release of pressure, a bizarre and experimental structural device for its time.  "Now, I know, Thou shalt quiet my conscience that torments me." BWV 105: Netherlands Bach Society Netherlands Bach Society companion video on the obscurity of the Corno da Tirarsi

Bach the composer, Bach the educator, Bach the church music director, Bach the scholar, Bach the instrument inventor... Johann Sebastian Bach was so many things. In this episode, we focus on Bach the innovator of keyboard technique -- specifically, a style of playing which facilitated the complexities of the music he put on the page.  Familiar with the great keyboard composers of the past, Bach built upon standard clavier technique and developed his own, which his son and his first biographer both recorded after his death.  This little compilation of information on how Bach played, down to the specifics of how the fingers bent and exactly what time each finger arrived at and left each note, is a real gem.  It might even be more precious to Bach performers than some of his manuscripts themselves -- because it can crack the code of how to actually play the music (or at least, to play it well). Indeed, many players of Bach nowadays owe a lot to this description of Bach's keyboard technique, not because they have necessarily read it themselves, but because all of the best music teachers have passed on its secrets over the years. Fugue no. 23 in B major from the Well-Tempered Clavier Book 2, performed by Christine Schornsheim for the Netherlands Bach Society

Bach's first church works were anything but plain and dull. Untouched by Italian style, firmly in German Lutheran tradition, this very first known Bach cantata shines and surprises at every turn through its mazy passages.  This is the second part in a two-part miniseries on the masterwork BWV 150 (Nach dir, Herr, verlanget mich). See the previous podcast episode for part 1. In this episode, we discuss the last three movements: the shaking trees of the trio (Cedern müssen von den Winden), the frantic escaping of the net in the chorus (Meine Augen sehen stets), and the towering final Ciaccona. In this episode, we reference Bach's most famous choral works. We see how in his early works he was more experimental, and we explore how the seeds of his later masterworks are yet already there.    BWV 150 as performed by the Netherlands Bach Society (recordings used with permission in this episode) Musical score to BWV 150 referenced in this podcast miniseries

Grab a score (or open the link) and follow along with us in an exploration of Bach's first known cantata. This straightforward psalm setting keeps us on our toes as it changes with almost every line of text, including the sublime and ancient sound of the "Leite mich" (lead me) chorus moment. Why doesn't Bach follow the rules of harmonic progression here? In this first episode of two, we will explore the first four parts of the cantata. This brilliant work of a very young Bach has a host of all-star moments within.   BWV 150 as performed by the Netherlands Bach Society (recordings used with permission in this episode) BWV 150 as recorded by VOCES8 and the Academy of Ancient Music Musical score to BWV 150 referenced in this podcast miniseries

Welcome back -- this is Part 2 of our 2-part series on a pivotal moment during the "Et expecto" section of the Mass in B minor. If you haven't caught Part 1 yet, which was released last week, we suggest you start there. In this episode we go more in-depth with harmony than we ever have on this podcast. If you want to follow along with the twists and turns, get out your Mass in B minor score and read along with us! (Or use this link for a vocal score reduction from IMSLP.  The "Et expecto" bridge starts on the bottom of page 118.) Jump to the "Et expecto" bridge, where we start this episode (performance, as always, courtesy of the Netherlands Bach Society)

Always know where you're going. Today is part 1 of a 2-part series on one of the famous moments of Bach -- the transition from "Confiteor" to "Et expecto" at a dramatic moment in the Mass in B minor.  Rather than jump right into the final, festive section that describes the eternal joy of the resurrection of the dead, Bach first gives us a slow, searching, harmonically unstable bridge.  This section contains some of the most unusual sounds in all of Bach's work.  But... he always knows where he's going -- and when he gets there, it is glorious. This week we focus mostly on the "Confiteor", which is a lead-up to the real moment.  Next week we get to the bridge. Jump to the "Confiteor" from the Netherlands Bach Society performance of Mass in B minor Vocal score for Mass in B minor (public domain) from IMSLP -- "Confiteor" starts on page 113  

In this bonus episode, we return to the transcendent joy of the final chorale of BWV 61 "Nun komm, der Heiden Heiland" to review a recording from the J. S. Bach Foundation (J.S. Bach-Stiftung). The lightning speed pleads for Jesus the "Crown of Joy" to return without delay in this performance directed by Rudolf Lutz.    Thank you to the J. S. Bach Foundation for permission for A Moment of Bach to utilize this recording for a podcast episode.   "Amen, amen!" chorale, Bachstiftung (J. S. Bach Foundation) Bach explained: Workshop on cantata BWV 61 "Nun komm, der Heiden Heiland": Bachstiftung (J. S. Bach Foundation) For further information on the Bach Foundation, go to: https://www.bachipedia.org/en/   Comparison: "Amen, amen!" chorale, Netherlands Bach Society