I always write about bass arias around this time of year (see this post). Museo del Prado, Madrid, Spain (not on display). Soloists are Susanne Frei soprano Antonia Frey, alto Daniel Johannsen tenor Klaus Häger, bass.įind the score for Cantata 26 here, and the texts & translations here.Īpollo and the Python by Cornelis de Vos, 1636 – 1638. You can really hear the water move, especially in their terrific rendition of the tenor aria. Bach Foundation video of this cantata available on YouTube. I remember finding it special, all that water, especially since I had just come back from a short visit to Yosemite National Park with my family, where I had admired waterfalls and rivers. The combination of bass voice with the three oboes and bassoon even made me think of Hades in Monteverdi’s Orfeo. When I first listened to this cantata in 2017, I labeled it “The Water Cantata” in my head, because there is moving water in both the tenor aria and the bass aria, from a rushing brook to a stormy white water river. For that Sunday Bach wrote Cantata 26 Ach wie flüchtig, ach wie nichtig. The next year, in 1724, this Sunday fell November 19, the penultimate Sunday before Advent that year.
For that day Bach wrote the apocalyptic Cantata 60, O Ewigkeit, du Donnerwort! I have the best memories of doing the research about this cantata, from finding out how Bach’s music had inspired a lithographer in 1914 as well as Alban Berg in 1935, to being pleasantly surprised by Robin Blaze’s marvelous singing on the Bach Collegium Japan recording. In 1723, during Bach’s first year in Leipzig, this day fell on November 7, with two more Sundays to go before Advent. Depending on the year, this Sunday can fall anywhere in the month of November, from the 1st to the 26th day of the month. Wieneke Gorter, NovemThe Modern Cantata and the Water Cantata for the 24th Sunday after TrinityĪ Waterfall in a Rocky Landscape by Jacob van Ruisdael, probably 1660-70. But I didn’t find out about her live recording of the soprano aria from Cantata 36 with the J.S. After it was over I went on Facebook and told all my singer friends (that’s why I still know what day it was). The radio host played a piece from this album, and I was mesmerized. My mother had always preferred the German classical music station over the Dutch one, especially for their Early music programming, so WDR3 was pre-programmed into my parents’ fancy equipment. I was staying at my parents’ house in the Netherlands with my kids. I first heard Nuria Rial sing on the German radio station WDR3, exactly one month after my mother passed away in 2010. My favorite interpretation of the soprano aria is by Nuria Rial. In 1731, Bach transformed a secular birthday cantata from 1725 into Cantata 36 Schwingt freudig euch empor.
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If you would like to learn more about this opening chorus, or even sing along to it yourself, I encourage you to sign up for California Bach Society’s free workshop on this cantata this coming Saturday, December 5, at 11 am Pacific Time, on Zoom. You better not mix them up when you have been engaged to sing the bass solos. And yes, Bach wrote two Advent cantatas with the same title. For me, nothing says “Christmas is coming” more strongly to me than this music. Since the release of Herreweghe’s recording in 1997 I have been in love with the opening chorus of Cantata 62.
My most recent writing about this cantata is from last week, not for this blog, but for that of California Bach Society. In Leipzig, in 1724, Bach wrote Cantata 62 Nun komm, der Heiden Heiland. This one I remember the best from my childhood, because my mother loved Seppi Kronwitter’s singing of the soprano aria on the Harnoncourt recording. In Weimar, in 1714, Bach wrote Cantata 61 Nun komm, der Heiden Heiland. Bach wrote three cantatas for this Sunday: Thank you for reading this blog, and a warm welcome to all of you who started following recently.
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