David's Bach Cantatas journey ...

Contratrombone64

Admiral of Fugues
Well, this morning I've been listening to Cantata BWV 27, so sorrowful and painfully poignant. There is the most delicious organ obligate with Oboe da Caccia, Alto voice and Cello. Just so delightful, a very dark work.

The movement "Gute nacht du wetlgetumel" is stormy and highly chromatic, devine.

The final choral divides the sopranos into two groups and they sing in opposition to the rest of the choir, this includes the most weird change of tempo and metre at the final sectoin of the close. The most unchorale like chorale I've heard thus far...totally weird, Bach must have been mad!

I've also been following alone with full scores in PDF from cdsheetmusic.com, however, these are freely available from places like IMSLP.
 
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Contratrombone64

Admiral of Fugues
Cantata 28, opens with a rather jaunty, though slightly determined aria for Soprano with an orchestra of strings, 2 obos and "taille" (cor anglais before the term was used). Lovely, the second movement is a choral like setting for SATB but in the most wonderful double-fugue the middle sectoin of which contains some very odd upward chromatic steps, must look at the words and find out what picture the great master is painting. Bach never ceases to amaze me.
 

Contratrombone64

Admiral of Fugues
Now I come to Cantata 29 (no surprises here as it's an organists nightmare or dream, depending on which way you look at it). The opening movement, marked Presto, is scored for 3 trumpets, 2 oboes, Obligato organ and the usual strings. Here Bach stole the first movement from one of his Solo Violin sonatas and transposed it from E major down to D major (obviously making it SLIGHTLY more comfortable to play on the organ). Such an incredible opening!

The second movement is also knicked, from the B minor mass I think, and basically remains unchanged. The third movemnet is scored for solo violin, but on my recording the organ obligato (as if he wasn't tortured enought in the opening) takes the solo and accompainies a rather dreary solo for tenor.

The fifth movement is a rather poignant but lilting 6/8 for solo soprano that is painfully delicious.
 
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Corno Dolce

Admiral Honkenwheezenpooferspieler
Hi David,

Thanx for your wishing to share your *Cantata Journey* with the Forum. An interesting thought, for me at least, which just passed through my mind is to envision them to be choreographed, staged, and performed as an operetta. I know that JSBach's Passions have been choreographed and staged and performed in Sweden although it escapes my mind at the moment as to when and where it was performed.

Cheers,

CD :tiphat::tiphat::tiphat:
 

Marc

New member
Now I come to Cantata 29 [....]The second movement is also knicked, from the B minor mass I think, and basically remains unchanged. [....]

It's probably the other way around. Common opinion is that Bach reused this chorus in this Hohe Messe BWV 232; in the "Gratias agimus tibi" and "Dona nobis pacem" sections. But I deliberately wrote probably, because it's still not puzzled out definitely .... if it ever will. Maybe he composed them both almost at the same time, because the Mass might have been a lifelong composing experience. :)

Question (just curious): to what performances are you listening? Leonhardt/Harnoncourt?
 

Contratrombone64

Admiral of Fugues
No, can't afford them, I listen own a cheap set of the "complete recorded Bach" by a label called Brilliant (Brilant?).

The cantatas designed for Sunday services (as opposed to the secular ones) are all played by a small dutch period instrument ensemble and 4 per voice choir (also Dutch). They make a remarkably good job of them though I don't like their main alto soloist, his voice annoys me.
 

Marc

New member
Ah, the Leusink set.
200 cantatas recorded in a year .... which, alas, can be heard.

IMHO, Leusink's own vision of the works are OK, though mainly middle of the road. The altus is Sytze Buwalda, and although I understand your problems with his voice, I think he's one of the most consistent singers of the lot, together with tenor Marcel Beekman and bass Bas Ramselaar. At least they seem to understand what they're singing, unlike f.i. soprano Ruth Holton, who obviously did not have time enough for thorough preparation. She seems to have problems with her German and her understanding of that language. Her voice is pleasant though, no doubt about that. But Holton did a better job when singing for Gardiner, probably because of longer and better preparation (f.i. in Gardiner's DG/Archiv issue of BWV 140/147).
Tenor Nico van der Meel is disappointing (compared to what I've heard him doing at live concerts that I attended), and tenor Knut Schoch is, IMHO, mostly awful. He apparantly thinks that expressive baroque singing means shouting. Unfortunately the choir seems to adapt this way of singing in the forte-plus passages, especially the boy sopranos and tenors.

So, as you might have guessed, this is not my fave set :(, but it's definitely a nicely priced one to get to know these works better.

Overall, Philippe Herreweghe is my favourite Bach vocal interpreter, but he's only recording a selection of the cantatas. Nevertheless, there are some real gems in his Bach discography, f.i. his first recording of the Matthäus-Passion.
My fave cantata disc of his ensemble is the one with BWV 8, 125 and 138.
http://www.amazon.com/Bach-Mit-Fried-Freud-Cantatas/dp/B00000DG07

And this one is also a very good 2 cd set, though already re-released in several different issues during the years, and also sometimes OOP for a while:
http://www.arkivmusic.com/classical/album.jsp?album_id=59832

Apart from all this blabbering, I really hope (and expect ;)) you'll have a fine time with your cantata journey. :)
 

Contratrombone64

Admiral of Fugues
Marc, I'd not be so cruel as to say the performances are middle of the road. They are, for me at least, gutsy enough and rough enough to be quite authentic. The Gardiner ones annoy me because they are just too perfect.

Bach's musicians were, undoutedly, excellent performers on thier instruments (otherwise his writting would have been less demanding). However, they were peasants and serving class people mostly, certainly not of the aristocracy. No matter how much the limp-wristed "authentic instrument" champions try to make "authentic" attempts at re-creating music from the era, the fact is no one actually knows.

I've read a lovely biography about Bach (author escapes me but I'll endeavour to look it up in my library) and there are plenty of letters from the great master where he begs the authorities that standards be lifted (at St Thomas' for example).

This would lead me to belive that, unless he was performing, his music was probably just played in a manner that would be "bloody awful".

My two-cents worth
 

Corno Dolce

Admiral Honkenwheezenpooferspieler
WOW - CT64,

You stole my thunder in re to Gardiner's reads of the Cantatas - They are too perfect. They are way too perfect, as if one is in a surgical ward. I could not have said it better myself.

Seriously, Gardiner's perfection seems to suck the soul, spirit, heart, mind, and lifeblood out of Bach's creations.

Cheers,

CD :tiphat::tiphat::tiphat::tiphat::tiphat::tiphat::tiphat::tiphat:
 

Marc

New member
Marc, I'd not be so cruel as to say the performances are middle of the road. They are, for me at least, gutsy enough and rough enough to be quite authentic. The Gardiner ones annoy me because they are just too perfect.

Bach's musicians were, undoutedly, excellent performers on thier instruments (otherwise his writting would have been less demanding). However, they were peasants and serving class people mostly, certainly not of the aristocracy. No matter how much the limp-wristed "authentic instrument" champions try to make "authentic" attempts at re-creating music from the era, the fact is no one actually knows.

I've read a lovely biography about Bach (author escapes me but I'll endeavour to look it up in my library) and there are plenty of letters from the great master where he begs the authorities that standards be lifted (at St Thomas' for example).

This would lead me to belive that, unless he was performing, his music was probably just played in a manner that would be "bloody awful".

My two-cents worth

Yeah, I'm a cruel man.

:smash:

That's why I need and (ab)use Bach's music as a remedy. :grin:

You're right, we know that Bach wasn't happy with the level of performing of his own works. Maybe it's because of that, that I see no reason to be satisfied with middle of the road performances, too. (This being very presumptuous :eek:, yet only a personal opinion of course.)

And I would like to add: if some 'authenticity' movement is going to claim play your Bach bloody awful, because that's the way it was played in Bach's own time then I'm definitely against such a movement. :p

Don't get me wrong though: I think the level of playing in Leusink's set is quite good, especially the instrumental parts. But the overall interpretation is superficial, IMHO. Leusink is not entirely to blame for that: he did not get the time, because the entire project started in the autumn of 1999 and had to be finished some time before the end of the Bach-year 2000. The Brilliant Edition had to be 'ready for the press' by then.

John Eliot Gardiner has been mentioned, and he's not my fave Bach interpreter, either. But that has got not much to do with the fact that his musicians play too perfect. The musicians of Musica Antiqua Köln (for instance) played perfect, too. Yet there is a great difference in soul and spirit between those two ensembles, both with musicians who aren't all part of 'authentic aristrocracy' btw. I believe that most of them just love to play ancient music on ancient instruments, that's all.

Personally, I appreciate the work of scholars and 'limp-wristed authentic champions' very much. Fact is that they made it possible to come closer to a historical 'truth'. Nevertheless: real authenticity can never be claimed IMO. I agree with you on that. And therefore this 'truth' shouldn't be imposed as a dogma. Unfortunately some of these champions seem to think that musical interpretation should be shaped into firm rules, and those who don't accept those rules are almost considered as sinners. :(

Anyway, in the end this 'truth' is not decisive if my personal preferences are concerned. These are .... errr .... personal. :) From the very first moment I began listening to Bach (at around 13 years of age), I preferred f.i. Harnoncourt to Karl Richter, even though I had not read one scholastic article or book about baroque music at the time.

Compared to many of his contemporaries, I think that Bach's music isn't all that easy to perform. Besides of that: times, societies, music and most instruments have changed. For musicians in 1725, many contemporary performance and interpretation requirements were already part of their 'standard' package and skills. But IMO, in the 21st century we need more time to get a grip of Bach's intentions. That's nothing to be ashamed of.

In the year 2000 Leusink was only given one year for recording 200 cantatas, with an amateur choir of mostly children who weren't born in 1700 ;). And I guess that Leusink had other things at hand in his life, too.
At least Bach had one year for 52 cantatas, with performers who were grown up in a Lutheran 18th century environment. Which made things all the easier for him .... still, even Bach wasn't satisfied with the results.

I get more satisfaction from the complete Leonhardt/Harnoncourt cantata integral, even though this one is far from perfect, either. But they present this music like I want it to hear: as a serious add-on to the weekly gospel and sermon, with a better sense of the meaning of both notes and lyrics. Herreweghe might be less severe in this, but he adds a wonderful warm-felt soul to the music.

Apart from all this: Leusink's performances constitute a worthwhile set to get to know these wonderful compositions. But I won't take them to the proverbial lonely island.

Of course, like you said: all of this just my tuppence worth. ;)

So please, don't stop posting about your cantata adventures. :)

I'm always interested in other opinions, even though my own might be different.
 

Contratrombone64

Admiral of Fugues
Well Cantata 30 is an interesting creature as there are obviously (at least) two versions, one including 3 trumpets and timpani. The recording I'm listening leaves these out. The opening is a rather jaunty D major gallop across the meadow-like chorus, relentless in its persuit of joy (not surprising considering the text-Rejoice oh ransomed throng).

The Bass Aria (blessed is God) is a rather paunchy minuet in praise of God, rather rococo in feel for me at least. Had I not heard it and read the score I'd not have been entirely sure it was by Bach, not particularly contrapuntal harmonically rather more classical or rococo in style.

The aria for Alto is rather weird, with an absurdely long introduction deliciously scored for muted first violins in unison with flute and the rest of the strings pizzacato ... the scores states "organo stacatto". I guess indicating that Bach really didn't use harpsichord for his continuo. Again I didn't enjoy this because of the dreadful vibrato laden male alto the recording uses. This is really Bach at his oddest.

Part Two opens with a rather sad Bass Aria (considering the text: you are my salvation), scored for two oboes and continuo.

Next the Bass rather sings a rather dark Aria (God, everything I read is repugnant!), with a spikey and hateful acommpaniement for solo violin, strings and oboe.

The final soprano aria is just glorious (despite the text) and the final chorus is a regurgitation of the opening, Bach must have been busy making babies simultaneously?

I now understand this is a Cantata where Bach crowbared music unsuited to the text. Well done Bach, it's dreadful! But your music is sublime, if very odd.
 
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Contratrombone64

Admiral of Fugues
Cantata 31, scored for 3 trumpets, 3 oboes, taille (tenor oboe), strings, timpani and bassoon opens with the most riotous unison for six bars before he introduces harmonies and some very prolonged and odd chromatic harmoney for a work so joyous, this is one of the rare Sinfonia openings of Bach's cantatas and it is a ripper.

The opening chorus is scintilating (The Heavens Laugh the Earth is Jubilant). Here Bach divides the violas and cellos. Typical of Bach there is a wonderously mournful sounding middle section, poignant and heart wrentching and just before you got and grab some rope to hang yourself the joy returns.

The recitative is worth mentioning as it's a sword fight between Bass and Cello II (sic) with much harmonic scampering about and florid semiquaver (16th note) passages.

The following Bass Aria is a mongrel for the solo cello with loads of scampering arpegios rather similar to a passge for solog viola da gamba in the St. Matthew Passion. The text Fürst des Lebens, starker Streiter, (Prince of Life, Strong Warrior) makes sense to the music that weaves about.

A gorgeous Tenor Aria follows (Adam must rot before the new man can arise), scored for 2 of each violins, violas and celli (plus continuo of course). This is just so lovely, the tune is as good as Bach could muster. The strings writing here, especially for the violins fits like a glove (being a string player I know so), he just knew what was violinistic like no other.

The Soprano Aria next is scored for solo oboe. Here Bach makes C major almost feel sad and mournful. It takes a while for the strings to enter, strange and the continuo at the opening is pizzacato and remains this way. When the strings do enter, they sneak in almost silently, as if not to disturb the beautiful spell Bach here weaves.

The closing chorale is magnificent with lip splitting altisimo writing for the poor trumpets who have sat not playing for 20 minutes until this point. Obviously they had their instruments up their jackets to keep them warm!
 
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Contratrombone64

Admiral of Fugues
Cantata 32 (oboe and strings) is sadness on toast. the opening Aria is painful in the extreme, it even made me weep a little, such poignant oboe writing. The bass aria which follows the interceding recit. is just as sad, with a fabulous and painful solo violin accompaniment. This is a classic case of Bach writing in the major yet making it sound minor. An accompanied recit follows, with sustainted string writing, not surprising as Bach here talks of God's greatness.

The Duet that follows (Bass and Soprano) is marvellous and very definitely in D major with virtuosic 1st violing writing and the rest of the strings (mostly) marked sharp and pointed. A solo oboe dances above throughout, chirping and squeaking like a baby bird.
 
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Contratrombone64

Admiral of Fugues
Cantata 33: 2 oboes and strings has an amazing opening which is basically a helter skelter fugato passage in A minor, rather reminding me of the double violin concerto in flavour (only). the text Jesus you are alone my hope, kind of fits as Bach just runs along regardless of the world with the voices firmly stating their blind faith.

The alto aria which follows the interceding recit is scored for muted first violins with pizzacato strings. It is just lovely despite the hideous Alto soloist murdering the vocal line.

A painful Duet follows for Bass and Tenor in e minor. It is beautifully scored for two solo oboes, both of whom have a battle royal of pure delicious counterpoint that ONLY Bach could muster.

The closing chorale is beautiful.
 
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Contratrombone64

Admiral of Fugues
Cantata 34 is a classic! Trumpets and drums shouting hysterically in D major, scampering string writing and murderously difficult flord vocal lines. Not surprising as Bach is painting a picture of eternal love! Just a riot, so joyous and intriguing. Here's the text in full:

O eternal FIRE, o source of love
ignite our hearts and consecrate them.
Make heavenly flames penetrate and flow through us,
We wish, o most high Lord, to be your temple,
Ah, make our souls pleasing to you in faith

The alto aria that follows the intervening recit is scored for transverse flutes (as opposed to recorders) and muted strings. This is really, a beautiful pastorelle ... I imagined naked women lying in the riparian zone of some forest waiting for fauns to play with. Of course, that's risible as the words are: Rejoice, all ye, the chosen spirits, Whom God his dwelling did elect. Bah! I prefer my thinking on this music, which is wonderful.

The closing choral is fabulous (despite the text) Peace be over Israel. Thank the lofty hands of wonder,
Thank, God hath you in his heart. It has a slow ponderous opening followed by pure joy. Again oboes and trumpets trip abot helter skelter. The string writing is merciless but fantastic.
 
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Marc

New member
Well Cantata 30 is an interesting creature as there are obviously (at least) two versions, one including 3 trumpets and timpani. The recording I'm listening leaves these out.
The trumpets et al version is BWV 30a, a secular cantata called Angenehmes Wiederau ("Pleasant Wiederau"; Wiederau is a village near Leipzig.)

Contratrombone64 said:
The final soprano aria is just glorious (despite the text) and the final chorus is a regurgitation of the opening, Bach must have been busy making babies simultaneously?

I now understand this is a Cantata where Bach crowbared music unsuited to the text. Well done Bach, it's dreadful! But your music is sublime, if very odd.
Mm, I think that this final aria has got the best relation between text and music. The text is very positive, IMHO.

Haste, ye hours, come to me,
Bring me soon into those pastures!
I would with the holy throng
To my God an altar raise,
In the tents of Kedar offered,
Where I'll give eternal thanks.

(Interesting translation link for Bach's works: http://www.uvm.edu/~classics/faculty/bach/.)

Apart from this, Bach has indeed composed optimistic music at times where a God-fearing person has to suffer for his/her belief, even it would mean that this suffering would lead to death. In original Christian belief, death is a release from the bitter earthly life. That's why I guess that Christian music about death can be optimistic. He/she who believes in God, shall be redeemed and resurrect on the Day of the Lords.
The cantata BWV 30 is composed for Baptism Day. With the baptism of Jesus the prophecy is forfilled that all sins and sorrow will be destroyed, for those who kept and will keep belief in God.

Even though I'm a convinced non-believer myself (though being raised in a Roman Catholic environment), I myself had been able to create a better understanding of Bach's music by taking note of things like these. In a softer way, many of these ideas were still present in the Catholic church hymns I sang every Sunday during childhood.

And to Bach, all the music he wrote was meant to celebrate and thank God: Soli Deo Gloria.

In devotional music, God is always present with His Grace.

http://en.wikipedia.org/wiki/Calov_Bible

About the sometimes less convincing relation between text and lyrics: this could indeed be explained because it's a parody/arrangement of the secular cantata BWV 30a.

Zum Schluß:

Enjoy your journey,
with all the suffering and glory!

:)
 

Contratrombone64

Admiral of Fugues
Thought I'd back step and start (where I should have) at Cantata 1. Scored for 2 horns, 2 oboes di caccia, two solo violins, strings. Why I ramdomly started my journey somewhere in the 30s elludes me, but eh, it doesn't matter for these works as BWV numbers are not chronological.

The opening movement is scintilating, of course as I guess Bach's reference here is literaly to the morning star. Though the reference liturgically is the annunciation of the virgin Mary. Hence, a joyous and happy work indeed. The opening chorus really reminds me of St Matthew Passion's opening, by way of texture of musical writing (not scoring). Bach's writing for the pair of horns is horrific, very high and with accidentals, so lots of stuffing ones hands up the instrument's bell, not to mention tortured lips (if indeed played on an instrument of the era). The scoring for the two solo violins is delicious, very violinistic (of course as is Bach's want).

The soprano aria (following the recit) is wonderful. Scored very lightly for a oboe da caccia (who must have an ability to hold his/her breath for decades seemingly), pizzacato cello and chamber organ. This is gentle and lilting.

O fill now, ye flames, both divine and celestial,
The breast which to thee doth in faith ever strive!
The souls here perceive now the strongest of feelings
Of love most impassioned
And savor on earth the celestial joy

After a recit comes the Tenor Aria, this is simply devine other worldly, with a light painting of texture provided by the two solo violins and string body (heaven on toast).

Let our voice and strings resounding Unto thee
Evermore Thanks and sacrifice make ready.
Heart and spirit are uplifted, All life long
And with song, Mighty king, to bring thee honor

Nothing really worth mentioning about the finale chorale except the writing for the second horn, which is quite "out there".
 
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Contratrombone64

Admiral of Fugues
Cantata 2 opens with an amazing fugue which is dark and sombre not surprising considering the text:

Ah God, from heaven look on us
And grant us yet thy mercy!
How few are found thy saints to be,
Forsaken are we wretches;
Thy word is not upheld as true,
And faith is also now quite dead
Among all mankind's children

The work is scored for a rather interesting ensemble: four trombones each doubles the SATB lines plus strings, plus two oboes.

The following aria for tenor is odd, very odd. Scored for oboe, strings. Bach's mind obviously thought purifying fire and silver was a g minor event. This is a weird work, at times highly chromatic and the opening string writing is determined and pointed.

Recit follows then an Aria for Alto, scored in a rather fugato way for solo violin and continuo. I really find the music slightly at odds with the text but that might just be me (although there is a certain determined quality to its joyousness):

God, blot out all teachings
Which thy word pervert now!
Check, indeed, all heresy
And all the rabble spirits;
For they speak out free of dread
Gainst him who seeks to rule us!

The following recit is worthy of mention because of its scary text: the string writing here is gloomy and woeful, worthy of any black and white horror film.

The wretched are confused, Their sighing "Ah," their anxious mourning Amidst such cross and woe,
Through which the foe to godly souls deal torture
 
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Contratrombone64

Admiral of Fugues
Cantata 3 is in my favourite key (at least the opening is): A major. Scored rather oddly, to my mind, for two oboes d'amore, strings with a trombone stuck on the bass line (it's the trombone that I think is odd).

I love it when Bach uses the oboe d'amore, he writes for it so deliciously. Not surprising it's in A major, as that's the home pitch of the oboe d'amore. This music is so exquisit as to be a sharp hint of lemon juice on the sweetest of cakes. I must say choral writing is stern an sombre.

Here's the text:

Ah God, how oft a heartfelt grief
Confronteth me within these days!
The narrow path is sorrow-filled
Which I to heaven travel must.

It kind of explains the bitter sweet music that perfectly accompanies this marvellous choral opening.

The recit that follows is amazing simply because Bach decides to use the SATB choir to announce it and then he uses them individually to state other parts, very odd Bach, thank you!

Now comes a very dark aria for Bass with an accompaiment of just continuo in F sharp minor. Hideously difficult vocal writing as was typical of Bach, so the Bass here needs to be of the highest calibre, text:

Though I feel fear of hell and pain,
Yet must steadfast within my bosom
A truly joyful heaven be.

A recit follows and then, as if for respite a delicous Duet for Soprano and Alto scored in E major. This is gently accompanied by all the violins and two oboes d'amore in unison and continuo (violas just sit there poking their tongues out at the boys in the choir trying to make them giggle I guess). All humour aside, this music is sublime and delicious.
 
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Contratrombone64

Admiral of Fugues
Cantata 4. Technically speaking this cantata opens a "sinfonia" as there is no vocal writing. The scoring here is for 2 violins, 2 violas and continuo. The music is tortured and painful, quite appropriate as the whole work is about Christ in Death's bonds.

This cantata is not typcial (what is) because it's basically 8 verses of a hymn so each movement is titled "Verse 1" "Verse 2" and so forth.

Verse 1, is lovely with a frantic dovetailing between violin 1 and 2, kind of like jumping frogs. Then the tempo increases and the writing becomes very syncopated. Bach never ceases to amaze me.

Verse 2 is a weird creature with just Soprano and Alto taking alterate parts of the text. The accompaniment (just continuo) is a kind of determined moto perpetuo, rather like the continuo line in "air on a G string" from the Orchestral Suite 3 in writing (NOT in sound).

Verse 3 is in e minor and scored for Tenor solo with just the violins in unison (and of course continuo). The violins jump about helter skelter in a rather deliciously insane manner, difficult writing that you'd need to practise to get it under the fingers, though Bach's use here is perfectly suited to the violin (of course). Near the end of this the poor violins crunch some amazing triple and quadruple stops (weird and fantastic!).

Verse 4 has a change of pace, somewhat, but with intensity and eyes gazing unflinchingly at the horizon. It's a mad recit for S TB with the A providing the cantus firmus.

Verse 5 is a sombre and chromatic Bass solo. The writing for strings is steady and evenly paced, except for a couple of sections where their dancing shoes are put on briefly to emphasise some part of the text (as Bach does so wonderfully). Just love this, such beautiful writing and the Bass needs to be able to sing a bottom E comfortably.

Verse 6 Here is the spotless Easter lamb, is a rather wonderful duet for Soprano and Tenor with the most amazing dactilic (how do you spell that??) continuo writing that kind of sword fights with the rather more gentle vocal writing - Bach you were quite mad.

Verse 7 is the final chorale, and is quite like all other final chorale endings for Bach's cantatas, which I find slightly dissapointing considering the way he chose to compose this (through composed hymn). Nevertheless it sums up the gloomy mood wonderfully I guess
 
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