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Cantata BWV 5
Wo soll ich fliehen hin?
Discussions - Part 3 |
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Continue from Part 2 |
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Discussions in the Week of May 20, 2012 (3rd round) |
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Ed Miskowski wrote (May 20, 2012):
Introduction to BWV 5 -- Wo soll ich fliehen hin?
Weekly reminder:
This week we continue Trinity season cantatas with BWV 5, the second of three works for the 19th Sunday after Trinity. Next weeks topic will be BWV 56, a work rrecorded several times by Dietrich Fischer-Dieskau, whose recent death has been noted on BCML. Details of text, commentary, recordings, and previous discussion for this week are accessible via: http://www.bach-cantatas.com/BWV5.htm
The link to commentary by Julian [Mincham], music examples included, is especially recommended as an introduction to listening.
The BWV 5 page has convenient access to notes from the Gardiner, Koopman (notes by Christoph Wolff), Suzuki, and Leusink (and more!) CD issues, via link beneath the cover photo.
The chorale text and melody are accessible via links at the BWV 5 page. Francis Browne has recently added new commentary on the cantata texts to his interlinear translations, linked via [English 3]. We can expect these to continue, not necessarily weekly. Douglas Cowling and William L. Hoffman are also posting relevant to chorales and other music for the Lutheran Church Year, accessible via LCY pages.
I do not always take the time to check all links before posting. Special thanks to the folks who provide timely corrections. |
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George Bromley wrote (May 20, 2012):
[To Ed Myskowski] Whilst we are talking about great singers of the past (DFD ) let us also pay tribute to one of my favourite tenors Peter Schrier (sp?) now thats a great Bach singer. |
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Jyrki Wahlstedt wrote (May 20, 2012):
George Bromley wrote:
< Whilst we are talking about great singers of the past (DFD ) let us also pay tribute to one of my favourite tenors Peter Schrier (sp?) now thats a great Bach singer >
That would be Schreier (a funny name really for a magnificent singer, as 'schreien' means to shriek:) |
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Continue of this part of the discussion, see: Bach Family - Discussions [General Topics] |
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Ed Miskowski wrote (May 23, 2012):
<>
On a different topic, I meant to point out in the introduction to this weeks discussion topic, BWV 5, the 1994 recording (BCW discography [5]) by Chapelle des Minimes, where Therese is now a choir member. Is this recording still available? Performance reports are always enjoyable and informative, as well. |
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Thérèse Hanquet wrote (May 23, 2012):
BWV 5
Regarding BWV 5 : indeed, we regularly sell this CD on the occasion of our monthly concerts: http://www.minimes.be/disco.php?&new_l=en
Note that I was not yet part of the choir at the time of the recording. But the conductor“ Jacques Vanherenthals - is still active - as a matter of fact he will conduct our next performance.
Sorry that I did not follow up with the reports of our concerts, we had some memorable ones lately, such as BWV 232 conducted by Jan Caals in December 2011. I will try to catch on. |
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Ed Miskowski wrote (May 24, 2012):
Thérèse Hanquet wrote:
< Regarding BWV 5 : indeed, we regularly sell this CD on the occasion of our monthly concerts: http://www.minimes.be/disco.php?&new_l=en
[...]
Sorry that I did not follow up with the reports of our concerts, we had some memorable ones lately, such as BWV 232 conducted by Jan Caals in December 2011. I will try to catch on…>
The concert reports are always a welcome contribution to BCML, when you can manage the time. I am aware the time required is not trivial, when it comes to making sure the names and details are accurate. Anyway, it is always good to make folks aware of the regular Bach performances around the world, in addition to the major recording series. I might as well take the opportunity to plug my hometown Boston USA team, Emmanuel Music, including many friends. |
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OT" Grand Budapest, Stefan Zweig and Bach BWV 5 |
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Peter Smaill wrote (March 15, 2014):
Dangerous as it is to recommend a film, the bittersweet yet rollicking comedy film by director Wes Anderson, the Grand Budapest Hotel, is a delight- highly redolent of the parlous state of Eastern Europe on the eve of the Second War, and of the cultural tensions in fading grandeur. Anderson's humour is witty. It has just gone on general release in the UK.
However, only at the end do the credits give the actual source for the plot; it is a pastiche of stories by Stefan Zweig, former librettist to Richard Strauss, and with elements also collated from Thomas Mann. The surprise in researching this connection for me, although already noted as set out below by Thomas Braatz, is that Zweig actually owned a Bach manuscript:
"The autograph score went to W.F. Bach at the time of the distribution of the estate. The original set of parts went to Bach's wife who gave them to the Thomaner School. The parts stayed in Leipzig and are now part of the City Archive of Leipzig. W.F. Bach sold it to an unknown individual from whom the Postal Inspector Carl Philipp Heinrich Pistor (1778-1847) acquired it in 1827. It was passed on to his grandson Ernst Friedrich Karl Rudorff (1840-1916) who gave it to Joseph Joachim in 1888. It was then sold to the manuscript collector Heyer in Cologne. It was auctioned off in 1927 and purchased by Stefan Zweig. After Zweig's suicide (1942) it went to his daughter Eva D. Albermann who, in 1956, put it on continual loan in the Department of Manuscripts of the British Library, London. In 1986 it was given as an outright present to the same organization where it is located today."
A storyline in itself! |
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Continue on Part 4 |
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