Cantata BWV 180 - Discussions

Discussions in the Week of November 5, 2000

Aryeh Oron wrote (November 5, 2000):
Background

This is the week of cantata BWV 180 according to Ryan Michero's suggestion. For some background I shall allow myself quoting from W. Murray's Young book's 'The Cantatas of J.S. Bach - An Analytical Guide':
"The chorale cantata for the 20^th Sunday after Trinity is based on the hymn by Johan Frank, arranged by an unknown librettist. The hymn and his poem reflect the Gospel for this Sunday, Matthew 22: 1-14, the parable of the wedding of the king's son, but emphasize the sacrament of communion derived from the Scripture used for this particular libretto.

No fears, warnings or threats of pain and punishment occur; every number expresses the divine serenity of the Eucharist and its symbolic significance. Bach's setting contains all of the mystical joy that he feels when he associates his soul with Christ, the Bridegroom, at the heavenly banquet.

Stanzas one, four and nine of the hymn are retained unchanged for numbers one, three and seven; the others are paraphrazed.

The soli are SATB, with four-part chorus. The instruments are two recorders, two traverse flutes, an oboe, an oboe da caccia (English horn), a violoncello piccolo, two violins, a viola and continuo."

If anybody wants to read more, he (or she) can find the most detailed and erudite linear notes in the booklet attached to Coin's recording of this cantata [5].

Complete Recordings

I shall be very short this time. I wrote a few notes during listening to the five recordings below, but I could not convince myself to write more. Maybe I was over-exhausted from listening to 20 recordings of BWV 56 last week, I do not know. Surely, the blame is mine and should not deny you from listening to this charming and joyous cantata! See: Cantata BWV 180 – Recordings.

(1) Fritz Werner (1970)
I do not have this recording, which was reissued in CD form for a short period in mid 1990's.

(2) Karl Richter (1977+1978)
The strangest characteristic of Richter's rendering is the solemn, meditative and serious approach he adopts in this cantata. One has only to look at the total playing time to know in advance that this is not going to be a danceable performance. But what is even stranger, is that this approach works. I found myself returning to this recording over and over again. The weakest of the soloists is Schmidt, who is very heavy in her short recitative. But in all the other solo movements we have singers of first rate calibre. The soprano Mathis excels in her recitative and arioso, in which she is accompanied by usual violoncello rather than violoncello piccolo, and also in the aria, 'which is one of those arias with a little lift in the melody in orchestra and voice that rejoices the heart' (Robertson).

(3) Helmuth Rilling (1979)
This rendering sounds to my ears the most convincing regarding the playing time. Last week there was a very lively discussion in the Bach Recordings Mailing List about the right tempo to perform Bach's works. I usually tend to avoid participating in such discussions, where everybody is trying to convince the other participants that his opinion is the only valid one. I am more tolerate, maybe due to my background in Jazz music, where 'everything goes'. Sometimes I am finding myself amazed at the level of energy that the members of both lists are ready to put into those discussions (HIP, OVPP, etc.). I wish that some of that energy and level of participation would go to the weakly cantata discussions! For me the right tempo to perform a certain piece of music is simply the tempo that sounds right. Who will dare saying that the playing of Schubert last piano sonata (D.960) by Sviatoslav Richter is too slow, when it is so convincing and deeply moving? Even Glenn Gould, who usually hated Schubert's music, admitted to be captivated by Richter's rendering. Back to Rilling. The opening chorus has pastoral and springy and optimistic atmosphere. Along the whole performance Rilling adopts lightness and easiness, but also succeeds in drawing the best singing and playing from the forces to his disposal. The alto Watkinson is much better than her rival on Richter's recording is. And we can of course be delighted to hear both Kraus and Augér in their best. Both show that they can make wonders also in these types of movements, not only in the serious and sombre ones. In the recitative and arioso for soprano Rilling uses violoncello piccolo.

(4) Gustav Leonhardt (1988)
Leonhardt's rendering is the most danceable of them all. The cutting rhythm suits very well this cantata and sounds much in place. Regarding the old instruments in H/L cycle, I think that usually the playing of the wind instruments is better than either the brass instruments or the strings. In this cantata we have many wind instruments and the whole rendering gains from it. The poor boy soprano is not technically equipped to perform successfully the demanding aria for soprano. He is not saved in the recitative and arioso by the wonderful playing of Anner Bylsma in the violoncello piccolo. All the other soloists are competent, but I feel that they are not in their prime in this recording. Only Equiluz' voice is in good form but his singing lacks delight, which is needed to perform convincingly his aria for tenor.

(5) Christophe Coin (1993)
This is the most charming rendering of this cantata. It is even more airy and light than Rilling's. The level of playing from all the HIP instruments is very high indeed. The clean playing contributes also to the transparency of the texture. The small choir is ringing like a delicate bell. Schlick is not on the same level of Mathis or Augér, but we are compensated by Prégardien, who is delightful in his aria. The centrepiece of this recording is the recitative and arioso for soprano. Coin playing of the violoncello piccolo is charming and assured. The sound of the violoncello piccolo is rich yet gentle and flowing, and it blends wonderfully with the soprano voice of Schlick. It could have been even better if he had a part to play with the splendid voice of Scholl, who is singing the recitative for alto. But for that combination we have to turn to another cantata (like BWV 85).

(6) Paul McCreesh (1997; included in Epiphany Mass)
This is indeed very fast. I do not know if McCreesh uses here OVPP or 2VPP (maybe Matthew Westphal will be able to help), but the opening Chorus becomes jumpy, jazzy and quicky. Some of the charm is lost, but we gain in the refreshing approach, which is quite the opposite of Richter's (on the same label). None of the vocal soloists impressed me in particular. Hearing Monoyios after Augér, Davidson after Scholl, Daniels after all his four predecessors, Harvey after Fischer-Dieskau - they do not have really a chance, do they? At the end of this recording I found myself breathless. I remember that the great late pianist Arthur Rubinstein said once in a master-class to a young fellow: 'Don't push, let the music breath. It is so beautiful'. I feel that McCreesh is pushing the music too much.

(7) Ton Koopman (1998)
This recording is included in the latest volume of Koopman's Bach Cantatas cycle (Vol. 10). I ordered it, but I do not have it yet, neither had I the opportunity to hear it.

Recordings of individual Movements

(M-1) Greg Funfgeld with David Gordon (tenor) (1994; aria for tenor (Mvt. 2) only)
This is a non-HIP recording. David Gordon has an impressive voice, which is of the kind suitable to singing Bach. But in terms of interpretation and expression, his performance does not match Schreier (wiRichter) or Kraus (with Rilling).

Conclusion

Every recording of cantata BWV 180 has something to its credit, and each one of them approaches this cantata from a different angle. Each one sounds to me valid and convincing. I would not like forgoing any of them. And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings.

Marie Jensen wrote (November 5, 2000):
Schmücke dich o liebe Seele. ...Yes, but I didn't reach it, before the cantata overwhelmed me with intense joy and goose bumps! What a rediscovery!

It deals with the souls meeting with Jesus, in Eucharist, heart and Heaven.

A new cantata on my top ten? Putting words on seemed meaningless at first, but as I have decided to write to the list I got to do it. Bach's music can't be written about, can't be painted, explained, it has to be experienced. And if you have not experienced BWV 180, it is a must!

The openings slow dignified entrada softly decorated with gentle triplets, but no trills at all. Perhaps this is far out, but when the enormous baroque arsenal of different trills and ornamentations not is used in a text about ornaments, it could be that the jewellery of the text not is worldly gold and diamonds, but a spiritual decoration coming from the Trinity, perhaps faith, hope and charity. But Bach also made a 9 minutes long organ version BWV 654 ("Achtzehn Chorale") with lots of ornamentation, wonderful of course.

The tenor aria (Ermuntre dich, dein Heiland klopft) leaps with joy, when Jesus stands at the door, knocking, insisting, until you open your heart. Here the knockings can be heard in the bass. Another knocking at the door can be found in cantata BWV 61 "Nun Komm der Heiden Heiland" (recitativo: "Siehe, ich stehe vor der Tür")

The recitativos are very intense and there are lots of Bach energy in the "Lebens Sonne" aria Personally I find the cantata text very comforting, for example:

Du wirst meine Treue sehen
Und den Glauben nicht verschmähen,
Der noch schwach und furchtsam ist.

There is a hope for all of us!

I only have two taped versions. It was Coin's version (5) I heard on my little rediscovery tour. I like its beauty and engagement. Perhaps the deep strings are a little too engaged in the end of the "door knocking" aria, almost Fred Flintstone (Wilmaaaaa!!!! open the doooor!!!), but this is a minor complaint The other version I have is Rilling's (3), which is great too. The "Ermuntre dich" Aria is a bit slower, and that is OK, but my 15 year old tape is not. So Aryeh, let me see what you recommend. I got to have a CD version.

Ermuntre dich!

Jane Newble wrote (November 10, 2000):
This week's cantata is so beautiful, that it almost seems like sacrilege to write anything about it. The only recording I have of this is Christophe Coin (5). From the first notes of the chorus a peace descends in wonderful harmony. The words are an appeal to the soul to make sure the wedding garment is on. There is no place for sin and darkness, but only for the heavenly light. The one who rules the heavens wants to live in the believer. And all the time, the heartbeat of Gods love is heard in the continuo, underneath the singing and the instruments. Then the tenor aria starts, and gets the anticipation going, with the incredibly lovely flute. I absolutely love the knocking sounds with the invitation to open one's heart to Saviour. It reminds me of when I was a child in Holland, and we celebrated the feast of St. Nicholas on the 5^th of December. There was always the knocking on the door before St. Nicholas and his black friends would come in and hand out presents and sweets (or not, as the case might be with naughty children). We sang things like: "Hear who knocks there, children" etc. All full of joyful fear and joy at the same time. Anticipation and excitement. That's what I feel when listening to the knocking in this tenor aria. How strong child's impressions can be! The recitative and arioso are lovely, and I don't even mind Barbara Schlick singing it. The music is tender and longing for the good things that come from God. In the alto recitative the mixture of fear and joy comes out when the soul contemplates Gods holiness and majesty, and then looks at His love. This opens the way for the joyful dancing aria 'Lebens Sonne'. Personally I find it a great pity that Barbara Schlick sing this. IMHO she is just not up to it. I'd love to hear other versions of this with really good sopranos who can tackle the high notes without effort. But it is still a beautiful aria. The bass recitative seems to be a preparation for the chorale which I love very much, and is beautifully sung on this CD.

After listening to the cantata any number of times, I also listened to BWV 654 on organ. I found that especially moving straight after the chorale.

What I noticed about this cantata is that there are 7 parts, the number of completion and perfection. The more I listen to Bach's cantatas, the more I am impressed with his deep Christian spirituality. He really meant what he wrote, and he must have loved writing this one, as from records it is evident that he liked to go to the 'Abendmahl', the Lord's Supper.

Harry J. Steinman wrote (November 10, 2000):
PS All that being said, I do not yet have a copy of BWV 180 to enjoy and comment upon!

Jane Newble wrote (November 10, 2000):
(To Harry J. Steinman) You will really have to get one! You'll love it. I can recommend the Christoph Coin (5), as it's the only one I have…

Harry J. Steinman wrote (November 11, 2000):
(To Marie Jensen) (5) OK...I ordered it. THIS is how my Bach collection has grown so fast so quickly! Thanks,

Andrew Oliver wrote (November 11, 2000):
'Schmücken' means to ornament or adorn, so that is precisely what JSB does with this cantata. He takes a relatively simple chorale melody (in the opening chorus) and decorates it all the way through. How can we resist it when we have the beauty of simplicity combined with the allure of adornment? One of the devices, which Bach frequently uses, never fails to appeal to me, and that is the chromatic change from a major third to a minor third. Very effective, as also are the flutes dancing in 6ths and 3rds with the oboes answering them. I note that the chorale melody was actually written by Crüger.

Although the tenor aria sounds complicated with its many quick-moving runs, the harmonic scheme of the piece is actually quite simple. The orchestral parts do not so much flow along melodic lines as repeat a series of broken chords. Thus the first phrase is entirely in C major, and this is necessary to the nature of the piece, so that Bach can include the 'knocking'. (Dein Heiland klopft.) I like the way the flutes knock in a genteel manner, at crotchet intervals, while the continuo thumps in consecutive quavers. The knocks are always in threes, and usually in groups of three threes.

The arioso of No.3 is, of course, simply the same chorale melody as before, but with enough ornamentation to seem 'different'. Two interesting recitatives follow, with an energetic aria sandwiched between, and the cantata then closes, as usual, with a little piece of heaven on earth. At least, that's how I think of Bach's chorale harmonizations.

Like many of Bach's cantatas, this one has something for everyone: polyphony, homophony, solos, chorus numbers, dancing, solemnity, Its sunny nature (Lebens Sonne) is reflected by the fact that, apart from short-lived modulations, it is set in major keys throughout (F, C, B flat). Although it is not one of my most favourite cantatas, it nevertheless has a charm, interest and appeal all of its own.

Just a word or two about Marie's comments. It is true that some readers of this list might like to see a complete musical analysis of each cantata, but it seems to me that the importance of music lies in the way in which it affects the listener, and that is not always the same for every person. While I personally findthe way in which a piece is technically constructed to be of interest, I also like to hear the reactions of other people, whether they find something enjoyable or not, and what sort of mental pictures the music conjures up. It is surprising what different effects music has on people. Part of the genius of Bach is that he could master any style of composition if he chose to, and can therefore appeal to a broad spectrum of listeners. So, to all of the silent majority out there, if there is something you particularly like, (or even dislike), tell us about it. It doesn't matter if your message is only a few words, at least we know you are there.

Marie Jensen wrote (November 12, 2000):
Andrew Oliver wrote:
< Just a word or two about Marie's comments. (snip). While I personally find the way in which a piece is technically constructed to be of interest, I also like to hear the reactions of other people, whether they find something enjoyable or not, and what sort of mental pictures the music conjures up. >
Since you are one of the members who often write about technical details, I just want to tell you that I'm very glad that you do so, for example when you write:"One of the devices which Bach frequently uses never fails to appeal to me, and that is the chromatic change from a major third to a minor third". I have never thought of that before. Is it wrong to say that Bachs music with all his changing sharps and flats often not really major not really minor perhaps could be called harmonic dodecaphony? I don't have time to study scores, but reading one while listening could be interesting now and then. All I have is the recorder part of the alto aria of BWV 182 and a few flute sonatas .Is there a source on the net where cantata scores can be seen ? I am to mean to buy. I prefer using my money on CD's.

Roy Reed wrote (November 12, 2000):
Hello all, There have been illuminating comments on this cantata. It is one of my very favourites. For one thing it is based on an Eucharistic chorale which I have long loved. The text (Johann Franck) and tune appeared together in Johann Crüger's "Geistliche Kirchen-Melodien" in 1649, and has since been one of the most popular German hymns, and much beloved by many other nationalities. Hearing it brings to mind many liturgical and musical occasions.

I have 3 different readings: by Christophe Coin (5), Paul McCreesh...in the Bach Epiphany Mass (6)...and Ton Koopman in vol. 10 of the Erato series (7). I am very fond of the Coin performance, soprano Barbara Schlick being the weakest link here, and while I do not dislike her singing, the cantata so features the soprano that a weakness here is a considerable problem. McCreesh is in his usual hurry. A shame. He has wonderful forces to command. His hurried tempos pained me especially in the tenor aria, #2. Charles Daniels in a fine singer. McCreesh brought his Gabrieli Consort here last December and did their Praetorius Christmas Mass. A lovely evening. Koopman gets it right. A wonderful performance. I was thrilled to hear it. Especially for the beautiful and sensitive singing of soprano, Caroline Stam. Her singing of #3, the ornamented treatment of the chorale melody, is sheer magic. And I should hasten to credit the playing of the violoncello piccolo in this movement by Jonathan Manson. What a duet they are! The tasteful and expressive ornamentation added by each ... Sometimes a performance just overwhelms one!! Koopman takes what seem to me to be just the right tempos:
Metronome markings: #1: 66
#2: 98
#3: 62 the chorale
#5: 96

I am always intrigued in informed by the relationships between the liturgical texts for the day and what Bach does musically. The Gospel for Trinity 20 is Matthew 22: 1-14. The parable of the marriage feast. The first movement of BWV 180 is a lavish invitation. The word I want is elegant. This is a great feast. Candles, flowers, the finest silver, etc. A marvellous table. It's all there in the music. And musically a sublime combination of simplicity of tune, concerted arrangement, and brilliant and extravagant counterpoint. Yet another tour de force by the master. And there is even a sort of "call and response" pattern built into the orchestration...which "pictures" something of the one inviting and to one invited. A reach, perhaps, but seems me an appropriate image.

By the way, at least in this country most hymnals have the Catherine Winkworth translation. First line: "Deck thyself, my soul, with gladness." Of course, this just doesn't cut it as an expression of "Schmücke dich..." It just isn't possible to get in that allusion to jewellery and decoration...and parading it. Bach gets it in for us, even if we sing this movement in English.

In Mvt. 2, the tenor aria, the invitation is given again. This time as an urgent summons. And in the parable there is this two-fold invitation which has to be given.

Mvt. 3 appears to me as acceptance of the invitation. A mystical, lyrical acceptance. The recitatives in BWV 180 are contemplations...meditations on participation in the feast.

Mvt. 4 strikes me as a representation of the wedding garment referred to in verses 11-14. And it shines like the sun. A reach? No doubt, but seems to me an appropriate one. The invitation is paramount; so also, as the parable makes clear, is the response.

The concluding chorale: Yet another amazingly creative and expressive harmonization. How does he do this? Try it sometime. Easy? Yes, something basic. His harmonizations are sheer musical-spiritual genius.

Harry J. Steinman wrote (November 12, 2000):
(6) I know that we're a bit beyond BWV 180... but I just noticed that the cantata is included in the Paul McCreesh "Epiphany Mass" (how I missed that the first time I read Aryeh's initial post is beyond me. Sigh) and wanted to mention that I like this work. The opening chorus sound somehow familiar (maybe from hearing it when I first listened to the "Epiphany Mass" CD??? I certainly wasn't raised with hymns...) and I found it rather compelling. But what I got the biggest kick out of is the flute that opens the Tenor aria, "Rouse yourself, the Saviour knocks." The flute sounds to me like a songbird...maybe it's a morning bird rousing a sleeper...

Anyway, I'm on to BWV 109 per this week's discussion, but I wanted to throw in my two cent's worth, albeit belatedly.

Discussions in the Week of October 8, 2006

Alain Bruguières wrote (October 8, 2006):
Introduction to BWV 180, "Schmücke dich, o liebe Seele"

Week of October 8, 2006
---------------------------
Cantata BWV 180, Schmücke dich, o liebe Seele

Second Annual Cantata Cycle, 1723-24 (Jahrgang II)
20^th Sunday after Trinity
1st performance: October 22, 1724 - Leipzig
---------------------------
Bach Cantatas resources
Previous Discussions: http://www.bach-cantatas.com/BWV180-D.htm
Main Cantata page: http://www.bach-cantatas.com/BWV180.htm
Text:
German http://www.cs.ualberta.ca/~wfb/cantatas/180.html
English http://www.uvm.edu/~classics/faculty/bach/BWV180.html
French http://www.bach-cantatas.com/Texts/BWV180-Fre4.htm
Score Vocal & Piano: http://www.bach-cantatas.com/Scores/BWV180-V&P.pdf
Recordings: http://www.bach-cantatas.com/BWV180.htm#RC
Listen to Leusink recording [8] (free streaming download):
http://www.bach-cantatas.com/Stream/BWV180-Leusink.ram
---------------------------
Librettist : unknown
Biblical sources:
EPISTLE Ephesians 5: 15-21: Walk circumspectly... be filled with the spirit.
GOSPEL Matthew 22: 1-14: The parable of the royal wedding feast.

This is a chorale cantata, based upon the chorale of the same name.
Nine-verse hymn by Johann Franck.
See http://bach-cantatas.com/CM/Schmucke-dich.htm
for details on this chorale melody.
--------------------------------------------------------
Structure
1. Chorale SATB rec I, II ob taille str bc
2. Aria T fl bc
3. Recit. [+ chorale] S vc picc bc
4. Recit. A rec I, II bc
5. Aria S rec I, II ob taille bc
6. Recit. B bc
7. Choral SATB bc (+ instrs)
--------------------------------------------------------

Comment (mostly based on Dürr).

In this Chorale cantata the unknown librettist uses the nine verses of the hymn in the following way:
no 1. (Chorale) = verse 1
no. 2 (Aria T) = free paraphrase of verse 2
no. 3 (Recit. S + chorale) = free paraphrase of verse 3 + verse 4
no. 4 (Recit. A) = free paraphrase of verses 5, 6
no. 5 (Aria S) = free paraphrase of verse 7
no. 6 (Recit. B) = free paraphrase of verse 8
no. 7 (Choral) = verse 9.

The 'royal wedding feast' of the parable is viewed as an image of the Holy communion. In a previous cantata for the same Sunday, BWV 162, Bach depicted the plight of the Bride (i. e. the soul) faced with the difficult choice of accepting or rejecting Christ's invitation, being torn between fear of rejection on account of her unworthiness, and mystical yearning for union with Christ.

In BVW 180, Bach adopts a completely different point of view. The choice has been made, all circumspection set aside, the Bride makes ready, the Saviour knocks at the door, and the entire cantata celebrates the joyful feast. In this sense BWV 180 prefigures the wonderful 'Dialogus' BWV 49, 'Ich geh und suche mit Verlangen' composed two years later.

The opening movement is a chorale fantasia with cantus firmus in the soprano, while the other vocal parts which provide a fugue-like accompaniment developped from a motive not related to the chorale melody (except in lines 5 and 6, 'For the Lord, full of Salvation and Grace, lets you be invited now as His guest', where the accompanying vocal parts are derived from the chorale melody, a special treatment which may be intended - suggests Dürr - to emphasize the significance and import of God's invitation).

This contrapunctic vocal construction is enshrined in a thematically independent orchestral structure, characterized by a definitely dance-like rythm resembling a gigue, and conveying [to me] a sense of expectancy both measured and jubilant.

The following tenor aria (not preceded by a recitative) also resembles a dance, in this case a bourrée. The rythmmic figures of the flute andthe vigorous calls of 'Ach öffne, öffne bald' convey a rousing character to this aria.

The very brief secco soprano recitative flows softly and suddenly into the fourth verse of the chorale, whose melody is gently ornamented andembraced by the arpeggiated line of the obbligato violoncello piccolo.

The subsequent alto recitative is accompanied by two recorders which gradually emancipate themselves as the movement rises towards the arioso.

The soprano aria resembles a polonaise, and sounds homophonic, conveying a sense of unmitigated joy.

The bass recitative evolves from secco to an arioso full of yearning.The concluding chorale is of the usual, 'plain' form.

--------------------------------------------------------
A more personal comment. Again a great cantata!

Perhaps the movement I cherish least is the polonaise-like soprano aria (No. 5), a trifle too beatific for me. What touches me most is the paradox that, while the general climate of this cantata is definitely joyous, there is a sense of longing which I find poignant,and which is perhaps more present in the last arioso bars of the bass recitative than in the whole soprano aria. But of course the cantata has to be appreciated as a whole, with its rhetorical progression: the inital movements convey expectation, the soprano aria fulfillment, the last two movements remind us that this fulfillment is yet to come - so do we hope... a matter of faith rather than certainty.

-------------------------------------------------------
Possible topics of discussion.

In this cantata, 3 movements - in Dürr's very words'are dance-lie in character: though not real dances, the 1st mvt
resembles a gigue, the 2^nd a bourrée, and the 5^th a polonaise.' Since the only movements left are the recitatives and the final chorale, one may say that the whole cantata has a definite dance-like character. This has been discussed already on the list, but I believe that this week's cantata may be the right occasion to clarify the various points of view on the place of 'dance' in Bach's church music. Hopefully in the joyous spirit which pervades this cantata!

Thomas Braatz wrote (October 8, 2006):
BWV 180 Provenance & additional facts about and condition of manuscript

BWV 180 Schmücke dich, o liebe Seele

Provenance:

The Autograph Score

After Bach's death in 1750, this score was inherited by his eldest son, W. F. Bach. It is not known how the manuscript came into the possession of Franz Hauser (1794-1870), a well-known collector of Bach manuscripts. It was Hauser who later presented it as a gift to his friend Felix Mendelssohn Bartholdy, who in turn bequeathed it to his friend, Julius Rietz. Rietz gave it, probably as a Christmas present in 1858, to a singer, Pauline Viardot-Garcia, who kept her possession of it secret until it appeared at the Paris World Fair of 1878. It was made available to Alfred Dörffel who prepared this cantata for the BGA, but it then remained with Viardot-Garcia until her death in 1910. After her death it came into possession of her youngest daughter Marianne, who in turn bequeathed it to her daughter S. Beaulieu-Duvernoy (date of this transfer unknown). In 1930, an antiquarian book store in Berlin run by Paul Gottschalk offered it for sale in their rare books and manuscripts catalogue "X". It was purchased by a medical doctor from Berlin, Hermann Vollmer who immigrated to the USA where he soon sold it in Philadelphia to Mary Louise Curtis Bok Zimbalist. It is not known precisely when this transaction took place, nor when it was given to the Curtis Institute of Music (also in Philadelphia). An authentic documentation of Mrs. Zimbalist's possession of this manuscript is given in a reference to it in Otto E. Albrecht's "A Census of Autograph Music Manuscripts of European Composers in American Libraries", Philadelphia, 1953. Gerhard Herz, "Bach-Quellen in Amerika. Bach Sources in America", Kassel, 1984, reports that in 1979 the pages of the manuscript had been placed in large plastic folders and that the Curtis Institute had planned a thorough restoration with a new binding for the manuscript but never got around to doing anything about it. For financial reasons the Curtis Institute was forced to liquidate its manuscript holdings, including this cantata, by offering the latter for sale at an auction in 1982. The score was placed up for auction by Christie, Manson & Woods International in New York on May 21, 1982 and was sold to the International Bachakademie in Stuttgart.

The manuscript, at this point, was in very poor condition and in dire need of restoration which had been postponed much too long. The manuscript consists of 11 pages and an additional title page/cover written by Christian Gottlob Meißner, one of Bach's primary copyists. There are 20 autograph pages which original consisted of 5 folio pages which had either fallen apart or had been separated from the others to create the pages (the title page would have been the 6^th folio page and it too had been separated into to two separate parts). The original folio pages 2-4 are numbered in the upper right hand corner. The size of each page is approximately 36 x 21 cm. Several pages, because they have suffediverse types of damage to their edges do not even come close to the size given here. After the Bachakademie purchased the manuscript it underwent an extensive restoration process. The report on this process reveals that the ink had 'eaten holes' ["Tintenfraß"] straight through the paper and thus had caused serious damage. There are places where letters and notes no longer exists because all that remains are the holes where they used to be. In order to save other individual letters and notes that also threatened to fall out, an extremely thin, acid-free foil was placed underneath each page of the manuscript with a Japanese paper ["Japanpapier"] on top and using both pressure and heat caused them to attach firmly to the manuscript. The manuscript is now enclosed in a custom-made, very large case/box within which there is another smaller jewel case having an inscription describing the contents. The individual pages lie between acid-free pieces of cardboard, the type used in museums, and which can be used for display purposes.

The title page (by Christian Gottlob Meißner) reads:

CONCERTO | Dominica 20 post Trinit: | Schmücke dich o liebe Seele etc. | a 4 voci \ Traversiere | 2 Flauti | 2 Hautbois | 2 Violini | Viola | e | Continuo | di | Sign. Joh: Seb: Bach.

On top of the first page of music, J. S. Bach writes:

J. J. Doica 20 post Trinit. Schmücke Dich o liebe Seele. p.

[The ,i' of Doica has a strange mark above it, sometimes rendered as a tilde, but often appearing simply as a short horizontal line - it is an abbreviation mark which stands for "min".]

After Mvt. 1, Bach writes "Aria | sequ[i]t" and assigns to the obbligato part the designation:
"Travers:"
For the recitatives he writes simply: "Recit. "
For Mvt. 4 he designates: "Flauti"
For Mvt. 5 he designates: "Aria tutti li stromenti"
After Mvt. 6 he writes: "Choral | sequit"
At the very end he writes:
"SDG | Fine"

The autograph score shows evidence of having been written very quickly, but not actually carelessly. Several notes, key signatures and other music markings have been lost due to the severe paper damage that has occurred. In the drawing of the staves, some errors occurred due to lines merging with adjacent line above or below and giving the appearance of a single thick line rather than to separate lines with space between them. Before the restoration the paper, particularly the outer pages (title page covers) had turned brown. Some pages were slightly dirty. After the restoration the edges had turned very pale. The flow of ink on the page is quite strong/thick thus causing more than the usual amount of ink splotches to occur.

As is usual with Bach's autograph score, all special markings (articulation, embellishments, dynamics, etc.) are minimal and there is no figured bass with the continuo line.

Unfortunately two (!) sets of original parts (one for the first performance and another for a later performance) have been lost. A few copies of the score or even a score created from the original parts were made during Bach's lifetime or soon thereafter. In the latter case, however, the copyist neglected to included all the special markings from Bach's hand.

Julian Mincham wrote (October 8, 2006):
Following Alain's helpful introduction a few quick points about this most joyous of cantatas.

This is the sixth chorale fantasia to use a major key and the second to use F--the key of the opening fantasia BWV 20. But I don't feel this one as a gigue but more like a pastorale.It has wonderfully delicate orchestration right from the beginning but the most telling point is the incredibly subtle usages of major and minor in the construction of the movement.

(worth noting that part of the joyfulness of this cantata comes from the fact that every movement begins and ends in the major, a very unusual event).

But the constant touching on minor modes in the overall context of the fantasia is, in my view significant. I feel that this movement is a personal invitation for us to leave the caverns of sin and emerge, butterfly like, into the light of the Lord. We constantly feel this image of emerging into a gentle but radiant light. But the caverns of sin remain, and the constant touches of the minor act as a reminder of them.

Incidentally, students of composition might examine the opening phrase of the chorale and the first phrase of the ritornello and see how Bach dervies the latter from the former. This is a compositional device much used by later composers (e.g. Brahms) but once again Bach led the way.

Re suite structures they do occur a lot in the cantatas, often when Bach is depicting the (civilised?) movement from earth to heaven. We will come across some splendid gavotte movements later in this context.

Douglas Cowling wrote (October 8, 2006):
Alain Bruguieres wrote:
< The 'royal wedding feast' of the parable is viewed as an image of the Holy communion. In >
In Paul McCreesh's reconstruction of the Epiphany Mass [6] as it may have been celebrated under Bach, he uses this cantata as a second cantata during communion, "sub communione". Dürr lists cantatas which have a strong eucharistic theme and seems to suggest that they might have been reused as generic communion cantatas --"Christ Lag in Todesbanden" is among them. The chorale "Schmücke Dich" is still sung as a communion humn today. Is there any scholarship on this question?

Thomas Braatz wrote (October 8, 2006):
Douglas Cowling wrote:
>>The chorale "Schmücke Dich" is still sung as a communion humn today. Is there any scholarship on this question?<<
Yes, I am also familiar with this chorale still being used as a communion hymn during German (Lutheran)
church services.

In regard to its possible use this way by Bach as a cantata performed during communion, the rather unusual evidence regarding the survival of the score and parts seems to point toward more frequent use of this composition by Bach and others during his lifetime. It is unusual to find still in existence a number of separate copies of a Bach score made during Bach's lifetime and shortly after his death. It is just as unusual to find evidence for two complete sets of original parts (the second set most likely made for another performance - or other performances - under Bach's direction) after the first set simply 'wore out' or had been lent out and not returned. All of this information seems to point to the popularity of this cantata and/or its frequent use during the Communion part of church services in Bach's churches and most likely elsewhere. Here are the sources listed by the NBA in its KB I/25, pp. 32-48:

A. the autograph score now residing in the International Bach Academy in Stuttgart

B. a copy by Christoph Nichelmann (1st half of 18^th century) Mus. ms. Bach P 46 (Staatsbibliothek Berlin)

C. a copy in an unknown hand (1st half of the 18^th century) Mus. ms. Bach P 1051 (Staatsbibliothek
Berlin)

D. a partial, unfinished (only Mvt. 1 - but probably the remainder of the copy had been lost since the title points to the inclusion of the entire cantata) copy by Johann Friedrich Agricola (most likely completed when still performing under Bach or soon after Bach's death) Mus. ms. Bach P 480 (Staatsbibliothek Berlin)

E. a copy in an unknown hand (18th century) contained in a collection of 11 cantatas by J. S. Bach. It is the first one in the collection. AM. B. 43 (Staatsbibliothek Berlin)

F. a copy that was offered for sale (now lost) by the Breitkopf Publishing Firm in 1761 as follows:

"Communion=Cantate: Schmücke Dich, o liebe Seele, a 2 Flauti, 2 Oboi, 2 Violini, Viola, 4 Voci, Basso ed Organo."

There a 7 additional manuscript copies from the 19^th century which are described in detail by the NBA KB.

It is comforting to know that even if the autograph score had not survived (the two original sets of parts had probably simply been worn out through frequent use), this composition would have been preserved in some form or other for posterity through still extant copies, the number of which point to its frequent performances which were probably related to its usual association with Communion when such music would be performed.

Peter Smaill wrote (October 8, 2006):
"Schmücke dich, o liebe Seele", is of course best known as the title of one of the Eightenn Organ Chorales, BWV 654 which Schumann viewed as " ....priceless, deep and full of soul as any piece of music." The organ work is is in the form of a sarabande, and the inner parts derive from the melody just as in the Cantata the ritornello is related to the Chorale.

Both Julian Mincham and Thomas Braatz focus on the significance of this Chorale which in its own right has been one of the most influential Chorales in that it is still used at communion in Lutheranism and has found its way into Anglican and Presbyterian hymnals as well.

As often the musicologists skip over the last part of the Cantata - "the concluding chorale has the usual form of a plain, instrumentally reinforced four part choral setting"(Dürr).

Is it that plain? Is it likely that Bach would not produce a special harmonisation for Johann Franck's theologically charged communion hymn?

IMO Bach achieves this in a quite unusual way, avoiding chromaticism in favour of the mellifluous interval, between tenors and basses, of a tenth. This Chorale in fact can be used as an exercise for the left hand (if your stretch is wide) for that reason.

The sequence of tenths in the lower parts start around the words "recht ermessen" ("rightly measure"), in faith-illustrative stepwise movement across seven semiquavers; then the interval of the tenth reasserts in the final line, occuring nine times and including the final cadence, in the lower voices.

Perhaps Bach is illustrating the concurrence of faith in earth down below with heaven, or alluding to span/measurement in some way - thoughts of others on this possibility will be interesting. Even without a word-painting connection the special quality of the harmony gives this Chorale an approriate spiritual quality through the depth of the bass relative to the other voices; and is further evidence of Bach's innovation and skill even in details which are glossed over by most.

Julian Mincham wrote (October 8, 2006):
Peter Smaill wrote::
< As often the musicologists skip over the last part of the Cantata - "the concluding chorale has the usual form of a plain, instrumentally reinforced four part choral setting"(Dürr).
Is it that plain? Is it likely that Bach would not produce a special harmonisation for Johann Franck's theologically charged communion hymn? >
A good point. What does 'plain' or 'simple' mean in this context? I have researched chorales where Bach has changed the harmony not (I think) because he has second thoughts or because he feels he can improve upon earlier verions (often by himself) but because the meanings and images of the new words demand a different musical approach.

Give me a couple of days to look at this chorale again--if I can find out anything of general interest I will get back on list.

Douglas Cowling wrote (October 8, 2006):
Thomas Braatz wrote:
< "Communion=Cantate: Schmücke Dich, o liebe Seele, a 2 Flauti, 2 Oboi, 2 Violini, Viola, 4 Voci, Basso ed Organo."
There a 7 additional manuscript copies from the 19^th century which are described in detail by the NBA KB.
It is comforting to know that even if the autograph score had not survived (the two original sets of parts had probably simply been worn out through frequent use), this composition would have been preserved in some form or other for posterity through its still extant copies, the number of which point to its frequent performances which were probably related to its usual association with Communion when such music would be performed. >
Fascinating material which demonstrates the cantata's popularity not only because of its exceptional beauty but because of its utilitarian value as communion music. Perhaps we should assmeble a list of cantata with well-worn parts and see if they have a communion theme!

Thomas Braatz wrote (October 9, 2006):
BWV 180 Score samples - chorale references

For some score samples illustrating mainly Mvt. 1 of BWV 180 see: http://www.bach-cantatas.com/Scores/BWV180-M1.htm

Whittaker believes he can hear a quotation of the chorale melody by the oboe in m 2 of BWV 180/1. I do have trouble trying to discern what he is talking about. The notes sounded to me more like a chant from a liturgy. I simply opened the German hymnal to the Communion liturgy and there it was. It is the opening chant sung by the pastor: "Der Herr sei mit euch" ("The Lord be with you") after which the congregation sings the response. I assume that this is Luther's liturgy or something close to that since no author/composer is indicated.

How fitting this would be for Bach to embed this chant directly into the opening measures of Mvt. 1!

The second example is based on the conclusion of the Stollen of the featured chorale melody where the words are rather significant: "laß die dunkle Sündenhöhle" ("leave behind [you] the dark cavern of sin"). Here Bach seems to transform the chorale melody into a chromatic descent to illustrate the location of the sinful state of human beings. The question always arises in my mind why Bach would illustrate through word painting a concept which seems to lead us away from the light into the darkness filled with sin while the main emphasis appears to be focused on light in this cantata. Schweitzer commented on this phenomenon and gave some examples where the libretto states: not this, but Bach still insists upon creating a musical picture with the "this" simply because there is an opportunity to do something interesting with the musical expression of a certain concept. Also, this may be Bach's way of achieving a balance between opposing forces of light and darkness, good and evil, etc. The descending chromatic scale passage is something that most listeners in Bach's time must have been able to perceive and understand. It is interesting to see it appear here in the context of the 'cavern of sin' from which believers will emerge during and through Communion.

Other examples given here are self-explanatory.

Finally there are some illustrations of Friedrich Smend's discoveries of where the chorale melody is also hidden in this cantata.

Douglas Cowling wrote (October 9, 2006):
Thomas Braatz wrote:
< Whittaker believes he can hear a quotation of the chorale melody by the oboe in m 2 of BWV 180/1. I do have trouble trying to discern what he is talking about. The notes sounded to me more like a chant from a liturgy. I simply opened the German hymnal to the Communion liturgy and there it was. It is the opening chant sung by the pastor: "Der Herr sei mit euch" ("The Lord be with you") after which the congregation sings the response. I assume that this is Luther¹s liturgy or something close to that since no author/composer is indicated.
How fitting this would be for Bach to embed this chant directly into the opening measures of Mvt. 1! >
The similarity is quite striking and there are certainly examples of Bach using plainsong themes: the "Credo" and "Confiteor" of the B Minor Mass (BWV 232), and the Litany quotaion in the Kyrie of the F Major Mass. If the cantata was used as a communion cantata,the quotation would be very appropriate.

Thomas Braatz wrote (October 10, 2006):
BWV 180 Additional Score Samples

Some additional score samples have been added to the BCW by Aryeh Oron at: http://www.bach-cantatas.com/Scores/BWV180-M1.htm

Friedrich Smend's indication of the 3-note motif as being sufficient to be an allusion to the chorale melody incipit has led me to pursue this matter further. It appears, although some may consider this as stretching a point too far, as the descending 3-note scale pattern (the very beginning of "Schmücke dich, o liebe Seele") is a motif that Bach uses to unify all the mvts. in the cantata. These 3 notes appear in various forms that are modifications/variations of the motif and it [the motif] is always near the beginning of the movement as the measure numbers will indicate.

My own discovery of another link between mvts. 1 & 2 centers upon a word-painting device which issues directly from the text in mvt. 2, beginning in m 19 and later 28, where the tenor sings "Ach, öffne, öffne bald" ["O, open soon the gate/portal to your heart" = "öffnen" is also a 'widening of the opening' = 'increasing the gap'] and the flute presents a musical figure with widening intervals. The musical picture is one where the process of opening is depicted by increasing the intervals between certain key notes which are printed in red for easier reference. Very interesting beyond locating and describing this rather evident example of word-painting, of which there are many in Bach's works, is that Bach also uses this device in the opening mvt. as well. The process of opening up one's heart to the Savior begins in the very first measure of the entire cantata and continues directly into the 2nd mvt. where the command "to open up" is issued directly for the first time while the listener simultaneously perceives the 'widening' of musical intervals which helps to reinforce taking the action encouraged by the singer.

Neil Halliday wrote (October 11, 2006):
BWV 180: some aspects of recordings

Ed mentioned HIP secco accompaniment. It's interesting to listen to Coin's [5] sensitive treatment of the first part (before the introduction of the `cello piccolo) of BWV 180's third movement. The notes on organ and continuo strings are mostly held for their notated length, with some pleasing flexibility being brought to the sound of some notes (chords) by means of diminishing the volume of the note on the strings, while the organ of course maintains a constant sound level. If this is well done, as appears to be the case in the web sample of Coin's performance, this will probably be considered, by most listeners, an improvement over either (a) the unvarying sound of the unbroken legato that we have, for example,in Rilling [3], and other non-HIP performers, that some listeners do not like; and (b) on the other hand, the inconsequential accompaniment heard via the radically shortened chords of most period performers, where the often interesting accompanying figured-bass harmony is barely, if at all, heard, leaving the singer of the recitative `high and dry'. Coin also achieves a nice blend between the organ and continuo strings, not all that common in my experience of cantata listening. (Unfortunately, he reverts to the shortened chord method in the bass recitative (IIRC).

[Another method that organists might explore is to cease sounding one or more of the `voices' near the (notated) end of the note (chord). Now, if we had a modern piano, this problem of inflexibility, which apparently has upset listeners of `seccos' as far back as Niedt, would easily be dealt with, without dispensing with the accompaniment as with Harnoncourt's method, but I digress].

--------

Last year I compared Richter's BWV 147 chorale ("Jesu, joy.") with Gardiner's approach. The same comparison can be made, of Richter [2] and McCreesh [6], in the opening chorus of BWV 180, where Richter's slow tempo works amazingly well, and McCreesh's fast tempo (fastest of all the recordings) paradoxically begins to plod, as the detached continuo notes seem to come to the fore, seemingly emphasised over the intricacies of the rest of the score, intricacies which Richter lovingly explores in a flowing yet incisive performance (mercifully without the 'squealing' organ that often accompanies the choir in Richter's recordings). Werner, at about the same speed as Richter (Werner is a bit slower) lacks Richter's incisiveness, and consequently lacks the impact of Richter's performance. There are other pleasing performances available. Interestingly, Koopman has adopted a slow tempo, for a beautiful `pastoral' performance of this movement, judging by the web sample.

Richter [2] is superb in the 2^nd movement also, with lovely continuo, well articulated modern flute, and expressive, easy on the ear singing from Schreier.

The pick of the Rilling recording [3] is the soprano aria (Mvt. 5), with Rilling's bright instrumentation, and Auger's lovely voice making a delightful sound. It's easy see why jazz musicians respect Bach, with this aria as an example - the relentless, driving continuo, in combination with the syncopation in the vocal and upper instrumental parts, is rhythmically exuberant. (BTW, the music launches itself on the third beat of the bar - which might not be grasped on the first hearing). Rilling well captures the contrasting timbres of the little three-note figure accompanying the singer, as it moves from flutes to oboes to strings etc., and his lively (`jazzy') sempre semi-staccato continuo, not too intrusive, completes the picture for a most pleasing performance.

I'll have to go with the period performances of the accompanied alto recitative, because of the excessive (to my ears) vibrato of the altos on the earlier recordings.

Coin [5] is also worth mentioning for a beautiful performance of the final chorale. Notice there are no disjointed, strangely emphasised notes (eg, <> articulation) that mar some period performances, and the final notes of each line (under the fermatas) are also held out for a sensible length of time, creating the more substantial, flowing effect that we are used to, in older recordings of this type of movement. (Thanks, Peter S., for pointing to those interesting consecutive tenths in the tenors and basses, part of Bach's superb 4-part harmonisation).

Thomas Braatz wrote (October 13, 2006):
BWV 180 Additional Score Samples

Some additional score samples have been added to the BCW by Aryeh Oron at: http://www.bach-cantatas.com/Scores/BWV180-M1.htm

If you want to see an enlarged version of any sample, simply click once again on the sample you wish to view.

This last batch of samples at the bottom of the page was inspired by remarks earlier this week on Bach's use of parallel 10ths ('Dezime' in German) in the final chorale. It appeared to me that Bach held onto the notion of "Öffne" ("open up") as presented in the tenor aria. I had already pointed out the widening of intervals in mvt. 1, but soon the other mvts. seemed to fall in place. I have to admit that the examples I give from mvts. 4 & 6 may seem somewhat forced to make them fit the mold. Nevertheless, I believe that Bach did have large intervals like 10ths (both varieties: major and minor) generally in mind to express the opening up of one's heart throughout the entire cantata. Mattheson does not say much about 10ths except that they can be just like thirds (minor and major). In BWV 180/5, Bach seems to play with both intervals almost simultaneously, moving rather quickly by widening the interval from the minor to the major. Any thoughts about this? Do 10ths carry any symbolic meaning for Bach?

Ed Myskowski wrote (October 17, 2006):
Alain Bruguieres wrote:
< This has been discussed already on the list, but I believe that this week's cantata may be the right occasion to clarify the various points of view on the place of 'dance' in Bach's church music. Hopefully in the joyous spirit which pervades this cantata! >
Reply:

I see that discussion is moving apace, and I am more or less a week behind. I did want to respond to Alain's comment, especially since the two recordings I have, Richter [2] and Leusink [8], provide mcontrast regarding dance tempos and dynamics.

I have already suggested that the Richter set is essential listening, and adding the Leusink (Brilliant Classics complete Bach) enables anyone to participate in BCML discussions at modest expense. I was moved by earlier discussions to order the Coin [5] as well, comments to follow as appropriate when it arrives.

The bright, dancing character of Leusink's performance [8] is immediately attractive. With repeated listening, Richter's tempos [2] become more rich, expansive, words like that. I do not have fixed opinions as to one style better than the other. Richter's performance does seem to have an enduring gravity which wears well on repeated listening, and which might seem more church style on first thought.

On the other hand, the sprightly sounds of Leusink [8] suit the written music (I presume), and make a very nice, bright, first impression. Again, I presume, a first impression was the only impression Bach had to make on almost every listener. So one has to wonder about the balance between solemnity and the triple time dance meters.

The comparison in the S rec/arioso is especially contrasting, but both enjoyable: Ruth Holton with vc piccolo [8] is as light and delicate as can be; Edith Mathis with vc (non piccolo) [2] is rich and warm. Listening to them side by side, I am hard pressed to compare and choose, they are so different. Is one correct, and the other not so? In the context of the respective performances, both sound appropriate to me.

I need to close, brief remarks on the B rec and final Chorale, both with interesting comments in the discussions, and lingering questions. Wonderful performances by both DFDieskau [2], a legend, but no need to slight Ramselaar [8]. Appropriate to the HIP performance style.

As Peter Smaill pointed out, and Tom Braatz followed with musical examples, the final Chorales deserve much more comment than they get in the standard reference literature. I am enjoying following along as much as possible, but the BCW archives create a rich resource for future reference, not only for weekly listening.

Douglas Cowling wrote (October 17, 2006):
Ed Myskowski wrote:
< I see that discussion is moving apace, and I am more or less a week behind. I did want to respond to Alain's comment, especially since the two recordings I have, Richter [2] and Leusink [8], provide maximum contrast regarding dance tempos and dynamics. >
Evidently, the Toronto International Bach Festival with Helmut Rilling has had the master class conductors do a practical dance workshop in Baroque choreography with Jeannette Zing, the choreographer for Opera Atelier, the company which stages period performances of Baroque opera.

Ed Myskowski wrote (October 17, 2006):
Douglas Cowling wrote:
< Evidently, the Toronto International Bach Festival with Helmut Rilling has had the master class conductors do a practical dance workshop in Baroque choreography with Jeannette Zing, the choreographer for Opera Atelier, the company which stages period performances of Baroque opera. >
Reply:

Did you have the opportunity to attend? Even if not, it would be interesting to hear second-hand reports, if any available.

My impression of Rilling, from a listener's perspective, is that he has great respect for the music, and he has the interest and ability to absorb new thinking. Not much more you can ask of a man. Beyond that, I can only judge by the recordings I have: all enjoyable, sometimes sublime, occasionally danceable.

My impression of conductors? The workshop is probably a good idea: too little or too much dance does not work so well. Just enough is perfect!

Sorry I did not keep up with the calendar to realize the Toronto event, but not possible this year in any case. Not so far away from Salem MA, maybe we will see you one of these years.

Thanks for enjoyable communications.

Douglas Cowling wrote (October 17, 2006):
Ed Myskowski wrote:
< Did you have the opportunity to attend? Even if not, it would be interesting to hear second-hand reports, if any available.
My impression of Rilling, from a listener's perspective, is that he has great respect for the music, and he has the interest and ability to absorb new thinking. Not much more you can ask of a man. Beyond that, I can only judge by the recordings I have: all enjoyable, sometimes sublime, occasionally danceable. >
I'm going to the public lectures (which are first rate scholarly presentations) and a couple of Rilling's master classes. I've never been a fan of his Bach, but he gives wonderful practical advice to musicians who will probably perform the works with modern instruments and choirs. He's really a popularizer of the old school of Richter [2], but I think there's still a place for his style. His philosophy of Bach is very secular and universalist -- he really ignores all scholarly work -- but his love for the music is infectious.

Ed Myskowski wrote (October 30, 2006):
The radio broadcast on WGBH (Boston USA, www.wgbh.org) this morning was BWV 180, which we discussed a couple weeks ago. The performance chosen was that by Kuijken [12], which is listed in the BCW recordings, but has not yet been discussed. This is OVPP, following the ideas of Rifkin and Parrott, documented in the BCW archives, and in recommended references for those wishing more detail. Also argued extensively, for and against

I am a bit hesitant to go into a rave based on a single listen, but the performance sounded exquisite! The individual singers are superb, host Brian McCreath noted S Sophie Karthäuser for specific highlight, but it almost seems unfair to single anyone out. Beyond the vocals, the details are flawless: traverso and vc piccolo (?) (sounds like it to me) in perfect balance, continuous continuo in recits (as opposed to the isolated plunk), bright lively tempos without extremes. I thought the OVPP especially effective in the Chorale finale.

This is a performance to be reckoned with, a compelling sound, regardless of one's opinion of the musicologic and historic theory. The OVPP concept was new to me within the year, after joining BCML. I have enjoyed the Rifkin performances which I listened to as an introduction, but I did not find them as convincing as Kuijken [12]. I will go back for more of Rifkin, perhaps just the texture settling in for me.

According to Brian McCreath, the Kuijken is a new release [12], the first in a projected series to be completed over five years. This seems to be a minor discrepancy with BCW data, but maybe it is recently released publicity, and good news? The price looks a bit high, but not out of line with Suzuki/Bis [11]. The technology is Hybrid SACD. Any opinions/experience on compatibility of this technology with older (1990) CD players? Despite the age, I am very (very!) happy with the digital/analog conversion of my player, and reluctant to mess with new, improved gizmos, Made in China. Through my thirty year old, four speaker, stereo surround sound system, a CD sounds almost as good as an LP. Better, if the particular LP has seen better days, surface wear etc. I age, I digress.

I have already posted a few comments on the S aria in BWV 115, but that was an unplanned bonus after I ordered Coin [5] as the preferred performance for BWV 180, based on previous reports, not including Kuijken [12]. I am listening again to Coin as I write, and I certainly agree with the evaluation. Kuijken deserves a detailed review, both for the specific performance in BWV 180, more generally as the standard setter for OVPP discussions.

Someone said it first, but I have lost track of exactly who: if it sounds good, it is good!

Bradley Lehman wrote (October 30, 2006):
Ed Myskowski wrote:
< The radio broadcast on WGBH (Boston USA, www.wgbh.org) this morning was BWV 180, which we discussed a couple weeks ago. The performance chosen was that by Kuijken [12], which is listed in the BCW recordings, but has not yet been discussed. This is OVPP, following the ideas of Rifkin and Parrott, documented in the BCW archives, and in recommended references for those wishing more detail. Also argued extensively, for and against
I am a bit hesitant to go into a rave based on a single listen, but the performance sounded exquisite! >
I concur. I have this recording [12], and think it's terrific. Also I note that one of the members of BachRecordings and BachMusicology lists (Ewald Demeyere) is the continuo organist for this CD, and most of this Kuijken series so far. Hats off to the excellent musicianship here.

The booklet notes also do a good job establishing the ensemble's goals for this series of cantata recordings.

Cantata BWV 180: Complete Recordings | Recordings of Individual Movements | Discussions

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Last update: ýOctober 30, 2006 ý21:45:01