Cantata BWV 32 - Discussions

Cantata BWV 32
Liebster Jesu, mein Verlangen
Discussions

Discussions in the Week of January 10, 2000

Aryeh Oron wrote (January 10, 2000):
Background - Aria for Soprano

This is the week of cantata BWV 32, the sister of BWV 57, which has been discussed in this group couple of weeks ago. After the splendid opening Aria, everything that comes afterwards in this glorious cantata seems to be on lower level.

Mvt. 1. Aria (Soprano)
Soprano, Oboe, 2 Violins, Viola, Continuo

Regarding this Aria I would like to quote from Robertson’s book and Alfred Dürr (linear notes to Teldec recording).

Robertson wrote:
The oboe begins with the phrase sung by the Soprano to ‘Liebster Jesu’ and thereafter in most of the time in duet with the voice. The lovely music has none of the anguish of the opening Aria in cantata BWV . This is no dark night of the soul but a momentary feeling of the Saviour's Absence. The Words of the second section of the Aria are ’Ah! My refuge, rejoice me, allow Thyself most happily to be embraced’. Voice and oboe burst into joyous runs illustrative of ‘rejoice’. All the well.

Dürr wrote:
The introductory Aria, arranged on the pattern of the slow concerto movement, is of exceptional beauty: Superimposed on short string chords, the oboe and Soprano produce in concertante form widely spanning, richly ornamented arcs of melody.

Personal Viewpoint

And something personal:
The feelings of loneliness and longing has never been transferred by music in more convincing way, except perhaps the trumpet sound of Miles Davis. But here the subject is Bach cantatas and not Jazz music, both of which I love.

Review of the Recordings

The 4 performances I have listened to (in the order of listening) are:

[6] Helmut Winchermann with Elly Ameling (1970; Aria for Soprano: 4:33)
[8] Helmuth Rilling with Arleen Augér (1981; Aria for Soprano: 6:15)
[5] Wolfgang Gönnenwein with Edith Mathis (Early 1970’s ?; Aria for Soprano: ?)
[7] Gustav Leonhardt with Walter Campert (Soloist of the Tölzer Knabenchor) (1974, Aria for Soprano: 5:43)

The astonishing conclusion after listening to the 4 complete performances in succession one after the other, is the similarity of approaches from all conductors and soloists. All the 3 female singers are in fine form and it is hard for me to choose one of them above the others. There is of course difference in timing, but nevertheless the whole atmosphere is very similar despite this fact. I was expecting a close fight between Ameling and Augér (like in cantata BWV 57), but Mathis here is not less good. The music is so strong that all the 3 ladies are clever enough to keep themselves restrained and let the music speaks for itself. All of them have the special ‘Bach voice’ and they use their vibrato very economically. Augér is closer to my heart. Or, in the words of my wife: “There is a direct line from Bach’s music, through her voice, directly into your brain”. In Augér performance here there is an astonishing similarity between the timbre of her voice and that of the oboe. But one cannot go wrong with the other 2 performances. All 3 ladies and their conductors are doing justice to the words and to the music.

Good as the female soloists are, in this movement the boy Soprano is the one who steals the show. We know from previous listening to the Teldec series that the boy Sopranos are not always capable of transferring the deep human feelings of the music and words in the cantatas. But the boy Soprano here justifies every effort to give Soprano parts in Bach cantatas to boys. Maybe this movement, where the music dictates the general mood in such a strong way that very little is left to personal interpretation, helps him. He has an angelic and pure voice. He can handles long lines without break, a very rare gift for boy Soprano. He transfers naivete, which seems very right in this Aria. The slight trembling and hesitation here and there makes his performance in this Aria even more convincing. The colours of the old instruments blend so well with the boy’s voice. The Continuo does not let you forget that the time is passing very slowly while you are waiting. And the sensitive conducting of Leonhardt, who takes care for the right balance of all parts, make this performance an unforgettable one.

And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings.

Enjoy and Happy Bach Year,

Wim Huisjes wrote (January 11, 2000):
On to BWV 32: Ameling [6], Mathis [5], Augér [8] & a boy Soprano [7]. Are there any more? Beforehand: my bet is on Ameling, but we'll see...

Jane Newble wrote (January 11, 2000):
As Aryeh has already said some wonderful things about the first Aria (Mvt. 1), I'd like to concentrate on the rest of this beautiful cantata. The only one I have (so far) is Helmut Winschermann/Deutsche Bachsolisten [6]. I tend to like the dialogue cantatas very much, as there is a sense of participation.

Listening to the Bass Aria (Mvt. 3) I was struck by the wonderful playing of the violin. Against the background of the quiet bass-voice singing: "Here, in the house of my Father will a burdened soul find me" the violin plays in hopeful and excited anticipation, almost like birds on a spring-morning. There is already the promise of fulfilment in the solidity of the bass voice and the Continuo. I find the contrast really exciting.

Then the Soprano (in this case my favourite Elly Ameling) comes in again, already sounding more assured than in that wonderful longing of the first Aria, and the dialogue builds up to the amazing duet.

It is a union of the two instruments who before had played in their separate Arias, and of the voices, but in a joyful dance-movement, almost polka-like, where all the torments and troubles have disappeared. The voices and the music come in alternately, almost impatient to get their turn, and pushing each other out of the way, and sounding more joyful each time. It's a good one to dance to!

The Choral prayer at the end (Mvt. 6) is beautifully sung, and is like a consolidation of the experiences before.

It makes me want to study music, to get to know more of what Bach meant by it.

This cantata must surely have cheered up his day!

Aryeh Oron wrote (January 14, 2000):
Thank you Jane for your compliment and for the enlightening things you wrote about the other movements of this cantata. I thought that I know it quite well by now. But your words pushed me to re-listen to this cantata once again in the Winschermann/Ameling recording [6], and I discovered some new things that I was not aware to before. The Bach cantatas seem to be an endless world.

Jane Newble wrote (January 14, 2000):
Thank you for your kind words. I had become a bit worried that my comments might have been too personal. It really came about as I was listening to it over and over again. Bach is more and more wonderful every time I listen to anything. It makes one wonder where it will end...? You are right about the cantatas seeming to be an endless world...

More Messages

Laszlo Zsidai wrote (July 4, 2000):
I'm working on creating Windows Media Audio (or MP3-s?, I haven't decided yet) files of my (currently) favourite cantata "Liebster Jesu, mein Verlangen" BWV 32.

The first movement has been completed, I'm working on the other ones as well. You may visit my site, and listen to the first Aria at: http://zsl.50megs.com

Discussions in the Week of September 9, 2007

Douglas Cowling wrote (September 7, 2007):
Week of Sept 9, 2007: Cantata 32, "Liebster Jesu" - Introduction

Week of Sept 9, 2007

Cantata 32, łLiebJesu mein Verlangen˛

First Performed: January 13, 1726 Leipzig
First Sunday after Epiphany
Third Annual Cantata Cycle, 1725-27 (Jahrgang III)

After a hiatus in the Fall of 1725, Bach began composing cantatas again for Christmas Day until Epiphany 3. Before and after the 1725-26 Christmas season, he performed cantatas by Johann Ludwig Bach.

Libretto:
Georg Christian Lehms (Mvts. 1-3, 5)
Luke 2: 49 (Mvt. 2)
Paul Gerhardt (Mvt. 6)
Librettist Biographies:
http://www.bach-cantatas.com/Lib/Lehms.htm
http://www.bach-cantatas.com/Lib/Gerhardt.htm

Texts & Translations: http://www.bach-cantatas.com/BWV32.htm

Readings:
Epistle: Romans 12: 1-6 (łWe are all one in Christ˛)
Gospel: Luke 2: 41-52 (Finding of Jesus in Temple)
Texts of readings: http://www.bach-cantatas.com/BWV32.htm

Previous Sundayąs Cantata (Epiphany): Unknown
Next Sundayąs Cantata (Epiphany 2): 13, łMeine Seufzer, meine Tränen˛

Other Cantatas previously written for Epiphany 1:
BWV 124 Meinem Jesum, lass ich nicht (Leipzig, 1725)

BWV 154 Mein liebster Jesus ist verloren (Leipzig, 1724)

Introduction to Lutheran Church Year: http://www.bach-cantatas.com/Lutheran.htm

Movements:

Mvt. 1: Aria (Soprano)
łLiebster Jesu, mein Verlangen˛
Instruments:Ob, Vns, 2 Vn, Va, Bc

The cantata is conceived as a Dialogue between Christ (bass) and the Soul (soprano), a literary sturcture familiar from cantatas BWV 57, łSelig ist der Mann˛ and BWV 140, łWachet Auf˛. The use of solo oboe and violin is reminiscent of the rhapsodic instrumental writing in BWV 140, łWachet Auf˛

Mvt. 2: Recitative (Bass)
łWas ists, dass du mich gesuchet?˛
Instruments: BC

The recitative text is the scriptural Dictum of the cantata, and Bach sets the words of the 12-year old Jesus for bass. Interestingly, the libretto does not attempt to portray the dialogue between Mary and the child Jesus in the Gospel narrative, but accepts the traditional patristic anagogical typology of Mary and Jesus as the Soul and Christ.

Mvt. 3: Aria (Bass)
łHier, in meines Vaters Stätte˛
Instruments: Vns, BC

The bass as the Voice of Christ extends the image of the Temple as Heaven and the goal of the Soul.

Mvt. 4: Recitative Dialogue (Soprano & Bass)
łAch! heiliger und großer Gott˛
Instruments: 2 Vn, Va, Bc

The Soprano and Bass recitative is remarkably passionate with a rich string accompaniment. How many recordings add apoggiaturas? łheiliger˛ (bar 1), OGottą (bar 2), łprangt˛ (bar 12), łsein˛ (bar 18), łheisst˛ (bar 19) and łein˛ (last bar) are all candidates. The sopranoąs sudden paraphrase pf Psalm 84 in the arioso, łWie lieblich˛, echoes the Temple image again (Brahms set this verse as łWie lieblich sind deine Wohnungen˛ in the OGerman
Requiemą).

Mvt. 5: Duet (Soprano & Bass)
łNun verschwinden alle Plagen˛
Instruments: Ob, 2 Vn, Va, Bc

It would be interesting to know what percentage of Bachąs duets are used in these dialogues for Christ and the Soul. A superb operatic scena.

Mvt. 6: Chorale (Choir)
łMein Gott, öffne mir die Pforten˛
Instruments: Ob, 2 Vn, Va, Bc

Bach uses the duple time version of the chorale as in Cantata BWV 194. The triple time version appears in Cantatas BWV 18 & BWV 70 and is much closer to the quite jazzy isometric original.

Chorale Melodies:
łFreue dich sehr˛: http://www.bach-cantatas.com/CM/Freu-dich-sehr.htm

Piano Vocal Score: (free PDF download): http://www.bach-cantatas.com/BWV32.htm

Recordings: http://www.bach-cantatas.com/BWV32.htm#RC

Music (free streaming download): http://www.bach-cantatas.com/Mus/BWV32-Mus.htm

Commentaries:
Crouch: http://www.classical.net/music/comp.lst/works/bachjs/cantatas/032.html
AMG: http://wc06.allmusic.com/cg/amg.dll?p=amg&sql=42:4185~T1
Emmanuel Music: http://www.emmanuelmusic.org/notes_trans/notes_cantata/bwv032.htm

Previous Discussion: January 2000: http://www.bach-cantatas.com/BWV32-D.htm

Julian Mincham wrote (September 7, 2007):
Douglas Cowling wrote:
< After a hiatus in the Fall of 1725, Bach began composing cantatas again for Christmas Day until Epiphany 3. >
But why none for Epiphany itself 1726? It would have fallen between BWV 16 and BWV 32. He certainly composed cantatas for this day in the first 2 cycles and it seems very odd that Bach would not have produced one for this important day. Might it have been lost? but that would itself be a bit odd as all the others from the Christma New Year period seem to have survived.

Julian Mincham wrote (September 7, 2007):
Douglas Cowling wrote:
< It would be interesting to know what percentage of Bachąs duets are used in these dialogues for Christ and the Soul. >
Not many I think.

For those who indulge in a contextual approach to the cantatas it is interesting to compare this one with BWV 57, performed just 3 weeks earlier and also based upon the Jesus/Soul dialogue. BWV 57 has no duet--but the journey to the merging of the two is less arduous, it would seem, than in BWV 32. In the earlier aria Jesus speaks first (opening aria) and seems much more encouraging than in 32 where he is almost brusque on his first entry---why have you sought me out--are you not aware that I am concerned with the business of my Father?? The opening aria of BWV 32 is quite bitter/sweet, the Soul on the one hand fearing the separation but (as the duet finally fully confirms) not entirelydoubting its ultimate reality.

Interesting that even when taking the same textual themes Bach never does the same thing twice and always finds a different tack. It is his consistency in this that leads me to believe that he may have had quite a bit of input into the structure and content of his libretti.

Further contextual observation leads to the two earlier cantatas composed for this day, BWV 154 and BWV 124. All three are concerned with the separation of Christ and Soul and all three deal with this theme differently. BWV 154 begins with an awsome tenor aria despairing at the loss of Jesus. BWV 124 begins much more gently but the later tenor aria graphically paints a picture of the fear of death which, it seems, is an event which is not to be confused with the separation from Christ. BWV 57 and 32 trace quite operatically the progress of union of the two entities.

BWV 154 and BWV 124 both contain joyous duets but not for bass and sop--i.e. not between Christ and the Soul.

Incidentally in taking a contextual approach to the cantatas I have found a number of occasions when Bach seems to have looked back over scores of works written for the same church day in earlier years---perhaps seeking rapid inspiration?---because apparent similarities. The tenor arias from BWV 154 and BWV 124 have a number of points of similarity, one of several such examples.

Jean Laaninen wrote (September 9, 2007):
[To Douglas Cowling] Thanks Doug, for a very knowledgeable introduction that shows your years of study. Every week I marvel at the depth of knowledge writers on this forum have accumulated. I'm still a beginner in my own mind, but enjoying the experience so much.This cantata is truly a lovely dialogue, and the use of the strings seem to add brilliantly to the kind of emotion that is conveyed here in such a heartful manner. I really love Aria 5 (Mvt. 5) - the lovely duet. This is mere personal commentary, but I wish I'd been in Bach's church in person to hear this number. It seems to me to have a touch of a German folk dance. Perhaps it had a bit of a tune that would have been familiar to the congregation. The words of the chorale following offer an opportunity for communal personalization of the experience. In my experience this particular chorale tune has often been used in connection with the communion service in contemporary times.

Neil Halliday wrote (September 13, 2007):
The soprano aria, described as "of particular beauty" in the OCC, has detached string chords ("spiccato") accompanying the vocalist and obbligato oboe. I find the sharp staccato of Leonhardt [7] and Leusink [9] to be excessive; Koopman [10] has a more varied, expressive treatment of these chords, while Rilling [8] and Werner [4] have a more legato (but still detached) treatment. I find the Rilling version (adagio) to be very moving, with the joyful, major-key sounding melismas on "erfreue" (rejoice) making a lovely contrast with the expressive longing of the aria's overall mood.

The bass aria is bright and melodious, with the inventive obbligato violin as well as the voice line having some interesting `out of the scale' notes on "troubled spirit". A two bar long note on "Stätte" (dwelling, place) is imitated by the violin two octaves above, and there is strong syncopation in the middle section (second time
through the text of this section). Leonhardt [7] is very pleasing, as are Rilling [8], and Leusink [9]. As is often the case, I find Koopman's [10] continuo to be problematic, and his singer the least appealing (also the violin is too quiet in places). Werner [4] has the excellent Barry McDaniel, but the violin sounds somewhat bland at the slow tempo.

The "passionate" accompanied recitative (I agree with Doug's description) has attractive string harmonies; note the chord rising a whole tone at "(only to this) dwelling go".

I like Rilling's [8] `jaunty' SB duet (Mvt. 5); short samples of this and other recordings can be heard at the BCW.

Cantata BWV 32: Complete Recordings | Recordings of Individual Movements | Discussions

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Last update: ýFebruary 29, 2008 ý19:16:44