300 Years of J. S. Bach in Leipzig
Concert recommendations for the anniversary of Bach’s arrival in Leipzig in 1723
Where did Johann Sebastian Bach get his astounding powers of invention? After taking the reins in Leipzig at the end of May 1723, he wrote a cantata every week, entailing about 20 to 30 minutes of music performed by diverse, often large ensembles. It’s an achievement that can scarcely be imagined , both in terms of its creativity and craftsmanship.
In our cycle Bach:vokal 2011-2021 in Stuttgart’s Stiftskirche, I conducted three or four cantatas at each concert. All of these works are linked to a particular Sunday or a specific period in the church year. In the case of several cantatas dedicated to the same Sunday, the libretto was – unlike today – based on an identical sermon text. This allows for interesting comparisons both in terms of the cantata texts and Bach’s setting. For example, how about a program to celebrate Bach’s inaugural service as cantor with three cantatas for the 1st Sunday after Trinity, namely BWV 75 “Die Elenden sollen essen” (All the starving shall be nourished, 1723), BWV 20 “O Ewigkeit, du Donnerwort” (Eternity, O awesome word) (1724), and BWV 39 “Brich dem Hungrigen dein Brot” (Give the hungry ones thy bread) (1726)? Or we could mark the 21st Sunday after Trinity with the cantatas BWV 109 “Ich glaube, lieber Herr, hilf deinem Unglauben” (I trust you, my dear Lord, help my lack of trusting) (1723), BWV 38 “Aus tiefer Not schrei ich zu dir” (In deepest need I cry to you) (1724) and BWV 98 “Was Gott tut, das ist wohlgetan” (What God does, that is done most well) (1726).
Practical considerations often determine how a program is put together. Perhaps the tenor aria is extremely high, the four oboes that Bach stipulated are difficult to scrape together, or the cellist does not own a violoncello piccolo. From my experience in performing all of Bach’s cantatas, I can only report my feeling of having discovered in every single work at least one particularly compelling movement. After a while, the joy of such revelation banished any memory of the hard work involved in locating the right musicians and rehearsing the piece with the ensemble.
O Ewigkeit, du Donnerwort (Eternity, thou thundrous word), BWV 20
The cantata “O Ewigkeit, o Donnerwort” (Eternity, thou thundrous word) BWV 20 marks the beginning of Bach’s second Leipzig year.
Liebster Immanuel, Herzog der Frommen (Dearest Immanuel, Lord of the Faithful), BWV 23
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch.
Die Elenden sollen essen (All the starving shall be nourished), BWV 75
With the cantata “Die Elenden sollen essen” (All the starving shall be nourished), the newly elected Thomaskantor Johann Sebastian Bach introduced himself to the people of Leipzig at the end of May 1723.
Brich dem Hungrigen dein Brot (Give the hungry ones thy bread), BWV 39
The 1st Sunday after Trinity marks the beginning of the school year in Leipzig and the start of a new cantata year for the Thomaskantor.
Was Gott tut, das ist wohlgetan (Whatever God ordains is right), BWV 98
The hymn “Was Gott tut, das ist wohlgetan” (Whatever God ordains is right) serves as the opening movement in three of Bach’s cantatas: BWV 98-100.
Luther Lieder in settings by J. S. Bach
200 years after Luther, artistic preoccupation with the Protestant hymn reached its zenith in the music of Johann Sebastian Bach.
Christ, unser Herr, zum Jordan kam (Our saviour Christ to Jordan came), BWV 7
The cantata “Christ unser Herr zum Jordan kam” (Our saviour Christ to Jordan came) BWV 7 for St John’s Day (24.6.) 1724 is the third cantata of the choral cantata year begun on the 1st Sunday after Trinity (11.6.1724).
(c) Hugo Jehle SWR
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