Cantata BWV 206 - Discussions

Cantata BWV 206
Schleicht, spielende Wellen, und murmelt gelinde!
Discussions

Discussions in the Week of October 26, 2003

Neil Halliday wrote (October 27, 2003):
Title: "Schleicht, spielende Wellen, und murmelt gelinde"; but in the next line of the text, the unknown poet changes his mind, with "Nein, rauschet geschwinde..."

This secular cantata, written for the occasion of August II's birthday, contains enjoyable music from beginning to end.

It consists of opening chorus (with trumpets and timpani etc); four pairs of secco recitatives and adjoining arias, in the order B, T, A, S, respectively; an accompanied recitative (for S, mainly); and final chorus, making 11 movements in all.

I find the text to be forgettable - something about four rivers vying for the right to praise August etc, etc., but the music, especially in the rousing opening and closing choruses ,is well worth hearing.

Rilling's recording of this work [6] is very fine indeed, with choir, soloists and orchestra all performing flawlessly.

He redeems himself, in my estimation, with the performance style of the four long secco recitatives, in contrast with BWV 205, about which I commented negatively in this regard. Here we have the continuo cello (and double bass) tastefully playing the score as notated, decorated with pleasing improvisation of the figured bass, on the harpsichord.

The four vocal soloists - Schaefer(s), Danz(a), Olsen(t) and Volle (b) - are all exceptionally pleasing; Schaefer's strong, clear voice reminds me of Arleen Auger, and there are no objectionable vibratos in evidence from any of them.

I note that this recent recording of Rilling [6] is quite a bit faster than his earlier one (total time 38:33 c.f. 45:20), but here the music sounds lively rather than rushed (in BWV 205, I believe the opening chorus is too fast.) I have not heard Rilling's earlier recordings of these works [2].

Aryeh Oron wrote (October 27, 2003):
BWV 206 - Introduction

The chosen work for this week’s discussion (October 26, 2003) is the Dramma per Musica ‘Schleicht, spielende Wellen, und murmelt gelinde!’ (Glide, playful waves, and murmur gently!).

The commentasry below, quoted from the liner notes to the original issue of Rieu’s recording on Telefunken [1] (the name of the author is not mentioned), was contributed by Thomas Shepherd.

Schleicht, spielende Wellen
Kantate, BWV 206

Drama auf das Geburtsfest August III, Konig von Polen, Kurfurst von Sachsen,
am 7. Oktober (1733)

The "Dramma per musica" "Schleicht, spielende Wellen" is one of a series of cantatas of festivity and homage for the Saxon-Polish royal family, which Bach composed in the years 1733-35 and presumably performed with the members of his students' Collegium Musicum. The public concerts of this Collegium were one of the best attended and most richly traditioned features of Leipzig's musical life outside the churches. They were held nearly every week, in summer in Zimmermann's coffee garden before the gates of the town, in winter in the same proprietor's coffee house. On special occasions, most of all of course on festive days connected with the royal family, large-scale festive cantatas composed 'ad hoc' occupied the central place in the programmes. The ruling couple, if in residence at Leipzig, came to receive this homage in person, or the Town Council gave the events an official colouring by their presence. Such festive concerts were advertised in detail in the Leipzig newspapers as, for instance, "a solemn music with illuminations in Zimmermann's Garden". There is sure to have been no lack of audiences on these occasions.

"Schleicht, spielende Wellen" was composed for the birthday of the Elector Friedrich August III. (as King of Poland August III.) on the 7^th October 1733. Two days previously the anniversary of the Prince's election as King of Poland had been celebrated in great splendour, likewise with a festive cantata (BWV 215) composed by Bach. The Elector was in residence at Leipzig at the time, together with his wife and the entire court, and thus it can be assumed that he attended both performances. Perhaps he was particularly pleased with the birthday cantata, for the composer performed it again three years later for the Elector's birthday or name day without any important changes and evidently did not incorporate any music from it into other vocal works< two facts are most unusual for Bach's mode of working in this field. A special preference on the part of the Elector for this work would be quite understandable, for it is one of the finest of Bach's festive cantatas, although its text (perhaps by the Leipzig cantata writer Henrici-Henrici-Picander) is no better than most of the devout rhymings of this genre. In accordance with the traditional formal scheme of such a "Dramma per musica" (which was, of course, a drama only in the sense of imaginary action and not performed on the stage), four allegorical characters investigate in a dispute which of them has the greatest claim to the ruler, the Polish Vistula, the Saxon Elbe, the Austrian Danube (the Electress was a daughter of the Emperor Joseph I.) or the Leipzig Pleisse, who finally mediates in the noble dispute and exhorts her sisters to jOill with one another to glorify the House of Princes.

Bach has endowed this undistinguished text with an overwhelming abundance of musical ideas that raise the work far above the occasion for which it was written, and even subsequently impart considerable dignity to the text. The conventional word imagery seems to be ennobled by the graphic power of Bach's musical language when the latter is set in action by the former, while the courtly occasion and dainty compliments of the less pic torial sections of the text have inspired the composer to an extraordinary unfolding of splendour and an elegance of thematic invention that reveal almost unaccustomed aspects of Bach's genius.

The opening chorus, thematically inspired by the play of the "creeping" ("schleichende") waves, presents the full festive orchestra of the baroque age with trumpets and timpani; it is followed, with intermittent recitative discussions, by the elegant, light, polonaise-like bass aria of the Vistula, the tenor aria of the Elbe in swaying 6/8 time with amazingly "Schubertian" melodic wave figures and the alto aria of the Danube accompanied by two oboes d'amore in strict canon (instruments and part-writing naturally symbolizing the marital love of the Princess from the Danube for her Saxon husband). Finally the Pleisse (soprano) speaks up, whose charm can be resisted just as little by the "mossy heads of mighty streams" as by the modern listener; in its instrumentation (3 flutes and continuo) and melodic character this aria forms the enchanting climax of the entire score. In the jubilant 12/8 dance of the final chorus the dispute is closed in perfect harmony and with respectful bow to "His Serene Highness August"; as firmly as the fame of the ruler stands the radiant tonic key of D major, from which the arias had departed in a carefully planned sequence of keys minor, F sharp minor and G major with resplendent emphasis.

Recordings

I am aware of 7 complete recordings of this cantata, all but one (Rilling’s 1^st[2]) are available in CD form. The recordings are listed at the following page of the Bach Cantatas Website (BCW): Cantata BWV 206 - Recordings

Additional Information

In the page of complete recordings mentioned above you can also find links to useful complementary information:
a. Original German text and various translations, two of which were contributed by members of the BCML: Englis(Francis Browne) and French (Jean-Pierre Grivois).
b. Score from BGA Edition (temporary not available).
c. Commentaries: in English by Simon Crouch (Listener’s Guide) and James Leonard (AMG), and in Spanish by Julio Sánchez Reyes (CantatasDeBach).

I hope to see many of you participating in the discussion. Only 7 cantatas (1 sacred, 6 secular), including this one, remained to be discussed in the BCML!

Aryeh Oron wrote (November 9, 2003):
BWV 206 - Background

The commentary below, quoted from the liner notes to the issue of Rilling’s first recording on the American label Nonesuch (originated from the German label Cantate) [2], was written by Alfred Dürr (translated from the German and adapted by Jason Farrow).

As director of the Leipzig Collegium Musicum, Johann Sebastian Bach, in the years between 1729 and 1740 (with a brief interruption), presided over much lively musical activity, whose considerable extent and importance recent research has only lately begun to delineate (e.g., Werner Neumann in the Bach-Jahrbuch for 1960). The Collegium celebrated the personal and political festivities of the Saxon nobility with performances of cantatas-and a high point in their endeavours occurred when the Elector himself appeared in Leipzig and was the recipient of the students' musical offering.

To such an occasion Bach's cantata Schleicht, spielende Wellen owes its origin. As the text makes clear, the poem was originally intended for the birthday of August III in 1734. But the composition and performance of the cantata was apparently held up for at least two years when an unexpected visit of the Elector to Leipzig, on the anniversary of his succession to the throne and shortly before his birthday, dictated a change of plans (resulting in the performance of the cantata Preise dein Glücke, gesegnetes Sachsen, BWV 215).

The work is described as a "Dramma per musica". In the course of the "action", three rivers present themselves as the representatives of their respective lands, the fourth river representing the city of Leipzig: the Vistula (Poland), the Elbe (Saxony) , the Danube (Austria-Maria Josepha, the wife of August Ill, was an Austrian princess), and the Pleisse (Leipzig) .The Vistula, Elbe, and Danube all lay claim to the ruler in behalf of their own lands. In the end the Pleisse settles the controversy: she asserts that, although the Danube certainly may honour the royal couple, he must abandon any real claim upon him in favour of the other rivers; the Vistula and Elbe must then take their turns in basking in the presence of the sovereign. Heavy hearts unite the rivers at this judgement, and they join forces in a musical tribute to August.

The opening chorus presents an extremely inventive musical picture of the rushing floods, with a dramatic contrast effected between the words "murmelt gelinde" ("quietly murmur") and "nein, rauschet geschwinde" ("no, rush swiftly"). In the middle section, all constraint is abandoned, and the chorus floods on in a joyous allegro to the accompaniment of woodwinds and strings.

A secco recitative leads to the bass aria "Schleuss des Janustempels Türen" ("Close the temple doors of Janus”), commenting on the recent resolution of chaotic affairs in Poland. The dance-like movement is accompanied by strings, with the first violin standing out in concerto fashion.

With the following tenor recitative and arioso, the Elbe comes into the picture. The ensuing aria takes on a virtuoso character owing to the demanding obbligato violin part. The projection of the "precious" name "August" is effected by the interplay of tenor and solo violin. No less charming is the picture of the swelling and resounding floods in the extended coloraturas of the middle section.

The next recitative marks the entrance of the Danube. Her aria, which sings of the royal origin of the Elector's wife, strikes a festive note with two obbligato oboes. Finally the Pleisse appears, with a secco recitative and an aria accompanied by three flutes, whose very "concord" encourages agreement among the characters - an inventive use of such unusual instrumentation.

Afterward, the first three rivers proclaim, in a joint recitative, their common will and leave it to Pleisse to introduce the final laudatory chorus. This closing chorus, in the character of a gigue, is cast-as is common in Bach's music for such celebrations-in rondo form: the opening section is twice repeated, the intervening sections providing highly effective contrast. In the first interlude the trumpets are silent, and in the second only the soprano and alto sing above a "bass" of violins and viola - so as to render the final appearance of the first theme all the more effective.

Recordings

During last two weeks I have been listening to 7 complete recordings of Cantata BWV 206:
[1] André Rieu (1963)
[2] Helmuth Rilling (1^st recording, mid 1960’s)
[4] Peter Schreier (1979-1981)
[5] Frieder Bernius (1990)
[6] Helmuth Rilling (2^nd recording, 1994)
[7] Ton Koopman (1996)
[8] Reinhard Goebel (1996)

Personal Viewpoint

Couple of weeks ago we discussed the topic of how to introduce people to Bach. I wrote as follows:
“Background is important, but not the most important factor. Love for music in general (any kind of music) and open mind are the two basic factors, necessary to turn somebody without real familiarity with Bach's music into Bach's lover. From my experience I have learnt that almost any piece of Bach's music can do the job, given that it is heard couple of times in a raw.”

Cantata BWV 206 supplies another proof to this claim. Almost every movement in this cantata, which includes recitative and aria for each voice, is a gem. Picander’s libretto gave Bach much scope for word tone-painting of nature and water, as almost every movement has its own distinctive wave motif. The lavish orchestration is another mean, which Bach uses with his usual dexterity to paint each river differently. However, I found that the most captivating of all movements is the aria for alto (Mvt. 7): ‘Reis von Habsburgs hohem Stamme’ (Shoot from the high trunk of the Habsburgs). You would hardly guess it from the various commentaries, so you have to believe me when I say that this aria is simply irresistible. The two oboes d’amore, accompanying the singer carry her along this long aria, express love and admiration for the Queen. Their joy-motif includes a lightly rolling wave rhythm in its melody. Not the first time that the Danube gets the best part, is it?

Short Review of the Recordings

I am aware that I am in a delay regarding the weekly cantata reviews. Due to the high quality of Cantata BWV 206, I wanted to listen several times to each one of the recordings in its entirety. The length of this cantata (about 40 minutes), the number of recordings (7), and the fact that I have had several rounds of listening to all the recordings, resulted in many pleasurable hours with this cantata. Do not get me wrong. I do not regret of any minute of it. On the contrary, I feel sorry that I have to separate from this wonderful work, no recording of which can be considered as disappointing or even less than satisfactory.

Regarding the aria for alto, I enjoyed all the singers, both contraltos and counter-tenors. Wilhelmine Mattès, who sings the aria with Rieu [1] and the first to record it, has a dark voice, but her singing is smooth and clean and definitely not heavy. Margarethe Bence (with Rilling, 1^st recording [2]), whose voice is as dark as Mattès, proves that this aria keeps being charming even when it is sung s-l-o-w (7:53 against about 6 minutes of most other recordings). Carolyn Watkinson’s (with Schreier) [4] voice is a little bit unstable, but her intelligence and understanding of the idiom makes you forgetting any fault that might be found in her singing. Michael Chance was in good form when he recorded this aria (with Bernius) [5], and so was the much younger Axel Köhler (with Goebel) [8], with lighter and very flexible voice. Ingeborg Danz (with Rilling, 2^nd recording [6]) and Elisabeth von Magnus (Koopman) [7] can be considered as mezzo-sopranos rather than a contraltos. Yet their voices sound well-suited to this aria. So wonderful is the material that each singer finds his/her way to bring out the beauties embodied in this aria.

Another point I would like to single out is the surprising similarity between the interpretations of Rilling (in his 2^nd recording [6]) and Koopman [7]. Not only the tempos are relatively brisk, but is seems that they accentuate the same places and put attention to similar details. The sharp entry of the trumpets in the opening chorus is only one example.

Conclusion

I know that I might sound as if I am repeating myself when I ask you not let yourselves skipping this splendid work of art. I have uploaded Music Examples of the aria for alto (Mvt. 7) from 6 recordings of BWV 206. See: Cantata BWV 206 - Music Examples
After you listen to them all I would like to see you trying to erase this aria from your memory. I could not! And please write your impressions Although I would prefer staying with this cantata a little bit longer, I have to force myself moving to the next one in the raw: BWV 209.

John Pike wrote (November 12, 2003):
Some months ago, I ordered Volume 5 in the Bach 2000 Edition, Teldec. It has just arrived. It is a very handy box set of 11 CDs covering all the secular cantatas and various incomplete sacred cantatas which were not included in the Harnoncourt/Leonhardt "Complete" Cantata cycle in 10 volumes....very useful to those who have the Leonhardt/Harnoncourt cycle but are missing the secular cantatas and the incomplete secular ones.I have listened to 2 CDs so far, and initial impressions are very good. The recording of Canatata BWV 206 is the one by Andre Rieu [1] with the Monteverdi Choir, Hamburg and The Amsterdam Chamber Orchestra, with soloists Jacobeit, Mattes, Brand and Villisech. It is a fine recording. I entirely agree with Aryeh that this is a gem of a work...every movement is a real joy.

BWV 206 and MAK.: 'long' accompaniment

Neil Halliday wrote (May 10, 2004):
I heard this 1996 recording tonight, and discovered that R. Goebel [8] employs long accompaniment (as notated) in the secco recitatives. Very musical and enjoyable. (As noted by contributors to the discussion of this cantata, BWV 206 is an absolute gem).

I had intended to comment on the strange situation of Rilling (modern instruments) using short accompaniment and MAK (period instruments) using long accompaniment, but I discovered this is one of the few cases in Rilling's recent secular cantata recordings' set where he (Rilling) does in fact also use long accompaniment. (Before about 1985, Rilling virtually always used long accompaniment in the cantatas, but changed to short accompaniment for most of the recent secular cantata set).

Anyway, perhaps some period groups (eg MAK) are beginning to see the light....

Bradley Lehman wrote (May 10, 2004):
Neil Halliday wrote:
< I heard this 1996 recording tonight, and discovered that R. Goebel [8] employs long accompaniment (as notated) in the secco recitatives. Very musical and enjoyable. (As noted by contributors to the discussion of this cantata, BWV 206 is an absolute gem). >
Any chance they're doing this as an especially flowing special effect (word-painting), as those recitatives are dialogue among four different rivers, each proclaiming things about their monarchs? (I like the way it sounds, too, by the way.)

The notes are not uniformly long, or uniformly anything, but it all "goes with the flow" of the drama and the subject matter. Some of the notes are played long, some are short: it's that flexibility that makes the whole thing so expressive. And Christian Rieger's (the harpsichordist's) improvisations in there are very good, too. Obviously he's reacting to the needs of each moment, and on to the next.

That is: the whole continuo team is playing by listening instead of merely following any restrictive instructions from a page; and they're allowing some of the notes to be long as a valid option, and others to be short as another equally valid option.

That is: they're playing music, thinking and feeling about the meaning of the composition as they go along, to give the performance a focus and flow: as good musicians do. If they performed the same piece again on four different days, they might make those passages different in some ways; so what? Every occasion is different. Each individual performance has to have coherence, and it's the practice of listening during the performance that gives it that coherence.

Didn't we have a similar discussion before, with regard to the recitatives in cantata BWV 82, last September? See about halfway down the page: http://www.bach-cantatas.com/BWV82-D2.htm

Charles Francis wrote (May 10, 2004):
Neil Halliday wrote:
< I heard this 1996 recording tonight, and discovered that R. Goebel [8] employs long accompaniment (as notated) in the secco recitatives. Very musical and enjoyable. (As noted by contributors to the discussion of this cantata, BWV 206 is an absolute gem). >
Seems I may need to revise my opinion about Mr Goebel [8]. Who is going to see the light next, I wonder? Harnoncourt, perhaps?

Bradley Lehman wrote (May 10, 2004):
< Seems I may need to revise my opinion about Mr Goebel [8]. Who is going to see the light next, I wonder? Harnoncourt, perhaps? >
It's too late for that pedantic bit of criticism from his irresponsible hecklers. Harnoncourt has already been using lengthened notes (i.e. a dynamic variety of note-lengths, as the music goes along) since at least as early as 1988, i.e. 16 years ago in May 1988, in his recording of the secular cantatas BWV 208 and BWV 212.

Sometimes two or three notes are connected with legato in the bass line, and sometimes there are individual notes with varying amounts of space between them: all going by the meaning of the words and the musical figures, reacting to the singer's delivery. That's what Bach's notation means (do something intelligent using these bass notes and sketched harmonies, to accompany the singer), and that's what these fine musicians play. Harnoncourt knows this basic musical technique from conducting operas and other dramatic works by many other fine composers, along with Bach's music. His keyboard player, Herbert Tachezi, also knows how to do his job as an improviser.

Not that Harnoncourt's approach was ever stiff, unyielding, or unintelligent before that, anyway; he merely gets "bad press" from a small band of self-appointed critics here who don't think he can do anything right, and who don't mind giving distorted reports of his work just to make him look bad.

Of course, such current information as an event of 16 years ago (the 5/88 recording of BWV 208 and BWV 212) would not be known to those who dismiss the work of fine musicians outright instead of listening to it. But that says more about such prejucritics than about the music, or about the outstanding musicians who do the work.

Johan van Veen wrote (May 10, 2004):
[To Bradley Lehman] For some people the whole issue seems to be a matter of 'either ... or' with nothing in between.

Over the years I heard many performances in which sometimes the bass notes were played short, and sometimes were held. What else would one expect from musicians who think about what they are going to do?

And how pathetic to change your opinion on someone's performances on the basis of the way the bass notes are played. As if nothing else happens. I still can't figure out why some on this list are totally obsessed with the realisation of the basso continuo.

Some say that obsessions are a feature of highly gifted. I have my doubts...

Neil Halliday wrote (May 11, 2004):
Bradley Lehman writes:
"Not that Harnoncourt's approach was ever stiff, unyielding, or unintelligent before that, anyway"
I have to differ from this view; from my experience with the sacred cantatas, the HIP examples (including Harnoncourt) are almost all unyieldingly short, as in the Koopman example [7] I gave a link to recently.

Perhaps part of the reason for this is that the HIP practioners all felt they could only use organ (invariably tiny chamber organs with limited 'palettes' and trite figuresd bass realisations), and were not able to explore longer (cello) accompaniment with harpsichord arpeggiation of the figured bass, as in this MAK secular cantata example.

I'm surprised some people seem unable to acknowledged this. If Harnoncourt has decided, like Goebel in the case of BWV 206 [8], to imitate what Rilling had done years previously [2], with harpsichord in the sacred cantatas, then this is certainly a welcome development. But I note the Hrnoncourt example you allude are also a secular cantatas.

I suppose this means we lovers of the sacred cantatas will still be denied this welcome development.

Neil Halliday wrote (May 11, 2004):
"Perhaps part of the reason for this is that the HIP practitioners all felt they could only use organ..."
(in the sacred cantatas), and certainly use of the organ, with its unvarying sustaining tone (coupled with unvarying cello/violone tone), may be more likely to run into the problem that Niedt spoke of, when he warned (if memory serves me) of the continuo sounding like a "rattling old mill-wheel". [Niedt, writing in the 18^th century, used this as an argument for short accompaniment, thereby seeming to deny the possibility of musicians doing something musically intelligent in the context of long accompaniment, and tossing the baby out with the bathwater, in my view).

However, there are plently of (non-HIP) examples of long accompaniment with organ which are quite attractive, when intelligence, artistry and musicality are present.

My question now is, are there any HIP examples of long accompaniment, with either harpsichord or organ, in the sacred cantatas. It would indeed be strange if this relatively recent Harnoncourt/Goebel [8] use of long accompaniment is to be restricted to the secular cantatas.

Neil Halliday wrote (May 11, 2004):
"My question now is, are there any HIP examples of long accompaniment, with either harpsichord or organ, in the sacred cantatas?"
It seems Brad has pointed to one (Kuijken) or possibly two (Parrott) examples of HIP long accompaniment, for BWV 82, at: http://www.bach-cantatas.com/BWV82-D2.htm
(under the heading; "Some longer notes in recitative of BWV 82."

Any more? Only two examples in the whole recorded discography of the sacred cantatas?

Johan van Veen wrote (May 11, 2004):
Bradley Lehman writes:
"Not that Harnoncourt's approach was ever stiff, unyielding, or unintelligent before that, anyway"
Neil Halliday wrote:: < I have to differ from this view; from my experience with the sacred cantatas, the HIP examples (including Harnoncourt) are almost all unyieldingly short, as in the Koopman example [7] I gave a link to recently. >
May I conclude from this that for you "short" implies "stiff, unyielding, or unintelligent"?

Neil Halliday wrote (May 11, 2004):
Johan van Veen wrote:
"May I conclude from this that for you "short" implies "stiff, unyielding, or unintelligent"?
In the context of the highly instrumental nature of Bach's cantatas, in which the vocal line(s) fit seamlessly into the wonderful variety of the instrumental writing, "short" for me implies an extreme and unyielding method, one that is incompatible with the concept of a 'musically intelligent' treatment of the continuo.

I know of a few instances where, for dramatic effect, the accompaniment may be drastically shortened, but such instances are the exception rather than the rule; 'short', when used as a general method, invariably quickly becomes uninteresting, IMO. (The poetry in the recitatives is no more or less striking than that in the choruses, chorales and arias - not to mention the 'accompanied' recitatives! - and I can see no reason for the vocalist to be suddenly required to carry the argument largely unaccompanied (or accompanied by often widely placed and unattractive 'stabs' at chords) - an impossible task, which nearly always fails as music, IMO.

Hence my pleasure in the alternative approach (to 'unyielding' short accompaniment) which Goebel has adopted in BWV 206 [8].

Johan van Veen wrote (May 11, 2004):
Neil Halliday wrote:
< In the context of the highly instrumental nature of Bach's cantatas, in which the vocal line(s) fit seamlessly into the wonderful variety of the instrumental writing, "short" for me implies an extreme and unyielding method, one that is incompatible with the concept of a 'musically intelligent' treatment of the continuo. >
Could you explain, please, how you define 'musically intelligent'? Is that anything else then what you like?

< I know of a few instances where, for dramatic effect, the accompaniment may be drastically shortened, but such instances are the exception rather than the rule; 'short', when used as a general method, invariably quickly becomes uninteresting, IMO. (The poetry in the recitatives is no more or less striking than that in the choruses, chorales and arias - not to mention the 'accompanied' recitatives! - and I can see no reason for the vocalist to be suddenly required to carry the argument largely unaccompanied (or accompanied by often widely placed and unattractive 'stabs' at chords) - an impossible task, which nearly always fails as music, IMO. >
That is your very personal opinion. I have nothing against 'long held' notes in the bass when there is any historical fondation to practice that. The main point is whether it allows the singer to adapt the right amount of declamation and treat the recitative as a form of speech. You may like the recitative to be sung, I like it rather to be spoken, and I believe this is in line with the character of the recitative. What I have read about the recitative in the 18^th century points into the direction of a free treatment of the rhythm according to the requirement of the text. I think the 'short notes' in the bass accompaniment give more opportunity to do that than when the notes are held.

Neil Halliday wrote (May 11, 2004):
Johan van Veen wrote:
"Could you explain, please, how you define 'musically intelligent'
Imagination and artistry, as presented by musicians.

If the musicians (in this case, continuo) aren't doing anything much at all, according to some rigid formula (short accompaniment), the possiblities for the display of artistry and imagination are somewhat limited. Is this a matter of personal opinion?

<"The main point is whether it allows the singer to adapt the right amount of declamation and treat the recitative as a form of speech. You may like the recitative to be sung, I like it rather to be spoken, and I believe this is in line with the character of the r">.
You have probably hit the nail on the head, here. We have different expectations of a recitative - as you say, I want it to sung, or in other words, to be music like the rest of the cantata. (Why should there be such a clear division between 'accompanied' and 'secco' recitatives, that results from the treatment of the latter as "speech"?)

<"What I have read about the recitative in the 18th century points into the direction of a free treatment of the rhythm according to the requirement of the text. I think the 'short notes' in the bass accompaniment give more opportunity to do that than when
the notes are held">.
I have no problem with the vocalist 'directing' the motion of the recitative, but intelligent and capable instrumentalists can judge when a singer is about to arrive at that point in the text where they (the musicians) can be required/or it is appropriate to improvise new material.

Thanks for explaining your point of view.

Johan van Veen wrote (May 11, 2004):
Johan van Veen wrote:
<< "Could you explain, please, how you define 'musically intelligent' >>
Neil Halliday wrote:
< Imagination and artistry, as presented by musicians. >
I agree, but I don't think these qualities can be objectively stated. I recognize a lot of imagination in a 'short accompaniment' which you will assess negatively.

< If the musicians (in this case, continuo) aren't doing anything much at all, according to some rigid formula (short accompaniment), the possiblities for the display of artistry and imagination are somewhat limited. Is this a matter of personal opinion? >
Yes, apparently, since I don't agree. I think coming up with the right chords at the right time, not only giving the singer the support he needs but also illustrating the text requires a great amount of artistry and imagination. The assessment of the 'short accompaniment' as nothing more than following a "rigid formula" is a distortion of the truth. Why would the basso continuo practice be such an important part of the musical education of keyboard players (and others) if it was just a matter of playing the right chords according to a rigid formula? Do you need an extensive musical education for that?

JvV: << "The main point is whether it allows the singer to adapt the right amount of declamation and treat the recitative as a form of speech. You may like the recitative to be sung, I like it rather to be spoken, and I believe this is in line with the character of the recitative">>.
NH: < You have probably hit the nail on the head, here. We have different expectations of a recitative - as you say, I want it to sung, or in other words, to be music like the rest of the cantata. (Why should there be such a clear division between 'accompanied' and 'secco' recitatives, that results from the treatment of the latter as "speech"?) >
Why should there be no clear division between 'secco' and 'accompanied' recitative? If they should be performed exactly the same way, then why would composers bother to write both? Wouldn't it me more practical and simple to choose just one of them?

JvV: "What I have read about the recitative in the 18^th century points into the direction of a free treatment of the rhythm according to the requirement of the text. I think the 'short notes' in the bass accompaniment give more opportunity to do that than when the notes are held".
NH: < I have no problem with the vocalist 'directing' the motion of the recitative, but intelligent and capable instrumentalists can judge when a singer is about to arrive at that point in the text where they (the musicians) can be required/or it is appropriate to improvise new material. >
But it seems to me a lot more difficult when the notes are held. That is why I believe that notes should only be held for specific reasons, to underline some words or phrases, or to distinguish a part of the recitative from the preceding and following parts.

Discussions in the Week of November 9, 2008

Thérèse Hanquet wrote (November 9, 2008):
Introduction to BWV 206 «Schleicht, spielende Wellen, und murmelt gelinde!»

Cantata BWV 206: «Schleicht, spielende Wellen, und murmelt gelinde!»

Dramma per Musica, for the Birthday of Augustus III

Author of the libretto: anonymous, maybe Picander?

First performance: October 7th, 1736

The composition of BWV 206 («Schleicht, spielende Wellen, und murmelt gelinde!» - translation by Francis Browne "Glide, playful waves, and murmur gently!") has an interesting history, detailed notably by Martin Geck in his book «Johann-Sebastian Bach - Life and work» (page 195). I have tried to explore somewhat further the context of the composition.

Sorry for the historical details that will follow, but they play a role in the context of the cantata... Since Bach had taken the charge of director of the Collegium Musicum in 1729, he had produced several "dramma per musica" in honor of special events related to the Dresden Elector and his family. Elector August II, born on October 17th, 1696, inherited in 1733 the title of king of Poland (as August III) from his father, an event that was contested and provoked the War of Polish Succession. August II/III was the son of the famous princess Christiane Eberhardine, whose death had inspired to Bach the moving cantata BWV 198 («Lass, Fürstin,...»), and himself had married princess Maria-Josepha of Austria, daughter of King Joseph II. In 1734, Bach intended to perform a new "dramma per musica" for the Elector's birthday. But a few days before, he was informed that the Elector intended to visit the Leipzig Fair and that an evening concert had to be organized for the occasion on October 5th, first anniversary of August's election as King of Poland. It should be reminded that this was a disputed election, by the part of the Polish Diet which took side with the Elector's allies - Austria and Russia - against his rival, Stanisław Leszczyński, elected by the Diet in September and supported by France. Due to the War of Polish Succession, August was only crowned on January 17^th, 1734. Curiously October 5th would also be the day on which August died, but much later, in 1763!

Anyway, Bach composed BWV 215 («Preise dein Glücke, gesegnetes Sachsen») for the new context of the Elector's visit, and this new cantata was performed on October 5^th, 1734. This cantata (discussed a few weeks ago) is quite explicit in its text as to the troubled political context and clearly acclaims August as the winner of the struggle. The cantata was praised, but had a sad side-result: the death of one of the best trumpet player of the city, Gottfried Reiche - apparently exhausted by the huge effort of playing this demanding part at a respectable age (67) and in difficult conditions (Cantagrel, «Le moulin et la rivière», page 354).

The original birthday cantata - BWV 206 - remained in the drawers for two years, until 1736, the year when Stanisław Leszczyński finally abandoned his claims to the throne of Poland. Is this linked with this event or not, but BWV 206 was performed for the first time at Café Zimmerman on October 7^th, 1736. We have no evidence that the Elector was present - probably not, as we do not have such accounts as we have for BWV 215. It should be mentioned that a few weeks later, Bach finally reached his goal to be officially acknowledged as composer of the Dresden Court.

I have a first question here, as we know that August was born on October 17^th and not 7^th: why celebrate his birthday 10 days in advance? Are we sure that BWV 206 is / was conceived as a birthday cantata, as there are no clear references to this event? It seems also that a Saint August is celebrated on October 7th (other dates for this name are August 28^th and February 29^th), but as a Catholic I acknowledge that the days for celebration of Saints are a complicated and fluctuating matter! Maybe Thomas Braatz will give us some details about the score of BWV 206 (for example: was it revised between 1734 and 1736? And b1736 and 1740?), as well as further indications as to its purpose. But I can imagine that the political context was not absent of Bach's mind when he composed (and maybe revised) the cantata.

An argument in favor of this is the "plot" of the cantata. First it must be noted that although Bach called this cantata "dramma per musica" (as did Pergolsei, Vivaldi and even Mozart for some of their operas), BWV 206 has no such plot as we would find in an opera. It is rather a "debate" between several characters, actually four rivers, entering successively during the course of the piece: the Vistula (bass), the Elbe (tenor), the Danube (alto) and the Pleisse (soprano). This reminds us of other secular cantatas such as BWV 205 (another "dramma per musica") with its four mythological figures, and BWV 207 with its four allegorical figures. But here we do not have mythological but real rivers, which symbolize places (cities) and areas (their basins). The Vistula is the longest river of Poland, which had become August's kingdom, while the Elbe has its source in the Czech Republic and then goes through Dresden (the Elector's city) before reaching the North Sea. The Danube, with its sources in Germany, makes the border of ten European countries, and goes through Belgrade, Bratislava, Budapest and Vienna, the city of Maria-Josepha of Austria, the Elector's wife. As for the Pleisse, it is the river of Leipzig.

The rivers - for various reasons - all acclaim August and want to keep him in their neighborhood, which naturally provokes competition between them. The Pleisse is the one that will bring all others together by convincing them to make some compromises and to join in a common praise of August.

My second question has to do with the "political message" of BWV 206 vs. BWV 215. Why did Bach leave aside BWV 206 and compose a whole new cantata in October 1734, with all the extra work this required? Did the presence of the Elector change so much the context that he saw no way to adapt his original cantata? Was it important to have a more "war and victory-oriented" message (as is the case in BWV 215)? BWV 206 sounds indeed rather as a praise of peace, even though there are some references to war but through its consequences (e.g. the mention of dead corpses and rusting weapons in the Vistula, in the bass recitative - Mvt 2). Or maybe BWV 206 was too centered on Leipzig (through the figure of the Pleisse river) and not enough on the Elector himself, as is BWV 215?

Compared to other secular cantatas, it is remarkable that BWV 206 was not parodied in later works and contains no music previously used in other works (at least as far as we know). Another noticeable feature is that it was
performed again four years after its first performance: in August 1740, also at Café Zimmerman.

We have all reasons to think that Bach devoted much attention to the music of this cantata, maybe because he felt that the title of Court composer was within his reach. Also the Collegium musicum provided him with valuable resources for such performances. The instrumentation is indeed very rich, with three trumpets, timpani, two oboes d’amore and three transverse flutes in addition to strings and continuo.

The structure of the piece is quite straightforward: an opening chorus, then each river sings a recitative and an aria. The 10th movement has all four soloists singing in turn. A closing chorus concludes the work.

Gilles Cantagrel, in his book previously mentioned, highlights BWV 206 as an example how Bach's music deals with water, making the link with the name Bach (which in German means small river, hence the book's title: "The river and the mill"). One of the first examples he gives of this is the way BWV 206 depicts waves, subtly personalizing each of the four rivers, while the opening chorus also features wave-like movements.

I have listened to two recordings: Schreier [4] (in the Brilliant set) and Bernius with Kammerchor Stuttgart and Concerto Köln [5]. I agree with what has been said in the previous discussions about the remarkable quality of the music, with its dance-like movements. This is quite obvious and enjoyable in both versions. All in all, music that makes you feel good!

I will not detail here all movements, just mention a few special points.

The opening chorus is quite long (more than 6 minutes in both versions) but maintains the attention from beginning to end. The beginning is indeed quite surprising, with a few "soft" measures played piano, followed by a sudden forte with the entry of the trumpets. The whole movement is full of contrasts and has a dance-like quality. There are many places in the score where the notes played by the strings really picture waves - also on the paper!

All recitatives are quite expressive of the different characters of the four rivers. The Fayard «Guide de la musique sacrée et chorale profane» notes that only the Pleisse, in the final recitative, is accompanied by strings, all others recitatives being supported by the continuo alone, maybe because the river of Leipzig deserves special treatment... Or another reason may be that this part marks the resolution of the plot?

The arias are also remarkable. In the last discussions, Aryeh emphasized the high quality of the alto aria «Reis von Habsburgs hohem Stamme» (Mvt. 7). I must say I like them all, with each its specific character, enhanced by selected instruments: violins and viola for the Vistula, violin alone for the Elbe, two oboes d'amore for the Danube, and three traverso flutes for the Pleisse.

The closing chorus is truly festive, with its joyous rhythms, and the contrast between the parts underlined by the trumpets and the parts where the choir sings pianissimo. The contrast and dynamics are particularly apparent in Schreier's version [4].

I would be curious to know what is the "favorite river" of members of the list? I for one cannot decide yet...

As a support to the discussion, you will find as usual a lot of interesting information on the BCW home page of BWV 206: http://www.bach-cantatas.com/BWV206.htm. You may also want to visit the home page of BWV 215 to make comparisons... http://www.bach-cantatas.com/BWV215.htm.

Douglas Cowling wrote (November 9, 2008):
Thérèse Hanquet wrote:

Oh, the Pleisse certainly comes out on top! I fell in love with this aria (Mvt. 9) when I first heard the cantata as a teenager. The melodic material is delightful and the interplay of the high soprano voice and three flutes -- the only example of such orchestration in Bach, I think -- is like champagne being served. I arranged it for four flutes in high school for student friends who needed an ensemble piece. They were pretty delightful too.

William Hoffman wrote (November 11, 2008):
Introduction to BWV 206: Questions: timing & politics

Celebrating birthday 10 days in advance: royal celebrations took place over a long period of time, especially if they involved an entire court or a visit during a time period. The Dresden celebrations in 1719, for the Saxon Court and the new court theater, lasted several months, including an elaborate Heinichen serenata, "Dianna sull'Elba," with fireworks at night on barges on the Elbe -- shades of watermusic of Handel (1717), Telemann (Overture, Hamburg's Tides), and Vivaldi (Concerti "La tempesta di mare," Opp. 8/5, 10/1). Could Bach's Cantata BWV 206 be his "watermusic," celebrating the four rivers of commerce and boundaries?

Politics. With his Court Composer title hanging, Bach was especially sensitive to the political winds, particularly after he had courted favor with the Saxon Ambassador, Count von Flemming, with three cantatas. Bach composed at least the first movement of BWV 206 with a complete libretto and simply withheld the remained until the opportune time, Fall 1736. Cantata BWV 206 is Bach's last original surviving dramma per musica for the Royal Court (no music survives from BWV Anh. 13 and BC 25).

As to Bach's attitude toward war and peace, we have various biblical treatments (Cantatas BWV 50, BWV 54, BWV 80a; BWV 232IV Dona nobis pacem) but historically little. The Polish War of Succession was successful and strengthen the Leipzig-Saxony relationship. But August's sheer folly with the Berlin Court, including the invasion of Leipzig by Prussian troops in 1746, was a hardship. Apparently, Bach's only remaining connection with the Saxon Court was the stile antico mass music.

Bach was adept at shifting his attention from Dresden to Berlin in the 1740s. I think much of it was initially motivated by music. At the Dresden Court, Bach found the influence of drammi per musica and Zelenka's stile misto (mixed style). Earlier, he had been impressed with Heinichen's orchestra, Italian solo cantatas, Hasse's sacred Latin works, and Peranda's (fomerly Schütz') Markus Passion in the Court library.

Wolff speculates that Bach had no chance to succeed Heinichen as capellmeister because he had no opera credentials. The post was open from Heinichen's death in 1729 to 1735 with the official appointment of Hasse. Meanwhile, Bach had helped secure Friedemann's post as organist at the Sophienkirchke in Dresden in 1733 (W.F. moved on to Halle in 1746) while C.P.E. pursued Berlin by way of Frankfurt (1733-38) through a law degree and the good graces of his Godfather, Telemann, whom he succeeded at Hamburg in 1768. It appears that Sebastian had a heavy hand getting Friedemann to Dresden while Carl pursued his career on his own and with great patience and deliberation.

Thérèse Hanquet wrote (November 11, 2008):
[To William Hoffman] Thank you very much William for these documented answers to my questions.

I like the idea of BWV 206 as Bach's "watermusic"!

Also I note your reminder that in 1736 Wilhelm Friedemann was working in Dresden.We know that Johann Sebastian was eager to give the best chances of education and work to his sons, and especially to the eldest one. This may also have influenced his attitude.

Ed Myskowski wrote (November 15, 2008):
Introduction to BWV 206

Therese Hanquet wrote:
>The rivers - for various reasons - all acclaim August and want to keep him in their neighborhood, which naturally provokes competition between them. The Pleisse is the one that will bring all others together by convincing them to make some compromises and to join in a common praise of August<.
<snip>
>But I can imagine that the political context was not absent of Bach's mind when he composed (and maybe revised) the cantata.We have all reasons to think that Bach devoted much attention to the music of this cantata, maybe because he felt that the title of Court composer was within his reach.<
EM
Perhaps Therese means to imply that Bach saw his official musical positions, and the music itself, as a factor in political and religious conciliation? If not, feel free to blame me for the suggestion.

TH
>The structure of the piece is quite straightforward: an opening chorus, then each river sings a recitative and an aria. The 10^th movement has all four soloists singing in turn.Gilles Cantagrel, in his book previously mentioned, highlights BWV 206 as an example how Bach's music deals with water, making the link with the name Bach (which in German means small river, hence the book's title: "The river and the mill"). One of the first examples he gives of this is the way BWV 206 depicts waves, subtly personalizing each of the four rivers, while the opening chorus also features wave-like movements.I have listened to two recordings: Schreier (in the Brilliant set) and Bernius with Kammerchor Stuttgart and Concerto Köln. I agree with what has been said in the previous discussions about the remarkable quality of the music, with its dance-like movements. This is quite obvious and enjoyable in both versions. All in all, music that makes you feel good!<
EM
Curiously (or by specific choice for quality or contrast?), the earliest recording, Rieu [1] from 1963, is included with the Bach 2000 set, which otherwise uses more recent versions of the secular cantatas. It is a satisfying performance in every way, not least in sound balance! Oh, for the good old days of minimal engineering. I did not yet have time for comparison with
Schreier..

TH
>There are many places in the score where the notes played by the strings really picture waves - also on the paper!I would be curious to know what is the "favorite river" of members of the list? I for one cannot decide yet...<
EM
It is difficult not to choose the Pleisse (soprano). As Doug has pointed out, Bach sets it up musically, and as Therese has pointed out, that reinforces and concludes the political allegory. To me, the greatest beauty is in the contrast, the transition, from the Danube (alto) to the Pleisse, the coexistence of the two. The need for the coexistence.

Thanks to Therese for the notable effort put into her introductions, and for new insights on the social context of this one, in particular. I did not intend to add anything new in my responses, other than to say that I read and thoroughly enjoyed it.

Thérèse Hanquet wrote (November 15, 2008):
[To Ed Myskowski] Thanks for all Ed!

I was precisely surprised that there were so few reactions this week, as this cantata is beautiful and its context interesting. I had a good time trying to find documentation...

I hope your comments will encourage others today, as tomorrow I will send the next intro...

Thérèse Hanquet wrote (November 15, 2008):
[To Ed Myskowski] I forgot to answer your suggestion hereunder.

Actually, I meant that Bach was apparently quite motivated to be designated Court Composer (at least it is what I read between the lines in his biographies) and he surely wanted to provide as many argumentas possible in view of this. But actually, this could be for several reasons indeed (I do not know what it financially implied to be Court composer).

One thing that strikes me is that although his music may be celestial, Bach himself paid much attention to "earthly" things, and in particular financial considerations. This does not mean that they were an ultimate end for him: we know that it was an important concern for him to give the best education he could to his children, and this probably explains some choices he made in the past. In 1734-36, what were his motivations? He probably wanted to have more musical opportunities, and to give a chance to his music to be more widely heard. And of course yes, maybe his ultimate aim could be political and/or religious conciliation...

Ed Myskowski wrote:
TH
>>We have all reasons to think that Bach devoted much attention to the music of this cantata, maybe because he felt that the title of Court composer was within his reach.<<
EM
< Perhaps Therese means to imply that Bach saw his official musical positions, and the music itself, as a factor in political and religious conciliation? If not, feel free to blame me for the suggestion. >

Stephen Benson wrote (November 15, 2008):
Thérèse Hanquet wrote:

I sometimes get the sneaking suspicion that, lacking the theological foundation of the sacred cantatas and frequently focusing on mere terrestrial mortals, the secular cantatas are somehow considered lesser fare -- hack work, almost -- and not worthy of the intense scrutiny and analysis devoted to the sacred cantatas. If this is so, it's a real shame, for there is much beautiful music and a wealth of genius in the secular cantatas, of which "Schleicht, spielende Wellen" is a prime example. A few questions:

1) Did Bach's own working parody practices where he could move in the direction from secular to sacred, but not the reverse, reinforce this impression?

2) Is it my imagination, or are the secular cantatas frequently less rigorously contrapuntal than the sacred cantatas? (Of course, as I write this, I'm listening to the Schreier recording, which has now left BWV 206 and moved into the joyously contrapuntal play of the opening chorus of BWV 215! Maybe I've answered my own question.)

3) As a corollary of the previous question, however, do I detect elements of the "style galant" emerging from the arias in BWV 206?

As for a "favorite river", I agree that they all have their attractions. If I HAD to choose one, it would probably be the Elbe, for its delicious interplay between the tenor soloist and obbligato violin.

Given the social and political context of the text, and given its overarching spirit of conciliation and cooperation, this is one of those works that would merit attention from, and the consideration of, our own 21st-century world leaders. Do any of them listen to Bach?

William Hoffman wrote (November 17, 2008):
BWV 206: Secular Cantatas Redux

Stephen Benson wrote:
1) Did Bach's own working parody practices where he could move in the direction from secular to sacred, but not the reverse, reinforce this impression?
2) Is it my imagination, or are the secular cantatas frequently less rigorously contrapuntal than the sacred cantatas? (Of course, as I write this, I'm listening to the Schreier recording, which has now left BWV 206 and moved into the joyously contrapuntal play of the opening chorus of BWV 215! Maybe I've answered my own question.)
3) As a corollary of the previous question, however, do I detect elements of the "style galant" emerging from the arias in BWV 206? >
William Hoffman replies: There are several misconceptions about Bach's secular music implicit in the still lesser regard toward Bach's secular cantatas and the questions above. I'll be positive:

Particular Bach's secular cantatas were milestones in his creative development and his engagement in the wider world. I'll mention only two: Cantata BWV 208 and BWV 198.

Cantata BWV 208 of c.1714 was Bach's first major, significant cantata in the new Italian operatic style, which was the trademark of virtually all of his some 200 sacred cantatas. It broke out of the old style of vocal works which never were repeated, except for BWV 4. It contained the first recitatives and the first da capo arias. It probably began with the substantial sinfonia, later First Brandenburg Concerto, a triumph in instrumental music as well!As for BWV 198 of 1727, Alfred Dürr, Hans-Joachim Schulze, Martin Geck, and Christoph Wolff variously suggest that its significance in Bach's creative effort is of an uncontested stature, involving masterful music adapted to a text by a leading poet for a significant occasion while leading directly to Bach's "ambitions in the realm of secular music in all its facets," says Geck (JSB Life & Work, P. 161f). To which I would add the culmination of Bach's major sacred music in the final version of the St. Matthew Passion (BWV 244) of 1729, the Oratorios of 1734-35 and the B-Minor Mass (BWV 232).

These are just two reasons why I spent a could deal of effort this summer to produce an extensive BCW article "Bach's Dramatic Music."

We still have a long way to go to fully understand and appreciate all of Bach's music from the widest possible perspective and with the greatest generosity of spirit. Where Bach's parodies historically were treated as step-children, or bastards, and the worst kind of plagarism (self-plagarism), the secular cantatas are still caught in much of that same Germantic, Romantic mentality. They are fine examples of invention, reinvention and transformation. Amen.

Cantata BWV 206: Complete Recordings | Recordings of Individual Movements | Discussions

Back to the Top

Last update: ýNovember 17, 2008 ý16:19:31