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The Bachs were a remarkable family of musicians who were proud of their achievements. About 1735 Johann Sebastian Bach (the most famous member in our times) drafted a genealogy, in which he traced his ancestry back to his great-great-grandfather Veit Bach, a Lutheran baker (or miller) who late in the 16th century was driven from Hungary to Wechmar in Thuringia, a historic region of Germany, by religious persecution; he died in 1619. There were Bachs in the area before then, and it may be that, when Veit moved to Wechmar, he was returning to his birthplace. He used to take his cittern (an ancestor of the lute) to the mill and play it while the mill was grinding. Johann Sebastian remarked, “A pretty noise they must have made together! . . .This apparently was the beginning of music in our family.”
Many of the works of this Bach family were unknown to most musicians (or incorrectly attributed to others) until the rediscovery of the collection “Alt-Bachisches Archiv” from Johann Sebastian Bach’s music library. After Bach’s death, this was passed on to his second-oldest son, Carl Philipp Emanuel. The collection finally found its way into the possession of the Sing-Akademie zu Berlin, but was lost in the turmoil of the Second World War. After its spectacular rediscovery in Kiev (Ukraine) in 1999, the manuscript was returned to Berlin in 2001.
J.S. Bach and sons
Johann Bach (1604-1673), great uncle
Born in Erfurt, Johannes was the eldest son of Johannes Hans Bach. He was the father of the so-called "Erfurt line" of Bach family musicians. The family was so numerous and so eminent that in Erfurt musicians were known as "Bachs", even when there were no longer any members of the family in the town.
Unser Leben is ein Schatten
The motet is scored for eight parts, consisting of two choirs: the first choir is in five parts and the second, in three parts. In the opening, the composer uses musical gestures to underscore the text. The words “Unser Leben,” sung in a solemn low register, are effectively contrasted with “ist ein Schatten,” with rapid and fleeting rising lines on the word “Schatten.” Another instance of word painting is in the final chorale, where the last phrase “müssen alle davon” (must all vanish) is repeated several times and progressively accelerates, while at the end, all other voices hush and the sopranos sing “davon” one last time, before they, too, fall silent.
“For me there is hardly another musical work that conveys the ‘spirit’ of the Baroque–especially the era of the Thirty Years War, which was characterized by a sense of both transience and hope–as aesthetically and impressively as Unser Leben ist ein Schatten.” From the Carus choral music blog.
Johann Christoph Bach (1642-1703), uncle
Within the Bach family Johann Christoph was highly respected as a composer (a “profound'” one, according to the Ursprung[ST1] ). In J.S. Bach's writings, he is mentioned expressly as one who “was as good at inventing beautiful thoughts as he was at expressing words. He composed, to the extent that current taste permitted, in a galant and cantabile style.”
Herr, nun lässest du deinen Diener
This is a graceful and simple setting of the famous Song of Simeon (Nunc dimittis), from the St. Luke Gospel. The text is enhanced by beautiful and elegant rhythmic gestures.
Es ist nun auf mit meinem Leben
This motet is a setting of four of the six verses of the chorale; the harmonization is simple, and yet the rising line in the soprano part near the end of each verse adds a lyrical dimension. The text is given all of the attention here, and the challenge is to make each verse (otherwise in an identical musical setting) convey its particular message. The overall theme of the motet is a sweet acceptance of death.
Lieber Herr Gott, wecke uns auf
Apparently, Johann Sebastian Bach arranged an instrumental accompaniment to this motet a few months before his death in 1750 and possibly also asked for it to be performed for his funeral. Christoph Wolff, said, "It is an extraordinarily expressive piece that gives us an insight into Bach's funeral, about which we basically knew next to nothing beyond that Bach was put in an oak casket and given a free hearse."
Johann Ludwig Bach (1677-1731), distant cousin
Johann Ludwig Bach was born in Thal near Eisenach. He was a third cousin of Johann Sebastian Bach, who made copies of several of Johann Ludwig’s cantatas and performed them at Leipzig.
Unsere Trübsal die zeitlich und leicht ist
The motets of Johann Ludwig Bach are rooted firmly in the shorter motets from the Thuringian tradition, but as a court composer he was exposed to other styles and incorporated them as well. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. In this motet, for example, the composer employs various configurations of the high, middle, and low voices to add color to the words. The mournful first section on life’s tribulations yields to a joyful section in triple meter, expressing anticipation and hope, and a concluding section of vigorous rhythms, contrasting the “seen” and “unseen” glories to come after suffering ceases.
Johann Sebastian Bach (1685-1750)
This composer barely needs an introduction, as the most well known, thoroughly researched, and most performed member of this family. However, as we see from the family history, he comes from a long line of distinguished musicians.
Johann Sebastian Bach
For about fifty years after Bach’s death, his music was neglected. This was only natural; in the days of Haydn and Mozart, no one took much interest in a composer who had been considered old-fashioned even in his lifetime. Yet, his music never went out of circulation entirely, at least among sophisticated musical circles, and broader general interest in his works was revived by such nineteenth century composers as Mendelssohn and Schumann. In retrospect, the Bach revival, reaching back to 1800, can be recognized as the first example of the deliberate exhumation of old music, accompanied by biographical and critical studies. The revival also served as an inspiration and a model for subsequent work of a similar kind.
Jesu, meine Freude
This motet is one of the few works by Bach for five vocal parts. Christoph Wolff suggested that the motet may have been composed for education in both choral singing and theology. Unique in its complex symmetrical structure juxtaposing hymn text and Bible text, the motet has been regarded as one of Bach's greatest achievements in the genre.
As a key teaching of the Lutheran faith, the Bible text reflects on the contrast of living "in the flesh" or "according to the Spirit." The hymn text was written by the theologian Johann Franck, from an individual believer's point of view, that addresses Jesus as joy and support, against enemies and the vanity of existence, which are expressed in stark images. The hymn adds a layer of individuality and emotions to the Biblical teaching.
The music is arranged in different layers of symmetry around the sixth movement. The first and last movements have the same four-part setting of two different hymn stanzas. The second and next to last movements use the same themes in fugal writing. The third and fifth movements, both five-part, mirror the seventh and ninth movements, both four-part. The fourth and eighth movements are both trios: the fourth for the three highest voices; the eighth for the three lowest voices. The central movement is a five-part fugue. The six hymn stanzas form the odd movement numbers, while the even numbers each take one verse from the Epistle as their text.
Ich lasse dich nicht
This SATB double choir motet was attributed to Johann Sebastian Bach when it was first published in 1802. Around 1823 the motet was published as a composition by Johann Christoph Bach, after which its attribution became a matter of discussion among scholars.
The text of its first movement consists of a quote from Genesis 32:27 and the third stanza of the Lutheran hymn "Warum betrübst du dich, mein Herz." Such a mixture of scripture and chorale texts was common for motets of the generation before Johann Sebastian, as was its eight-part setting. Over-all the complexity and style of this movement's setting appears closer to similar works by a young Johann Sebastian than to works by a mature Johann Christoph.
Bach Family: (From Left) Johann Sebastian, Carl Phillipp Emanuel, Johann Christian, Wilhelm Friedemann, Johann Christoph Friedemann
Johann Christoph Friedrich Bach (1732-1795), son
Johann Christoph Friedrich Bach was a son of J. S. Bach and his second wife, Anna Magdalena. He pursued a fusion of the counterpoint he had learned with "the simpler textures and harmonies of the South," namely, the Italian style.
Wachet auf, ruft uns die Stimme
This is a chorale motet composed around 1780. It is based on Philipp Nicolai's hymn by the same name.
The motet is written for a four-part choir. It is structured in three movements, corresponding to the three stanzas of the hymn. The first movement is an extended chorale fantasia; the second develops motifs from the first movement; the third includes a quotation of his fathers's closing chorale from his cantata Wachet auf, ruft uns die Stimme, BWV 140.
The musicologist S. Lachtermann notes: "The shape of the lines, and the contour of the harmonic progression are 'modern,' but the interlacing of voices and the focus on individual words harken back to his father’s art."
Sources: Wikipedia, Carus Music blog, Professor Christoph Wolff (Harvard University), Encyclopedia Brittanica
Patricia Jennerjohn, September 2021
Victoria Fraser
Born and raised in Anchorage, Alaska, soprano Victoria Fraser holds degrees from the San Francisco Conservatory of Music, University of Notre Dame, and University of Limerick in Ireland. Victoria has performed as a soloist and chorister in Europe and North America, notably with Il Coro del Duomo in Florence, Italy; the Vocalensemble Frankfurt Dom, in Frankfurt, Germany; Vox Humana in Texas; True Concord in Arizona; the Berwick Chamber Chorus at the Oregon Bach Festival; and the Bachkantaten-Akademie in Thuringia, Germany.
She has sung under the direction of Masaaki Suzuki, Helmut Rilling, Matthew Halls, John Nelson, and Jeffrey Thomas. Passionate about interdisciplinary performance, Victoria produces and performs concerts which re-contextualize classical music through visual art, dance, and technology. Also a composer, Victoria’s compositions were featured at last year’s Hot Air Music Festival, at the San Francisco Conservatory. Born to a mountaineer father, Victoria loves to ski, rock climb, mountain bike, hike, SCUBA dive, and row.
Gabriela Estephanie Solis
Noted for her "rich tone" and "seemingly effortless melismatic lines" (San Francisco Classical Voice), mezzo-soprano and San Francisco Bay Area native Gabriela Estephanie Solís enjoys a varied career throughout the U.S. She performed as a young artist at the Boston Early Music Festival in performances of Handel’s Orlando (role of Medoro) and in scenes from Cavalli’s L’Erismena (Orineo) at the Amherst Early Music Festival.
As a passionate concert soloist, some of her notable repertoire includes Bach’s B Minor Mass (American Bach Soloists Festival and Academy), Handel’s Messiah (Eureka Symphony), Pergolesi’s Stabat Mater, and Vivaldi’s Gloria (First Church Berkeley). Ensemble collaboration includes performances with the American Bach Soloists, Gaude SF, Cappella SF, JSB Ensemble Stuttgart, and the Weimar Bach Cantata Academy. She also sings regularly with the California Bach Society for works such as Monteverdi’s Vespers, Rachmaninoff’s All-night Vigil, and various masses and cantatas by J.S Bach.
Border CrosSing, a Minnesota-based choral group, also regularly engages her in performances of Spanish-langage repertoire; with them, she sang as a choir member and soloist in performances of Golijov’s rarely performed La Pasión según San Marcos.
Past accomplishments include winning the Bethlehem Bach Aria Competition and receiving first place in various divisions at NATS Indiana, San Francisco Bay Area chapter competitions. Most recently, she won second place in the NATS Mid-Atlantic regionals and was a finalist for the Kentucky Bach competition. Gabriela is a graduate of the Sacred Music Program at the University of Notre Dame, where she co-wrote winning grants for the Institute of Liberal Arts and received the program’s vocal performance award.
Mark Bonney
British-American tenor Mark Bonney performs internationally. He is in Glasgow this 2020-2021 season, where he is completing the Advanced Opera Course at the Royal Conservatoire of Scotland.
Recent roles have included Tamino in Mozart’s Die Zauberflöte (Berlin Opera Academy), Count Barigoule in Pauline Viardot’s Cendrillon (Wexford Opera Festival), Jonathan in Handel’s Saul with Laurence Cummings (Dartington International Festival), the Evangelist in Bach’s St. John Passion (Amsterdam), the title role in Handel’s Jephtha (Iford Arts & Bath Choral Society) and Paolino in Cimarosa’s Il Matrimonio Segreto (Pop-up Opera).
In addition to his work as a soloist, Mark has performed in the chorus at Opera Holland Park, Wexford Festival Opera, Bury Court Opera, Iford Arts, with the Monteverdi Choir, and with Barbara Hannigan at the Aldeburgh Festival. He is often invited to perform with leading ensembles including the Gabrieli Consort, Britten Sinfonia and Le Concert d’Astrée.
Mark grew up in San Francisco. Before embarking on his career as a classical singer, Mark worked in socio-economic development in Egypt—before, during, and after the Arab Spring. In addition to a masters in music from the Guildhall School of Music and Drama in London, he holds a bachelor’s degree in political science from Stanford University. He also studied at the Berlin Opera Academy, the Franz Schubert Institute and the American Institute of Musical Studies.
Scott Graff
Praised for his purity of tone and expressive musicianship, bas-baritone Scott Graff has appeared as a soloist with numerous ensembles including the Los Angeles Philharmonic, the Los Angeles Master Chorale, Musica Angelica, Catacoustic Consort, the Carmel Bach Festival, and Synchromy. With California Bach Society, he sang the role of Christ in our performances of Bach’s St. John Passion in 2010. Scott has been featured as a soloist in the City of Beverly Hills’ Music in the Mansion Series and has performed solo recitals for the Los Angeles Philharmonic Auxiliary.
Scott is also an active ensemble singer. Now, in his 21st season with the Los Angeles Master Chorale, he is part of their touring company presenting the staged and memorized production of Orlando di Lasso’s monumental Lagrime di San Pietro, directed by Peter Sellars. Tour performances have included Melbourne, Auckland, Chicago, Mexico City, Guanajuato, London, and Paris; in 2019, the production was the opening program for the Salzburg Festival. He also completed a tour of Europe with the Los Angeles Philharmonic performing John Adams’ new oratorio The Gospel According to the Other Mary. Scott was also part of the Los Angeles Chamber Singers recording Padilla: Sun of Justice, which was awarded the 2007 Grammy® for Best Small Ensemble recording.
In addition to live performance, Scott has participated in soundtrack recordings for more than 60 feature films (The Force Awakens, The Last Jedi, Rogue One: A Star Wars Story, Frozen, Minions, Venom, and Sing, among others) and television projects (Outlander, House of Cards, Family Guy, and various Mickey Mouse cartoons).
He is an instructor of voice on the music faculty of Pomona College in Claremont, California.
J.S. Bach wrote Cantata 12 Weinen, Klagen, Sorgen, Zagen (Weeping, wailing, fretting, fearing) for the third Sunday after Easter, while working in Weimar in 1714. Even though that Sunday is called “Jubilate” in the church year, all the cantatas Bach wrote for this particular Sunday contain a lot of sorrow and grief. This makes sense when we look at the Gospel reading for that day. It is one of the so-called Farewell Discourses Jesus gave to his disciples in the weeks before he was arrested and crucified. Jesus told his twelve disciples that they would experience sorrow and tribulations, but that their grief would not be of long duration (only a “little while”) and that it would turn into joy. (John 16:16-23).
In almost every movement of this cantata, Bach shows that there is no solace without sorrow, and he illustrates how the two themes are connected. For the full German text of this cantata with English translations, please visit this website.
Bach sets the cantata’s second movement for chorus; You might recognize this music: it would later become “Crucifixus” in his Mass in B Minor. Bach chooses a standard tool of Baroque composers to illustrate a lament, whether in an opera or an oratorio: a chaconne or passacaglia with a repeating “walking” bass motive. Earlier examples of this are Dido’s Lament by Purcell and Lamento della Ninfa by Monteverdi. Bach repeats the lamento bass exactly twelve times, and builds all the dissonant lines of the “Weinen” (weeping) and “Klagen” (complaining) on top of that.
German Bach researcher Michael Maul (see the note at the end of this article) believes that Bach uses the number 12 on purpose. He thinks Bach must have wanted the voices in this choral piece to represent the twelve disciples from the Gospel story, which occurs before Judas’s betrayal and the crucifixion. In his podcast Maul also states that he doesn’t know if there exists a better lament in choral literature than the chorus of this cantata.
The alto recitative is a direct quote from another part of the Bible, Acts 14:22: “We must go through many hardships to enter the kingdom of God.” It is only seven measures long, but in those seven measures Bach expresses everything he wants to say in this cantata. Above the alto’s lament in the sorrowful key of C-Minor, the first violins play an upward scale in the optimistic key of C-Major, providing an ascent to Heaven and thus illustrating the words “enter the kingdom of God.”
British conductor John Eliot Gardiner points out that the entire cantata can be seen as an ascent to Heaven, or an “escape ladder” as he calls it, because each movement is a third higher than the preceding one.
In the alto aria Bach and his librettist explain that Kreuz und Krone (Cross and Crown) are connected, as are Kampf und Kleinod (Conflict and Jewel). Of course here the Cross and the Conflict are symbols of the present life with its tribulations and sorrows, while the Crown and the Jewel are symbols of the future life in which the disciples will see Jesus again.
Dutch Bach researcher Eduard van Hengel explains that after the “instructional” statement in both alto solos, it seems that Bach uses the bass aria to show the “exemplary believer” who has understood the message and who confirms that he will follow Jesus: “Ich folge Christo nach.” Bach beautifully paints this image of the believer following in Jesus’ footsteps by four voices repeating each other: the two violins, the continuo, and the bass soloist.
And what about those first six notes, on the syllables Ich - fol - ge - Chri - sto - nach? Those are the same six first notes of the closing chorale: Was - Gott - tut - das - ist - wohl. And that is of course not a coincidence. At the end of the aria, when Bach sets the words “Ich folge Christo nach” one final time, the jump in the vocal line is one note more than an octave. Van Hengel thinks that in writing it like this, Bach wants to remind the listeners/believers of the upward scale of the first violins in the alto recitative, and thus make them understand that by following Jesus, they will reach the kingdom of God.
In the tenor aria, Bach again shows there is a connection between sorrow and solace. The tortuous vocal line (written for a star singer at the Weimar court*) can be seen as an illustration of how difficult it can be to remain steadfast under provocation. In the text of this aria, there are strong references to Jesus’ promise to the disciples that it would only be “a little while” until they see him again. Bach then adds the chorale Jesu, meine Freude to this aria. The chorale appears only in the instrumental accompaniment**, not in words, but the church-goers in Weimar would have heard the words in their head:
Jesu, meine Freude,
Jesus, my joy,
Meines Herzens Weide,
My heart's delight
Jesu, meine Zier,
Jesus, my treasure
Ach wie lang, ach lange
Ah how long,ah how long
Ist dem Herzen bange
must my heart be anxious
Und verlangt nach dir!
And full of longing for you!
Gottes Lamm, mein Bräutigam,
Lamb of God, my bridegroom
Außer dir soll mir auf Erden,
Besides you there is in on earth
Nichts sonst Liebers werden.
Nothing else that is dearer to me.
It is likely that Bach offers this chorale to remind the listener of the promise and hope of seeing Jesus again. John Eliot Gardiner takes it a bit further. Continuing his theme of the “escape ladder,” he suggests that the believer is now standing “on the last rung of the ladder” and needs a bit of help. In his view, the chorale should thus be seen as “an outstretched hand.” No matter what Bach meant with it, and no matter if you hear the words of the chorale in your head or not, the result of this clever combination is the best kind of consolation in the form of music, and simply a gorgeous composition.
This article was written by Wieneke Gorter, helped by John Eliot Gardiner’s notes from when he performed this cantata during his Bach Pilgrimage Tour in 2000, Eduard van Hengel’s Dutch Bach cantata website, and a German-language podcast by Michael Maul, who is one of Germany’s top Bach researchers of today.
*According to Michael Maul, the star tenor at the Weimar court as of 1705 was Andreas Aiblinger, a former monk from a prestigious Catholic abbey outside of Vienna, who also sang at the Opera in Vienna and in the city’s churches. He left the abbey presumably to go on a pilgrimage to Rome but ended up in Weimar. There he was converted to Lutheranism at the court chapel, and immediately thereafter entered into the Duke’s employment as secretary and singer, earning a similar salary as Bach himself.
**Bach wrote this part for a special kind of slide trumpet, but in our workshop, it will be played on violin.
Holly Piccoli
Australian violinist Holly Piccoli is a member of the Omaha Symphony and the Melbourne Piano Trio. Her career spans an extensive range of styles performing with ensembles such as the Australian Chamber Orchestra, Trinity Baroque Orchestra, Apollo’s Fire, and the San Francisco Chamber Orchestra. Ms. Piccoli has also worked in the pop scene, having performed with Olivia Newton-John, Hugh Jackman, as well as frequently performing on live-to-air Dancing with the Stars Australia.
Career highlights include performing in Manhattan with the Trinity Baroque Orchestra as Concertmaster and soloist for Bach's St. Matthew Passion; at the Sanguine Estate Music Festival (Australia), performing masterworks with champion violinists Anthony Marwood and Andrew Haveron; at the Valley of the Moon Festival (Sonoma), performing Schubert's Death and the Maiden string quartet on period instruments; touring China as concertmaster of the Australian International Opera Company Orchestra; and most recently recording Vivaldi’s Four Seasons with Apollo’s Fire.
Ms. Piccoli received her training in modern violin at the Australian National Academy of Music and Yale University, and began her baroque violin career during her fellowship in the Yale Baroque Ensemble.
Kyle Stegall
Kyle Stegall’s performances around the world have been met with accolades for his “blemish-free production” (Sydney Morning Herald) and “lovely tone and ardent expression” (New York Times).
Mr. Stegall’s successful solo debuts in Japan, Australia, Vienna, Italy, Singapore, and Canada as well as on major stages across America have been in collaboration with many of the world’s most celebrated artistic directors including Manfred Honeck, Joseph Flummerfelt, William Christie, Nicholas McGegan, Masaaki Suzuki and Stephen Stubbs. He is the tenor soloist on American Bach Soloists’ historic video recording of Handel’s Messiah and he recorded a solo album “Myrtle and Rose,” with Lieder by Clara and Robert Schumann.
This year, Mr. Stegall travels to Bremen to record Desmarest’s Circé; sings Evangelist in Bach’s Weihnachts-Oratorium with Bach Society Houston, and returns to Valley of the Moon Music Festival with fortepianist Eric Zivian for Beethoven, Wolf, Brahms and Lang Lieder. Further details for upcoming engagements and updates on forthcoming audio and video releases can be found at kylestegall.com.
Marc Pantus
Dutch bass-baritone Marc Pantus is at home in opera as well as oratorio repertoire. He has been a soloist with Vox Luminis, the Dutch National Opera, the Royal Concertgebouw Orchestra, the Royal Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, and ASKO/Schönberg Ensemble. As a stage director, he has created productions for Wishful Singing, Luthers Bach Ensemble, and the Netherlands Bach Society (Bach’s Coffee Cantata and an upcoming program about Alzheimer's disease with music by J.S. Bach, C.Ph.E. Bach, Pandolfi, and Ligeti).
In October 2016 we were fortunate to welcome Mr. Pantus as a guest with California Bach Society. He sang the bass arias, as well as the roles of Peter and Pilate, in our award-winning performances of the St. Matthew Passion. San Francisco Classical Voice wrote: “Among the soloists bass baritone Marc Pantus stood out. Singing the roles of Peter and Pilate, he brought a deeply felt texture to the dual tasks.” In addition to participating in numerous traditional performances of Bach’s Passions in the Netherlands, he has also been featured in various modern interpretations of the works, such as Willem van Merwijk’s arrangement of the St. Matthew Passion for brass ensemble, percussion ensemble, and four singers for the Residentie Orkest.
His solo-CD Harry: Heine in Holland (Harmonia Mundi NL), featuring Lieder written by Dutch composers on German texts by the renowned poet Heinrich Heine, received four stars in the highly regarded Dutch/Belgian CD review magazine Luister and five stars in Dutch national newspaper Trouw, as well as glowing reviews in many other newspapers.
Mr. Pantus studied with Udo Reinemann and Meinard Kraak at the Utrecht Conservatory of Music and the Royal Conservatory in The Hague, the Netherlands. He received a fellowship from the Steans Institute for Young Artists in Chicago, where he studied with Thomas Allen, Christa Ludwig, Barbara Bonney, Elisabeth Söderström and Roger Vignoles.
Paul Flight
Artistic director Dr. Paul Flight — a noted choral conductor, teacher, and singer — is in his fifteenth season (2020-2021) with the California Bach Society. A former member of such distinguished ensembles as the Waverly Consort, Theatre of Voices, Pomerium Musices, and the New York Collegium, he brings a wealth of expertise to CBS.
For nine years Dr. Flight was principal conductor of the Madison Early Music Festival, where he directed masterworks by Bach, Handel, Telemann, Vivaldi, Purcell, Dufay, and Guerrero. He has twice been a visiting professor of music at the University of California at Berkeley, directing the music department's top choral ensembles. As a visiting professor at Mills College, he has lectured on opera, and music history and form. He conducted an operatic double-bill production of Gustav Holst's Savitri and Darius Milhaud's Les malheurs d'Orphée for Mills College.
A renowned countertenor, Dr. Flight has performed works by John Adams, Leonard Bernstein, and Unsuk Chin with the Los Angeles Philharmonic, the Cleveland Orchestra, the Atlanta Symphony Orchestra, the BBC Scottish Symphony, the Berkeley Symphony, the Cincinnati May Festival and the Norwegian State Opera. In 2003 he sang the title role in Philip Glass's Akhnaten for Oakland Opera Theater. He made his debut at the Kennedy Center in 2008, singing the first countertenor role in Adams's El Niño, and in August, 2010 he made his debut at the Edinburgh International Festival singing the third countertenor role.
Dr. Flight received his doctorate from Indiana University, where he studied conducting with Robert Porco. His research focused on the Venetian composer Giovanni Croce (1557-1609). He has recorded a program featuring the music of Croce for Harmonia, a nationally syndicated radio show, and has appeared several times as a guest on KALW radio's performing arts programs My Favorite Things and Open Air.
Even though Cantata 105 Herr, gehe nicht ins Gericht mit deinem Knecht (Enter not into judgement with Thy servant, O Lord) is the ninth cantata Bach performed after taking up his post in Leipzig in 1723, it can be seen as his first original cantata from Leipzig. The previous eight cantatas had, at least partly, either been written ahead of time, while Bach still lived in Köthen, or were reworkings of cantata movements Bach had written earlier in his career. Thus cantata 105 can be seen as Bach’s first true Leipzig cantata.
And Bach did his very best with this cantata, because most scholars consider this composition one of his masterworks. Alfred Dürr, normally extremely careful with praise, even goes so far as to declare it “one of the greatest soul paintings of Baroque and Christian art.”
Seen from that viewpoint, it is extra interesting that this cantata contains several features that would later turn up in Bach’s Passions. It is possible that he was experimenting with ideas for those compositions, perhaps even planning for them already as early as that summer of 1723. Or maybe he was just so proud of this Cantata 105 that he referred back to it when composing those later works. Whether there is a connection between the different compositions or not, the new features in this cantata are striking, and worth looking at.
If you would like to follow along in the score or read the text, you can find the German text with English translations here, and the full score here. (To participate in our workshop as a singer, please use the vocal reduction score available here).
Bach might have referred back to the opening chorus of Cantata 105 from 1723 when writing the opening chorus of his St. John Passion for Good Friday, 1724. The “Herr, Herr” exclamations, the pulsating bass notes, and the crunching harmonies in the first instrumental measures are some features that appear in both compositions. Already after the first few measures you know there is something very special happening.
The exquisite soprano aria has no cello, bassoon, or organ in the accompaniment. This is extremely unusual for a Bach aria, or any aria of the Baroque era. The accompaniment consists only of oboe, violins, and viola. Bach omits the music’s foundation on purpose, to illustrate the wavering and uncertainty expressed in the text. This is made even more apparent by the “trembling” in the violin parts. Note that these same trembling strings appear again in the violin parts of this cantata’s closing chorale.
It is the first time ever that Bach leaves out the bass instruments when writing an aria for a cantata. He will experiment a bit more with this technique two weeks later, in the soprano aria “Liebster Gott, erbarme dich” from Cantata 179, though not as drastically as in Cantata 105. The score for that aria does include a line for the bassoon or cello, but not for the organ. When Bach applies this model again for the alto aria “Ich will auch mit gebrochen Augen” in Cantata 125 in 1725, he explicitly writes in the score that the organ is to play only the written notes, “no accompaniment” (i.e. no chords).
The pinnacle of a Bach aria without bass instruments is the “Aus Liebe” aria from the St. Matthew Passion, from 1727. There are truly no bass instruments in the accompaniment for that aria; there are just two oboes and a flute. The oboes are the lowest instruments here, similar to the viola in the soprano aria of Cantata 105.
There is no way to prove this, but it seems that Bach might have thought of this moving and comforting bass arioso from Cantata 105 when he wrote the bass arioso “Am Abend da es kühle war” for his St. Matthew Passion. It is not exactly the same music, and the movement from the St. Matthew Passion has one more line of text, but the style and the idea behind it are similar. In the cantata the text about carrying a body to the grave refers to the believer’s body, while in the bass arioso from the St. Matthew Passion it refers to Jesus’ body.
The closing chorale of this cantata is very different from most closing chorales of Bach’s cantatas. Bach uses the 11th verse of a special chorale, Jesu der du meine Seele, which we know from Cantata 78. Normally Bach lets the instruments double the vocal parts, but in this case he writes independent lines for the two violin parts and the viola part. At first, these are exactly the same repeating chords as used earlier in the soprano aria. But at the start of the third line of the text, the “trembling” slows down; at the fifth line, it slows down even more; and at the 7th line the rhythm changes from ominous to dance-like. With this, Bach illustrates that the fear has gone and the beating heart has calmed down. Life is still a tribulation (hence the dissonant harmonies from the opening chorus still present here), but the believers can be assured that they will be saved in the end. Showing the entire story of the cantata in the closing chorale is something Bach has not done prior to writing this cantata.
Wieneke Gorter, March 2021.
Victoria Fraser
Victoria Fraser, soprano
Born and raised in Anchorage, Alaska, soprano Victoria Fraser holds degrees from the San Francisco Conservatory of Music, University of Notre Dame, and University of Limerick in Ireland. Victoria has performed as a soloist and chorister in Europe and North America, notably with Il Coro del Duomo in Florence, Italy; the Vocalensemble Frankfurt Dom, in Frankfurt, Germany; Vox Humana in Texas; True Concord in Arizona; the Berwick Chamber Chorus at the Oregon Bach Festival; and the Bachkantaten-Akademie in Thuringia, Germany.
She has sung under the direction of Masaaki Suzuki, Helmut Rilling, Matthew Halls, John Nelson, and Jeffrey Thomas. Passionate about interdisciplinary performance, Victoria produces and performs concerts which re-contextualize classical music through visual art, dance, and technology. Also a composer, Victoria’s compositions were featured at last year’s Hot Air Music Festival, at the San Francisco Conservatory. Born to a mountaineer father, Victoria loves to ski, rock climb, mountain bike, hike, SCUBA dive, and row.
Paul Flight
Paul Flight, artistic director and countertenor
Artistic director Dr. Paul Flight — a noted choral conductor, teacher, and singer — is in his fifteenth season (2020-2021) with the California Bach Society. A former member of such distinguished ensembles as the Waverly Consort, Theatre of Voices, Pomerium Musices, and the New York Collegium, he brings a wealth of expertise to CBS.
For nine years Dr. Flight was principal conductor of the Madison Early Music Festival, where he directed masterworks by Bach, Handel, Telemann, Vivaldi, Purcell, Dufay, and Guerrero. He has twice been a visiting professor of music at the University of California at Berkeley, directing the music department's top choral ensembles. As a visiting professor at Mills College, he has lectured on opera, and music history and form. He conducted an operatic double-bill production of Gustav Holst's Savitri and Darius Milhaud's Les malheurs d'Orphée for Mills College.
A renowned countertenor, Dr. Flight has performed works by John Adams, Leonard Bernstein, and Unsuk Chin with the Los Angeles Philharmonic, the Cleveland Orchestra, the Atlanta Symphony Orchestra, the BBC Scottish Symphony, the Berkeley Symphony, the Cincinnati May Festival and the Norwegian State Opera. In 2003 he sang the title role in Philip Glass's Akhnaten for Oakland Opera Theater. He made his debut at the Kennedy Center in 2008, singing the first countertenor role in Adams's El Niño, and in August, 2010 he made his debut at the Edinburgh International Festival singing the third countertenor role.
Dr. Flight received his doctorate from Indiana University, where he studied conducting with Robert Porco. His research focused on the Venetian composer Giovanni Croce (1557-1609). He has recorded a program featuring the music of Croce for Harmonia, a nationally syndicated radio show, and has appeared several times as a guest on KALW radio's performing arts programs My Favorite Things and Open Air.
Mark Bonney
Mark Bonney, tenor
British-American tenor Mark Bonney performs internationally. He is in Glasgow this 2020-2021 season, where he is completing the Advanced Opera Course at the Royal Conservatoire of Scotland.
Recent roles have included Tamino in Mozart’s Die Zauberflöte (Berlin Opera Academy), Count Barigoule in Pauline Viardot’s Cendrillon (Wexford Opera Festival), Jonathan in Handel’s Saul with Laurence Cummings (Dartington International Festival), the Evangelist in Bach’s St. John Passion (Amsterdam), the title role in Handel’s Jephtha (Iford Arts & Bath Choral Society) and Paolino in Cimarosa’s Il Matrimonio Segreto (Pop-up Opera).
In addition to his work as a soloist, Mark has performed in the chorus at Opera Holland Park, Wexford Festival Opera, Bury Court Opera, Iford Arts, with the Monteverdi Choir, and with Barbara Hannigan at the Aldeburgh Festival. He is often invited to perform with leading ensembles including the Gabrieli Consort, Britten Sinfonia and Le Concert d’Astrée.
Mark grew up in San Francisco. Before embarking on his career as a classical singer, Mark worked in socio-economic development in Egypt—before, during, and after the Arab Spring. In addition to a masters in music from the Guildhall School of Music and Drama in London, he holds a bachelor’s degree in political science from Stanford University. He also studied at the Berlin Opera Academy, the Franz Schubert Institute and the American Institute of Musical Studies.
Paul Max Tipton
Paul Max Tipton, bass-baritone
Boston-based bass-baritone Paul Max Tipton has enjoyed an active career in opera, oratorio, and chamber music, performing and recording throughout North America, Europe, China, and Korea. His interpretations of the Bach Passions in particular have been acclaimed for their strength and sensitivity. He recently recorded Nicolaus Bruhns’s solo cantatas for bass for the BIS label, and has performed with the New York Philharmonic as part of their first-ever Bach Festival.
Further highlights from recent seasons include Haydn’s Paukenmesse with the Yale Camerata, Bach’s Christmas Oratorio at the Oregon Bach Festival, Handel’s Dettingen Te Deum at Carnegie Hall, Street Singer in Bernstein’s Mass with the Austin Symphony & Austin Opera, and Plutone in Monteverdi’s Orfeo with Göteborg Baroque in Sweden.
Mr. Tipton is a soloist on the triple-Grammy-winning recording of William Bolcom’s Songs of Innocence & of Experience (Naxos, 2004), sang the role of Judas in Bach’s St. Matthew Passion under Helmuth Rilling at Carnegie Hall in 2007, and has sung Schaunard with the New York Opera Society while on tour in Toulouse. Other repertoire has included Britten’s War Requiem, Monteverdi’s Vespers of 1610, the title role in Mozart’s Don Giovanni, Haydn’s Salve Regina in G minor with Nicholas McGegan, and all of Bach’s Motets with Bach Collegium Japan. He appears on several recordings with Seraphic Fire, including as a soloist in Brahms’s Requiem, Op. 45 (Seraphic Fire Media, 2012), and has performed with the symphonies of San Antonio, Grand Rapids, Lincoln, Stamford, CT, and with the Orchestra of St. Luke’s.
Mr. Tipton trained on full fellowship at the University of Michigan School of Music in Ann Arbor, and is a graduate of the Yale University Institute of Sacred Music in Oratorio & Early Music. He was made a Lorraine Hunt Lieberson Fellow at Emmanuel Music in 2012.
The Saint Thomas School and Church in Leipzig, 1723
We often say that Bach composed a new cantata every week when he worked in Leipzig. However, Bach seems to have done this only during the two years between Trinity 1723 and Trinity 1725. After that, he didn’t always write for consecutive Sundays and Holidays. And if there ever was a requirement that the music for the Leipzig churches needed to be composed by Bach himself, it must have been lifted after Trinity 1725.
In the summer of 1725 Bach had already performed a series of four cantatas by his friend and colleague (and Godfather of his son Carl Philipp Emmanuel) Georg Philipp Telemann (1681-1767). But in 1726 he took it much further: between February and September of that year, he performed no less than 20 cantatas by his third cousin Johann Ludwig Bach (1677-1731).
Johann Ludwig Bach (1677-1731)
Johann Ludwig Bach was Kapellmeister at the court of Meinigen, a town just south of Eisenach, where Bach was born, and about 115 miles (185 kilometers) from Leipzig. (See here where Johann Ludwig Bach fits in the Bach family tree).
Why Bach performed so many cantatas by someone else that year, we do not know. There are many theories of course. The most plausible explanation seems to be that he had started working on his St. Matthew Passion with librettist Picander, which he initially likely meant to have finished by Good Friday 1726, and that he needed to create time in his calendar to finish that project. When his ambitions for the St. Matthew Passion grew and he realized he would not finish it until 1727, he just kept performing J.L. Bach’s cantatas.
Duke Ernst Ludwig I of Sachsen-Meiningen (1672-1724)
The texts of those cantatas by Johann Ludwig Bach were all based on a published volume of poetry from 1704, likely written by Johann Ludwig’s employer at Meiningen, Duke Ernst Ludwig I of Sachsen-Meiningen (1672-1724).
Whether J.S. Bach became enamored by this volume of poetry, or perhaps thought “I could do a much better job setting these texts!,” we will never know. But fact is that he started writing a series of cantatas based on these same texts, while he was at times also still performing his J.L. Bach’s cantatas.
This means that between May 30 and September 22, 1726, the Leipzig congregations got to hear either a JLB cantata or a JSB cantata, but almost always* set to text from the same “Meininger” volume of poetry. We wonder if they would have been able to hear the difference. (An example of a J.L. Bach opening chorus can be found here).
A standard feature of the “Meininger” texts is that the cantata is in two parts (to be performed before and after the sermon), with a focus on a text from the Old Testament in the first part, and a text from the New Testament in the second part. We see this too in Cantata 45 Es ist dir gesagt, Mensch, was gut ist (You have been told, mankind, what is good).
The most spectacular movement in Part I of Cantata 45 is the sparkling and energetic opening chorus, based on a dogma from the Book of Micah:
Es ist dir gesagt, Mensch, was gut ist
und was der Herr von dir fordert,
nämlich: Gottes Wort
halten und Liebe üben
und demütig sein vor deinem Gott.
You have been told, mankind,
what is good and what the Lord requires of you, namely:
to keep God's word and to live in love and be humble before your God.
The most striking movement in Part II is the bass aria, featuring the last part of Jesus’ “Sermon on the Mount.” Because the bass functions here as the so-called “Vox Christi” (the voice of Jesus), Bach’s respect for the Bible makes him call this an “arioso,” even though it has all the elements of an aria:
Es werden viele zu mir sagen an jenem Tage:
Herr, Herr, haben wir nicht in deinem Namen geweissaget,
haben wir nicht in deinem Namen Teufel ausgetrieben,
haben wir nicht in deinem Namen viel Taten getan?
Denn werde ich ihnen bekennen:
Ich habe euch noch nie erkannt, weichet alle von mir, ihr Übeltäter!
Many will say to me on that day:
Lord, have we not prophesied in your name,
have we not driven out devils in your name,
have we not done many deeds in your name?
Then I shall declare to them:
I have never known you,
all of you go away from me, you evil doers!
© Wieneke Gorter, February 2021.
*there are only two exceptions to this: Two solo cantatas for alto, based on texts by Georg Christian Lehms: Cantata BWV 170 Vergnügte Ruh', beliebte Seelenlust and Cantata BWV 35 Geist und Seele wird verwirret.
Paul Flight
Paul Flight, artistic director and countertenor
Artistic director Dr. Paul Flight — a noted choral conductor, teacher, and singer — is in his fifteenth season (2020-2021) with the California Bach Society. A former member of such distinguished ensembles as the Waverly Consort, Theatre of Voices, Pomerium Musices, and the New York Collegium, he brings a wealth of expertise to CBS.
For nine years Dr. Flight was principal conductor of the Madison Early Music Festival, where he directed masterworks by Bach, Handel, Telemann, Vivaldi, Purcell, Dufay, and Guerrero. He has twice been a visiting professor of music at the University of California at Berkeley, directing the music department's top choral ensembles. As a visiting professor at Mills College, he has lectured on opera, and music history and form. He conducted an operatic double-bill production of Gustav Holst's Savitri and Darius Milhaud's Les malheurs d'Orphée for Mills College.
A renowned countertenor, Dr. Flight has performed works by John Adams, Leonard Bernstein, and Unsuk Chin with the Los Angeles Philharmonic, the Cleveland Orchestra, the Atlanta Symphony Orchestra, the BBC Scottish Symphony, the Berkeley Symphony, the Cincinnati May Festival and the Norwegian State Opera. In 2003 he sang the title role in Philip Glass's Akhnaten for Oakland Opera Theater. He made his debut at the Kennedy Center in 2008, singing the first countertenor role in Adams's El Niño, and in August, 2010 he made his debut at the Edinburgh International Festival singing the third countertenor role.
Dr. Flight received his doctorate from Indiana University, where he studied conducting with Robert Porco. His research focused on the Venetian composer Giovanni Croce (1557-1609). He has recorded a program featuring the music of Croce for Harmonia, a nationally syndicated radio show, and has appeared several times as a guest on KALW radio's performing arts programs My Favorite Things and Open Air.
Mark Bonney
Mark Bonney, tenor
British-American tenor Mark Bonney performs internationally. He is in Glasgow this 2020-2021 season, where he is completing the Advanced Opera Course at the Royal Conservatoire of Scotland.
Recent roles have included Tamino in Mozart’s Die Zauberflöte (Berlin Opera Academy), Count Barigoule in Pauline Viardot’s Cendrillon (Wexford Opera Festival), Jonathan in Handel’s Saul with Laurence Cummings (Dartington International Festival), the Evangelist in Bach’s St. John Passion (Amsterdam), the title role in Handel’s Jephtha (Iford Arts & Bath Choral Society) and Paolino in Cimarosa’s Il Matrimonio Segreto (Pop-up Opera).
In addition to his work as a soloist, Mark has performed in the chorus at Opera Holland Park, Wexford Festival Opera, Bury Court Opera, Iford Arts, with the Monteverdi Choir, and with Barbara Hannigan at the Aldeburgh Festival. He is often invited to perform with leading ensembles including the Gabrieli Consort, Britten Sinfonia and Le Concert d’Astrée.
Mark grew up in San Francisco. Before embarking on his career as a classical singer, Mark worked in socio-economic development in Egypt—before, during, and after the Arab Spring. In addition to a masters in music from the Guildhall School of Music and Drama in London, he holds a bachelor’s degree in political science from Stanford University. He also studied at the Berlin Opera Academy, the Franz Schubert Institute and the American Institute of Musical Studies.
Paul Max Tipton
Paul Max Tipton, bass-baritone
Boston-based bass-baritone Paul Max Tipton has enjoyed an active career in opera, oratorio, and chamber music, performing and recording throughout North America, Europe, China, and Korea. His interpretations of the Bach Passions in particular have been acclaimed for their strength and sensitivity. He recently recorded Nicolaus Bruhns’s solo cantatas for bass for the BIS label, and has performed with the New York Philharmonic as part of their first-ever Bach Festival.
Further highlights from recent seasons include Haydn’s Paukenmesse with the Yale Camerata, Bach’s Christmas Oratorio at the Oregon Bach Festival, Handel’s Dettingen Te Deum at Carnegie Hall, Street Singer in Bernstein’s Mass with the Austin Symphony & Austin Opera, and Plutone in Monteverdi’s Orfeo with Göteborg Baroque in Sweden.
Mr. Tipton is a soloist on the triple-Grammy-winning recording of William Bolcom’s Songs of Innocence & of Experience (Naxos, 2004), sang the role of Judas in Bach’s St. Matthew Passion under Helmuth Rilling at Carnegie Hall in 2007, and has sung Schaunard with the New York Opera Society while on tour in Toulouse. Other repertoire has included Britten’s War Requiem, Monteverdi’s Vespers of 1610, the title role in Mozart’s Don Giovanni, Haydn’s Salve Regina in G minor with Nicholas McGegan, and all of Bach’s Motets with Bach Collegium Japan. He appears on several recordings with Seraphic Fire, including as a soloist in Brahms’s Requiem, Op. 45 (Seraphic Fire Media, 2012), and has performed with the symphonies of San Antonio, Grand Rapids, Lincoln, Stamford, CT, and with the Orchestra of St. Luke’s.
Mr. Tipton trained on full fellowship at the University of Michigan School of Music in Ann Arbor, and is a graduate of the Yale University Institute of Sacred Music in Oratorio & Early Music. He was made a Lorraine Hunt Lieberson Fellow at Emmanuel Music in 2012.
Bach wrote Cantata 62, Nun komm, der Heiden Heiland (Come now, Savior of the Gentiles), in Leipzig in 1724 for the first Sunday in Advent. This cantata will be the subject of our interactive cantata workshop on Saturday, December 5, 2020.
There are several special stories to tell about this cantata. Paul Flight will go into more detail during the workshop, but we would like to highlight three interesting aspects:
The First Sunday of Advent marked an important feast day in Leipzig.
This Cantata was part of Bach’s 1724/1725 cycle of chorale cantatas, a stunning collection of cantatas that were considered the most important part of his cantata legacy directly after his death in 1750.
The ancient chorale this cantata is based on (as well as the motet by Samuel Scheidt we’re also singing during our December 5 workshop)
In Weimar (between 1714 and 1716) Bach had written cantatas for all four Sundays of Advent. In the religiously much stricter town of Leipzig, no “fancy" music was allowed in the churches in the four weeks between the first Sunday of Advent and Christmas Day, only the singing of hymns. This is why Bach only wrote cantatas for the first Sunday of Advent during his Leipzig period, not for the three remaining Sundays.
This first Sunday of Advent thus marked two occasions at the same time: the celebration of the imminent coming of the Messiah, but also the start of a sober period of introspection. Thus the opening chorus of Cantata 62 definitely sounds festive, but in a measured way. Bach on purpose didn’t include trumpets or timpani in the orchestration. It wasn’t Christmas yet.
For nine and a half months, starting on June 11, 1724, Bach wrote a new cantata for each Sunday and holiday, each time according to the same template: the opening movement is a chorale fantasia on the first stanza of an existing Lutheran hymn or chorale, with the tune appearing as a cantus firmus in one of the voice parts in the chorus (almost always the soprano). The text is used verbatim. The text of the last movement is the last stanza of the same hymn, in a four-part harmonization of the tune, with the text also used verbatim. The text of the solo inner movements was paraphrased, but still based on the inner stanzas of the same hymn.
Most scholars now think that Bach intended this cycle of cantatas as an important part of his legacy. If any gaps had occurred in the 1724/1725 season, he filled them in later years by writing cantatas according to his chorale cantata format, for exactly those Sundays or holidays he had missed. It would become the cycle of cantatas most valued by his contemporaries directly after his death in 1750.
Both Cantata 78, Jesu der du meine Seele (the subject of our October workshop), and Cantata 62, Nun komm, der Heiden Heiland (the subject of our workshop on December 5, 2020), are part of this series of chorale cantatas.
Through his intent to write an entire series of cantatas according to a new format, Bach made a huge commitment to himself: he would now have to write a brand-new cantata for every Sunday and holiday. During his first year in Leipzig (the 1723/1724 cycle), he had written many new cantatas, but also regularly “recycled” music from his years in Köthen and Weimar. For the Christmas season of 1724/1725, this meant he would have to write seven new cantatas for the period from December 25 through January 7. (And he did: find the list here). So the four weeks of introspection in Leipzig were not “time off” for Bach: he must have been extremely busy writing music and conducting choir rehearsals.
Nobody knows if besides creating a legacy, Bach might perhaps have had other motives for writing an entire series of chorale cantatas. There are however a few speculations:
One theory is that Bach lost his soprano soloist sometime in the spring of 1724 and was having trouble training a new one because, as he had found out over this first year of working in Leipzig, the boy sopranos weren’t as good as he had hoped. With this new concept of the chorale cantata, Bach limited the rehearsal strain on the choirboys. In many of these cantatas, the boys only had to sing the chorale melody in the opening chorus, and there was no soprano recitative or aria at all among the inner movements (solos in this cantata cycle usually went to the male voices of countertenor, tenor, and bass, which would all have been sung by trained adults). If in later cantatas in this series the boys were assigned something a bit more complicated, it was still based on the chorale melody they already knew by heart, so it required much less rehearsal time for them.
Another theory is that Bach’s first Leipzig cycle of cantatas had proven too difficult to understand for his audience—the Lutheran congregations in Leipzig. It is possible that Bach had either received feedback to this end from the church elders, or that he himself felt that he had been unsuccessful in “educating his neighbor,” i.e. teaching theological lessons to the congregations by way of his music, something he arguably saw as his life’s work. By basing each cantata on a familiar chorale, he possibly lowered the threshold for them in the understanding of his compositions.
In the 4th century, Ambrosius created the hymn Veni Redemptor Gentium. Then, in 1524, Luther turned that hymn into Nun komm der Heiden Heiland (it sounds like this), which has been known to Lutherans from the 16th century to this day. When you attend our workshop, you will also get to sing Samuel Scheidt’s setting of this chorale from the first half of the 17th century, and you will thus get a better idea of how this melody was used in different ways over time, within the same German tradition.
Bach used this same chorale in movements of the two other cantatas he wrote for the First Sunday of Advent. In Cantata 61, which he wrote in Weimar in 1714 and performed again in Leipzig in 1723, it appears in the opening chorus. (Consequently, but very confusingly nonetheless, both cantatas 61 and 62 have the same title.) In Cantata 36, Schwingt freudig euch empor, which he wrote in Leipzig in 1731, the chorale appears in the soprano-alto duet, the second tenor aria, and the closing chorale.
© Wieneke Gorter, November 2020