I had been unsure how to talk about these concerts in the framework of this blog, especially now that it’s more than a month ago and we’re in Advent already (yes there is Advent music in this post, please keep reading) and there is no recording of these concerts. Bach Stiftung, Julia Doyle, Leo van Doeselaar, Marc Hantaï, Netherlands Bach Society, Rudolf Lutz, Trinity 6. If you have ever watched and heard Dorothee Mields and Alex Potter sing a duet, you know that that is pure heaven. Bach often uses recorders to introduce sorrow. For this entire program, the violinists were playing one-on-a-part, the same way it was probably done in Weimar, where Bach first performed Cantata 161 on the small organ loft in 1716. Considered to be one of Europe’s top ensembles specializing in the sacred music of J.S. So I decided to walk through the rose garden to experience the color and scent of this amazing flower, and it helped. Happy learning and listening! Posted by cantatasonmymind in Advent, Bach's life, Cantatas, Christmas, Leipzig, Weimar, Advent, Advent 4, Alfredo Bernardini, All of Bach, Bachvereniging, BWV 132, BWV 147, BWV 147a, Christmas, Dominik Wörner, Hana Blazikova, J.S. But I’ll still write about cantata 86. Read that post here. Several people had tears in their eyes. The only connection I have with it this week are the roses in the text of  the alto aria. And while in 2017 I still had to piece together my favorite recording of Cantata 86 from some of Gardiner’s and some of Koopman’s, there now is the fabulous live recording of the Netherlands Bach Society on YouTube, published on September 7, 2018. And boy, did he do that! They believe that this is why he started the chorale cantatas (cantatas of which each movement is based on a different verse of one and the same chorale tune) after Pentecost of that year. During a visit to my home country, the Netherlands, I attended the Netherlands Bach Society’s “All Souls” concerts on October 31 in the Grote Kerk in Naarden and on November 3 in the Nieuwe Kerk in The Hague. Posted by cantatasonmymind in Cantatas, Epiphany, Leipzig, Bart Coen, Benny Aghassi, BWV 106, BWV 13, BWV 155, BWV 161, BWV 244, BWV 249, BWV 3, BWV 46, Colin Balzer, Collegium Vocale Gent, Easter Oratorio, Epiphany 2, Heiko ter Schegget, Herman Stinders, J.S. If you are not following this blog yet, please consider signing up (on the left of this text if you are on a desktop computer, at the bottom of this post when you are reading on a smartphone). For the fourth Sunday of Advent, Bach wrote two cantatas in Weimar: Cantata 132 Bereitet die Wege, bereitet die Bahn in 1715, and Cantata 147a Herz und Mund und Tat und Leben in 1716. here, in a performance by the J.S. For a wonderful example of this version, listen to Herreweghe’s recording here on YouTube, or here on Spotify. I will discuss two good alternatives for recordings later, but first I would like to introduce* Alex Potter with this video by the Netherlands Bach Society. Nach dir, Herr, verlanget mich. 3. Even though the tenor wasn’t singing yet, the text was already there: the longing (“Verlangen”) but also the pure radiance (“reiner Schein”) of the soul and the image of angels. By the time Bach repeated this cantata in Leipzig, probably sometime in the late 1720s or in the 1730s, O Haupt voll Blut und Wunden had become much better known, and Bach might have had a similar concern as Alex Potter had in 2019: he wanted to make sure the congregation would have the correct chorale, and thus the correct message in mind. Just click on this link and the entire series is right there, under “recently added.”. Soloists on this recording are Matthew White, countertenor, and Hans Jörg Mammel, tenor. Worth all the four and a half minutes of your time. This live video registration has an abundance of Christmas presents for me: the festive setting of the Grote Kerk in Naarden; soprano Maria Keohane in a Scandinavian Christmas dress and truly enjoying herself; tenor Charles Daniels, always a delight; a promising new young bass, Matthias Winckhler, who can actually sing every note of the enormously challenging bass aria in this cantata; and the best gift of all: Alex Potter singing the alto aria, which to me is the most moving part of this cantata, and also the core message Bach wanted to communicate to his fellow believers on this Christmas Day in 1725. Posted by cantatasonmymind in After Easter, Cantatas, Leipzig, 5th Sunday after Easter, BWV 86, Daniel Johannsen, Marion Strijk, Netherlands Bach Society, Robin Blaze, Rogate Sunday, roses, Shunske Sato, Stephan MacLeod, Westerland. 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