Concerts of Cantatas, Bach Festivals, Conferences
Discussions - Part 3

Continue from Part 2

BCW: Major Bach Events 2014/Q4 & 2015

Aryeh Oron wrote (September 30, 2014):
I have updated the pages of Major Bach Events on the BCW, to include all the Bach Festivals around the world in the last quarter of 2014 and in 2015:
http://www.bach-cantatas.com/Concerts/Event-2014.htm
http://www.bach-cantatas.com/Concerts/Event-2015.htm
The Main Page of all known Bach Festivals & Series around the world (over 250!):
http://www.bach-cantatas.com/Festival/index.htm
All the relevant Festival pages on the BCW have been updated as well.

Recent additions to this section:
Bachdag Amersfoort (Bach Day in Amersfoort, the Netherlands):
http://www.bach-cantatas.com/Festival/Festival-Amersfoort.htm
The Advent Project (Concert Series in Vienna, VA, USA):
http://www.bach-cantatas.com/Festival/Festival-Advent-Project.htm
Colorado Bach Festival (Bach Festival in Denver & Fort Collins, CO, USA)
http://www.bach-cantatas.com/Festival/Festival-Colorado.htm
Bachfest CWRU (Festival at Case Western Reserve University, Cleveland, OH, USA)
http://www.bach-cantatas.com/Festival/Festival-CWRU.htm
Les Concerts J.S. Bach de Lutry (Concert Series & Festival in Lutry, Switzerland)
http://www.bach-cantatas.com/Festival/Festival-Lutry.htm

If you are aware of a major Bach event (Festival, Competition, Conference, etc.) missing from the above pages, please inform me.

Understanding Bach 10 (2015)

Charles Francis wrote (March 21, 2015):
Various newly published Bach-related articles here: http://www.bachnetwork.co.uk/understanding-bach/

Bach at gallery opening

Ed Myskowski wrote (July 25, 2015):
The connection is almost (but not quite, I hope) Off Topic, so I will be brief.

The Salem [MA, USA] Art Association and Salem Coalition of Artists and Musicians [affectionately known as SCAM] have recently gained access to gallery space at a former jewelry store, now vacant and owned by the Peabody Essex Museum (PEM). This is a very prestigious location, both functional and attractive, and a major step forward in professionalism for both organizations. The space is now called the Salem Arts Center. I will be exhibiting as a member of SAA, and participating on the retail management team as well.

For the opening, 4-8 PM, Thurs. July 23, Lucas (pianist) of SCAM provided the background music, all Bach, from his extensive computer files. Very tasteful and effective, I trust JSB did not take great offense at his background status. I will try to get details of the recordings, and post if any info qualifies as news. I did notice what sounded like a period instrument performance of the B minor Mass.

Gallery hours are noon to 6 PM, Thurs. to Sun. No admission charge, but visitors are encouraged to buy some art. Bach is not promised at all times, but likely whenever Lucas of I have a say Stop by for a spell, as some like to say here in the Witch City. If I get advance notice, Bach list members are also invited to the PEM as my guests. I believe I have mentioned this in the past, but no harm in repeating a comp.

Bach in the Soviet Union

Richard Mix wrote (August 5, 2015):
The Pacific FIlm Archive has just finished a Tarkovsky retrospective, which has set me to wondering how the sacred works were regarded in the USSR. In Tarkovsky's oeuvre there are the Orgelbüchlein chorales "Ich ruf zu dir" (Solaris, appearing in the credits as "organ prelude in f minor") and and "Das alte Jahr" (Mirror) as well as Herr unser Herrscher (Mirror) and Erbarme dich (both prominently featured in The Sacrifice and whistled by the Writer in Stalker). Are there any reception history studies that focus on Russia?

William Hoffman wrote (August 6, 2015):
There's some good work being done in Poland thru the UK Network, Symon Pazowski(sp), and the St. Petersburg Berlin Archives, especially, the Bach Family motets with Peter Wollny.

OT: American Bach Society Conference.

William Hoffman wrote (January 7, 2016):
The American Bach Society coming biannual conference is “J. S. Bach and the Confessional Landscape of His Time,” University of Notre Dame (April 7-10), South Bend. Indiana. Presenters include heavyweights Peter Wollny, Michael Maul from Bach Archiv. as well as Americans Daniel Melamed and Michael Marrissen, and England’s Ruth Tatlow. For the announcement and Preliminary Schedule, see http://webmail.c.earthlink.net/wam/msg.jsp?msgid=7301&folder=INBOX&isSeen=true&x=-1772499475.

Unfortunately, several other fine topics were proposed but couldn't fit it, as so often happens. I plan to attend and at the closing day business meeting, and suggest that optional seminars be scheduled, especially for those who have papers they would like to present and discuss. I notice that in a recent ABA Bach Perspectives, the editor requested additional papers beyond those presenters at the appropriate conference that produced the volume, a wonderful series and a gift to members. I'll forward this note to
Reginald L. Sanders, ABS secretary-treasurer, at sandersr@kenyon.edu, who I think is sympathetic to new (and possibly wild?) ideas.

Evan Cortens wrote (January 7, 2016):
[To William Hoffman] The link Will posted isn't working for me, here's a direct link:
http://americanbachsociety.org/meetings/notredame_program.html

(Full disclosure, I'm the ABS webmaster...)

BCW: Major Bach Events 2016

Aryeh Oron wrote (March 3, 2016):
I have updated the pages of Major Bach Events on the BCW, to include all the known Bach Events (Festivals, Competitions, Conferences, etc.) around the world in 2016: http://www.bach-cantatas.com/Concerts/Event-2016.htm
Not all the Bach Festivals have already published their plans for 2016. In the 2015 page of Major Bach Events: http://www.bach-cantatas.com/Concerts/Event-2015.htm
Description painted in pink means that Festival is already listed in the 2016 page. Not painted description means that the dates for 2016 are still not known.
If you are aware of a major Bach event (Festival, Competition, Conference, etc.) missing from the above pages, please inform me.

In the section of Bach Festivals & Series: http://www.bach-cantatas.com/Festival/index.htm
All the relevant Festival pages on the BCW have been updated as well.
This section contains all known Bach Festivals & Series around the world and aims to document their history.
Each Bach Festival or Bach Cantata Series has a dedicated page, in which the presented info includes: Name, Location, Venues, Years (year of first festival; frequency), Months, Artistic Director, Ensembles, Website, History & Mission, Dates of recent festivals, Logo, Posters and Programmes.
Over 300 Bach Festivals & Series are presented.
Recent Festival additions to this section:
Bach & Jerusalem (Jerusalem, Israel): http://www.bach-cantatas.com/Festival/Festival-Jerusalem.htm
Semana Bach (Asunción, Paraguay): http://www.bach-cantatas.com/Festival/Festival-Asuncion-Week.htm
Puerto de la Cruz Bach Festival (Tenerife, Canary Islands, Spain): http://www.bach-cantatas.com/Festival/Festival-Puerto-Cruz.htm
Appenzeller Bachtage (Stein - Teufen - Trogen, Switzerland): http://www.bach-cantatas.com/Festival/Festival-Appenzel.htm
Bach's Lunch at Starmount Presbyterian Church (Greensboro, NC, USA): http://www.bach-cantatas.com/Festival/Festival-Starmount-Lunch.htm
If you are aware of a Bach Festival or Bach Cantata Series not presented in this section, and/or have corrections, additions or updates to a presented Bach Festival or Bach Cantata Series, please send the info to me.

TR: Bach & Breakfast- VENEZ CHANTEZ UNE CANTATE DE BACH DEMAIN MATIN !

Nicholas Johnson wrote (January 14, 2017):
For any enthusiastic singers who happen to find themselves in Paris I enclose an invitation I received this morning.

Happy New Year !
Nicholas Johnson

< http://www.sallecortot.com/concerts/musiquedechambre.htm?r> MUSIQUE DE CHAMBRE
< http://www.sallecortot.com/tous_les_concerts.htm?r> TOUS LES CONCERTS
< http://www.sallecortot.com/agenda.htm?r> AGENDA
< http://www.sallecortot.com/manifestation_ecole_de_paris.htm> MANIFESTATIONS DE L'ECOLE NORMALE DE MUSIQUE DE PARIS
< http://www.sallecortot.com/infos_pratiques.htm> INFOS PRATIQUES
< http://www.sallecortot.com/la_salle.htm> LE LIEU
< http://www.sallecortot.com/location_salle.htm> LOUER LA SALLE

78 rue Cardinet
75017 Paris

< http://www.sallecortot.com/credits.htm>
< http://www.sallecortot.com/credits.htm> crédits
< http://www.sallecortot.com/mentions_legales.htm>
< http://www.sallecortot.com/mentions_legales.htm> mentions légales

Retour

BACH & BREAKFAST
MUSIQUE DE CHAMBRE - VOIX - BAROQUE

DIM.
15
JANV.

09H45

Centre de musique de chambre de Paris, Musiciens de la troupe
Maitrise de Saint-Christophe de Javel, dir. Gérald de Montmarin
Solistes chanteurs, Ecole Normale de Musique de Paris
Ariel Alonso, Chef de chant
Jérôme PERNOO, Direction musicale

Vous êtes accueilli dès 9h45 pour prendre votre petit-déjeuner dans un cadre convivial et chaleureux. À 11h les répétitions de la cantate débuteront dans la salle. Elles seront suivies à 11h30 du concert. Et toujours, la partition projetée en fond de scène et remise en mains propres.

DÉROULÉ DE LA MATINÉE :
9H45 – 10H30 Petit-déjeuner
11H – 11H30 Répétitions avec votre Chef de chant
11h30 – 12h00 Concert

Producteur : Centre de musique de chambre de Paris
Site : <http://www.centredemusiquedechambre.paris/> www.centredemusiquedechambre.paris

PROGRAMME
J. s. BACH
Cantate BWV 93 Wer nur den lieben Gott läßt walten

PRATIQUE

Tarifs
Tarif normal : 18 €
Tarif réduit :
6€ : Enfants (-18ans)
Concert seul :
Adulte : 12€
- 18 ans : Gratuit

Modalités de réservation
Réservation obligatoire en ligne sur :
< http://www.centredemusiquedechambre.paris/concerts/bach-and-breakfast-16-17/>

Understanding Bach 12 (2017)

William Hoffman wrote (March 21, 2017):
From: Bach Network UK
Sent: Mar 20, 2017 7:00 AM
Subject: Understanding Bach 12 (2017)

It is a great pleasure to be announcing publication of the twelfth volume of our annual open access, peer-reviewed journal UNDERSTANDING BACH. Full text of all articles can be found read and downloaded here. Please visit the site and enjoy articles by Stephen A. Crist, Gergely Fazekas, Michael Maul (translated by Barbara M. Reul), Stacey Davis, Harry White, Noelle Heber, and Hannah French, and the editorial by volume editor Richard D. P. Jones, with co-editors Barbara M. Reul, Ruth Tatlow, and Yo Tomita.

Dialogue Meeting July 2017

A reminder that our eighth biennial DIALOGUE MEETING will be held at Madingley Hall, Cambridge, England between 11-14 July. Discussion on the latest research subjects will be led by leading international scholars. The draft programme and registration can be found here. All are welcome. Do consider joining us, and telling friends about our activities.

Best wishes,
Ruth Tatlow
Chair of BNUK Council
Copyright © 2017 Bach Network UK, All rights reserved.

New issue of ABS's Bach Notes

Evan Cortens wrote (April 12, 2017):
I thought list members might be interested to know that the latest edition of the American Bach Society's newsletter Bach Notes has just been published, and is available for free online, at: http://americanbachsociety.org/bachnotes.html.

This issue features contributions from David Yearsley, Moira Hill, and David Schulenberg, plus announcements of the Scheide Grant winner, several conferences and member news. There's also a fun announcement about the "Bach shark"--you'll have to read it for yourself!

Jane Newble wrote (April 12, 2017):
[To Evan Cortens] hank you Evan! That looks like some very interesting reading, and I skipped quickly to the end to read about the Bach shark first....

Thank you for sharing the link!

Ring of Cantatas from the Leipzig BachFest

Razman Georgescu wrote (June 25, 2018):
Good morning, Bach lovers!

I wanted so bad to go to Leipzig to that Bach festival but I simply couldn't. I wonder if there is anybody who could write here some impressions. It should be very interesting to know I have I missed...:)

Thank you a lot!

Have a great week, folks!

Alan Bruguières wrote (June 25, 2018):
[To Razvan Georgescu] I was there, and I was planning to write something on my impressions, I'll do it as soon as I have a little time.

Razman Georgescu wrote (June 25, 2018):
[To Bruguières Alain] Great, thanks! I can hardly wait!

Frederico Cardillo wrote (June 25, 2018):
This is my first email to the group. I would like to give a little account of my personal experience of the Cantatas Ring in the BachFest in Leipzig.

It was my first time participating in the BachFest and I came to know it was the first time they did something like the Cantatas Ring. It consisted of one weekend full of concerts of Bach Cantatas, 30 Cantatas being more precise, performed by the greatest Bach interpreters - 3 concerts by Gardiner, 2 by Koopman, 2 by Suzuki, and one or two by Rademann. It was 18 hours of concerts in two days! So it was something very demanding. But although it was demanding, it was a great experience, something impressing that I will not forget. It is beautiful to listen to Bachs music in the churches where he performed for a great time of his life. I recommend it for every Bach lover, the next time they do it (I don't know when they will do something like that again. I think they were collecting impressions from the participants, so they can know if it was too demanding, too boring or things like that). Apart from the music the organizers also gave little lectures about the cantatas of Bach. So the days were full of events, with little time to do other things like visiting the Bach museum or doing city sightseeing. These things could only be done in the days after the Cantatas Ring.

Well, I was already a fan of the interpretation of Suzuki and Koopman and their musicians, but listening to the concerts and reading what he has written about thcantatas (there was a book you could buy in that texts about the cantatas were written, and also the lyrics of the cantatas were present) I came to appreciate Gardiner very much. But a high point of the whole event was the concert given by Rademann. It was a total surprise and the music touched me profoundly for the sensitivity and the great expression of emotion he put on it. It was very, very beautiful, and everyone applauded so much that he gave a bis.

Well, the event was a success for me, and I hope they organize something similar another time. The event was very well organized.

Bob Cornfield wrote (June 25, 2018):
[To Frederico Cardillo] I am grateful for your report.

I was unable to attend, and am hoping that I can next year, hoping too they repeat this marathon!

What you have to tell is very encouraging.

Razman Georgescu wrote (June 25, 2018):
[To Frederico Cardillo] Thank you for the very nice review, Frederico! Maybe next year we should organize a reunion of Bach Cantatas Website friend while we get together in Leipzig . We should meet, shake some hands and talk about the beautiful passion we share. What do you think, Aryeh?

Re: Bach Network Dialogue Meeting

William Hoffman wrote (July 21, 2019):
The just-held, biennial 2019 Ninth Johann Sebastian Bach Dialogue Meeting of the Bach Network (UK), July 8-13 (https://www.bachnetwork.org/dialogue/DM9Programme.pdf), was an exemplary gathering of Bach scholars, students, aficionados, and fans at historical, picturesque Madingley Hall, Cambridge. Using its unique dialogue format, the week-day conference produced important discussions involving leading Bach scholars, emerging specialists, commentators, and early career doctoral candidates in sessions of roundtables, conversations, forums, and recital-lectures. A veritable plethora of subjects from a record 82 registrants included new Bach projects such as the Bach 333 Complete Edition of recordings, the Bach Archiv Leipzig (BAL) forthcoming BWV³ works catalogue due in 2020 and various new Bach publications, as well as an interview with leading Bach scholar Christoph Wolff, a panel discussion on musical authorship and agency, a panel from the BAL on "New Research Questions and Approaches for Bach Studies," and various learned presentations ranging across the spectrum of Bach studies.

The five-day event was in strong contrast to usual conferences such as the American Musicological Society annual meetings and the alternating biennial American Bach Society (ABA) academic, thematic event at different universities. The ABS uses the long-established musicological tradition of a closed group of certified scholars choosing papers to be delivered on esoteric subjects often from favored students and members, presumably to be published in its in-house biennial Bach Perspectives. In contrast, the Bach Network environment is immediate, open, accessible, stimulating, and gratifying. The location is crucial as it affords the opportunity for a pan-European and-beyond gathering of the latest inquiries, studies, and research. During the numerous breaks, those at Madingley engaged in conversational dialogue as the enthusiasm ran at fever pitch with the participants engaged in a great breadth and depth of Bach studies.

Particularly notably is a wave of recent, new, and forthcoming books. These include Wolff's announcement of his first major publication in twenty years, since his hallmark biography, Bach: the Learned Musician, became a best-seller. In an evening conversation with recording specialist and Bach music chronicler Nicholas Kenyon, Wolff said he had just submitted to his publisher, W. W. Norton, a study of major works, "Bach's Musical Universe: The Composer and His Work," to be published 3 March 2020 (https://www.amazon.com/Johann-Sebastian-Bach-Composer-Music/dp/0393050718). These include the Orgelbüchlein, Inventions & Sinfonias, Chorale Cantata Cycle, Clavierübung, the oratorios, Art of Fugue, and B-Minor Mass, as well as the Well-Tempered Clavier, violin and cello solos, Brandenburg Concertos and St. Matthew Passion. Wolff spent time talking abut his early studies emphasizing the medieval period and Bach's organ works while having an interdisciplinary background in the humanities such research on Bach's library. Wolff attended all of the initial 14 sessions and during questions and commentary provided concise wisdom and insight.

Other publications involve discussions of two just-released volumes from Wayne Leuplod of the Derek K. Remeš pioneering figured bass chorales for teaching and the Sibley Choralbuch, Realizing Thoroughbass Chorales in the Circle of J.S. Bach Vol. 1 and Vol. 2 (https://www.wayneleupold.com/new-releases.html); Stephen Rose's just-published Musical Authorship from Schütz to Bach with chapters on invention and imitation; Eberhard Spree's just-published study of widow Anna Magdalena Bach, Die verwitwete Frau Capellmeisterin Bach. Studie über die Verteilung des Nachlasses von Johann Sebastian Bach, that shatters the Romantic myth of poverty to show a shrewd businesswoman; Tatiana Shabalina's breakthrough pending‘Texte zur Music’ in Sankt Petersburg: Gedruckte Quellen zu Werken von J. S. Bach und anderen deutschen Komponisten des 17. und 18. Jahrhunderts (Leipziger Beiträge zur Bach-Forschung); Bach Network guiding light Ruth Tatlow's recent Bach's Numbers: Compositional Proportion and Significance; and pending publications of Yo Tomita and Richard Rastall: The Genesis and Early History of Bach's Well-tempered Clavier, Book II: a composer and his editions, c.1738-1850 (Aldershot: Ashgate), and Bettina Varwig's edition of essays, Rethinking Bach, from Oxford University Press.

Three of the Bach Network presenters have essays in Varwig's collection: Isabella van Elferen, "Rethinking Affect," https://kingston.academia.edu/IsabellavanElferen; Remeš, “J. S. Bach and the Choralbuch Style of Harmonization: A New Pedagogical Paradigm”; and Michael Marissen, “Bach against modernity”; as well as Ellen Exner's "Rethinking 1829." Exner revealed that she is writing a guide book to the St. Matthew Passion, commissioned by the American Bach Society for its new series, ABS Guides, from Oxford University Press, to be announced soon by the ABS to cover monographs of major works. Mark Seow, the Dialogue Administrator, has been announced as the latest reviewer to join the Gramophone team, and continues as the head writer for the Royal Academy of Music's concert series 'Bach the European: From Ancient Cosmos towards Enlightenment' curated by John Butt and Jonathan Freeman-Attwood.

Fugal treatment, keyboard music, and compositional ordering — topics that can engender all manner of musicological acrobatics — were handled with patience, insight, and purpose among several presenters. Harpsichordist Mahan Esfahani presented a lecture recital on "Bach as Reviser and Updater," with various examples, suggesting that versions and redactions involve "informed choices" as opposed to being considered "historically informed" as authentic. Kevin Korsyn and Tatlow examined Bach's last, unfinished fugue (Contrapunctus 14) in Art of Fugue, from the perspective of numerical unity and previous completions, with Korsyn talking pragmatically about "avoiding the tyranny of the downbeat" while looking for Bach's "democratic fugues" using entrances of all four voices; Varwig, van Elferen and Joel Speerstra providing a special perspective on "Bach and Materiality" on materialism and extra-musical influences; Ulrika Davidson and Speerstra opened the meeting with a spell-binding four-hands on all four voices playing various Art of Fugue fugues and showing the long phrases of Bach's cantabile style; and the last session of Yo Tomita showing the compilation of the WTC II in the labyrinth of primary, secondary, and oblique sources of Bach's work in the 1740s with students Johann Altnikol and Johann Kirnberger, as well as sons Friedemann in Halle and Emmanuel in Berlin. Tomita's three-decade pursuit of the WTC II suggests that there is extant no definitive version of the collection of preludes and fugues and that Bach may have left the work incomplete or subject to further changes.

Other dialogue meeting topical discussions included "Telemann, Graupner, Fasch and the Thomaskantorat," of learned composers who were offered the Leipzig music director-cantor post but turned it down to remain where they were with increases in salaries, benefits, etc.; Szymon Paczkowski on "New Sources of Musical patronage of Dresden Aristocracy 1700-20," with the emphasis on Prime Minister Jakob Heinrich von Flemming, brother of Joachim Friedrich, Governor of Leipzig, and Bach champion in Pazckowski's book, Polish Style in the Music of JSB; and 28 five-minute flash announcements in two sessions from a potpourri of presenters (see (https://www.bachnetwork.org/dialogue/DM9Programme.pdf). Participants also provided information on recordings, notably Maria Borghesi's 2 CDs on "Bach's Reception in Italy"; the Oxford Bach Soloists doing a 12-year recorded anthology of the complete vocal works (https://www.oxfordbachsoloists.com/oxford-bach-soloists/), while Yo Tomita reports that he is continuing to collaborate with Maasaki Suzuki on liner notes for Suzuki's recordings of the complete Bach keyboard music (https://www.bach-cantatas.com/NVP/Suzuki.htm) and that Suzuki also is revisiting some of the Bach cantatas through rerecordings.

In the field of self-publication, the Bach Network established a precedent in 2006 for on-line annual English language publication of studies it fostered through Understanding Bach, producing 12 consecutive volumes through 2017 of major scholarly findings as well as the work of student scholars that continues in the biennial meeting as the Early Career Forum rather than Young Scholars’ Forum. Among the most-recognized articles is Shabalina's initial findings, "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach’s Cantatas," in 2009; her "Discoveries in St Petersburg: New Perspectives on Bach and Poland," in 2014; and her "Activities around the Composer’s Desk: The Roles of Bach and his Copyists in Parody Production," in 2016. Her initial findings she also produced in German for the Bach Jahrbuch. Other exemplary studies involve Christine Blanken's "A Cantata-Text Cycle of 1728 from Nuremberg: A preliminary report on a discovery relating to J. S. Bach’s so-called ‘Third Annual Cycle’," in 2015; Pazckowski's "A Polonaise Duet for a Professor, a King and a Merchant: On Cantatas BWV 205, 205a, 216 and 216a by Johann Sebastian Bach," in 2007; the publication's founder, Ruth Tatlow, for her extensive studies of Bach's numerical organization; Tomita's research into the WTC II, and Peter Smaill's "Bach among the Heretics: Inferences from the Cantata Texts," in 2009. Other contributors of stature include Wolff, John Butt, Elferen, Michael Maul and Peter Wollny, Stephen A. Crist, and many others.

Unfortunately, the annual publication effort took its toll, despite changing editorship and editorial board members, as editorial scholars involved in soliciting, reading, and peer-reviewing, such as Tatlow, Tomita and others, had to curtail their own work. Perhaps, Understanding Bach, could return on a more limited, biennial basis alternating with the dialogue meetings and the network's participation in the International Biennial Conference on Baroque Music. To come will be the organization's participation in the Bachfest in Leipzig in June 2020, and the return of the dialogue meeting, July 19-24, 2021, at Madingley.

Concerts of Cantatas, Bach Festivals, Conferences Discussions - Part 3

William Hoffman wrote (August 1, 2019):
BACHFEST
"BACH - We Are FAMILY", 11.- 21. June 2020. Thirty Bach ensembles presenting 65 chorale cantatas in 19 concerts.
https://www.facebook.com/search/top/?q=bach%20network&epa=SEARCH_BOX

William Hoffman wrote (August 2, 2019):
https://www.bachfestleipzig.de/sites/default/files/files/Vorschau_2020_Netz_Doppelseiten.pdf

CFP: Baroque Voices conference at Las Vegas Baroque Festival

Jonathan Rhodes Lee wrote (November 19, 2019):
Below is a call for papers for an upcoming conference in April 2020 in Las Vegas, Nevada, sent to me by Jonathan Rhodes Lee, Ph.D. Any proposals for Bach-related presentations would be most appropriate and welcome at the conference!

The Las Vegas Baroque Festival is pleased to announce its conference on April 2–5, 2020 at the University of Nevada, Las Vegas. Our theme is “Baroque Voices.” The Program Committee welcomes proposals for 30-minute slots from diverse perspectives and formats, including individual papers, multi-presenter panels, discussion forums, lecture-recitals, etc. Harpsichords and a fortepiano will be available, and our concert organ or a positiv can be used if necessary. The theme itself may be broadly interpreted. Possibilities include, but are not limited to, the following:

• Baroque composers’ treatment of the human voice
• Baroque singers and their education, technique, ornamentation, personas, etc.
• Baroque vocal repertoires
• The notion of personal voice in the baroque period (composerly voice, women’s voices, minority voices)
• Themes of voice in musical works or institutions (the “voice of the King,” the “voice of the people”)
• Performance practice
• Instruction and pedagogy
• Programming and practical concerns for current performing groups

Submission deadline for proposals is December 14, 2019. For more details on the conference and submission procedure, please see the Facebook page or website, or email Jonathan R. Lee

--
Jonathan Rhodes Lee, Ph.D. | Assistant Professor, School of Music
University of Nevada, Las Vegas

Most exciting Bach performances of the past decade

Aryeh Oron wrote (December 20, 2019):
As we are approaching the end of the decade (2010-2019), it is about the time to ask you all, members of the BML:

What was the most exciting Bach performance you have experienced in the past decade?
The event may be a live performance, recording, and even YT video.

I have two: one in 2010 and one in 2018, both in the same place. Those who were there know what I am talking about. More details would be given after hearing your experiences.

Awaiting your response.

Luke Dahn wrote (December 20, 2019):
One performance immediately comes to my mind, and it's a performance that I deeply regret not having attended. I first read about Yo-Yo Ma’s December 2017 performance of the Six Cello Suites at the Hollywood Bowl in Alex Ross’s New Yorker article of notable performances from that year. Here is how he described it:
“Ma was a mere dot in the middle distance. Video screens on either side of the shell provided closeups of his playing and of his famous grin, but, for the most part, I looked out at the sandy-brown landscape, at the glimmer of far lights, and, most of all, at the crowd, which filled all but a few of the Bowl’s more than seventeen thousand seats. Almost no one made a sound. Almost no one moved. When a large audience is listening intently, it creates an atmosphere that cannot be measured or recorded, only remembered. Here, it was as if music had stilled the world. […]
The huge, serene company at the Bowl was another matter: it was under the spell of a solitary searcher in the dark. One of the only sounds I heard around me was someone quietly sobbing.”
https://www.newyorker.com/culture/2017-in-review/notable-performances-and-recordings-of-2017

On his blog site, Ross linked a short YouTube clip taken by a cell phone of the heart-wrenching, gorgeous Sarabande from the Eb major Suite, which I have since listened to literally hundreds of times. It’s unbelievable that 17,000 people are in attendance here! You could hear a pin drop (along with a few crickets). It’s amazing what comes through from a cell phone video clip.
https://www.youtube.com/watch?v=YsKRWRbRPeA

In his review of the event, LA Times critic Mark Swed said this of the sarabandes: “The slow sarabande movements are the emotional heart of each of suite, and Ma made them sing like the most penetrating arias in Bach’s cantatas and passions, sorrow so excruciating that it becomes oddly liberating.”
https://www.latimes.com/entertainment/arts/la-et-cm-yo-yo-ma-bowl-review-20170914-story.html

I wonder if any BML members were at this concert. I am so very jealous.

Eric Basta wrote (December 20, 2019):
I would have to say in a decade of great concerts (Bach and others), one that i keep coming back to is Andras Schiff performing The WTC I & II at Disney Concert Hall in 2012. Words fail how deep the music was diving during those nights.

Julian Mincham wrote (December 21, 2019):
Andras Schiff playing the WTC Book 1 at the London Proms (about three years ago) and book 2 the following year. Both from memory and both to an audience of around 6000 in the Albert Hall. An honorable mention to John Butt who, this year conducted the four orchestral suites, again in a packed Albert Hall, separated by four short works inspired by the suites, by contemporary composers.

And a stunning performance of the SJP by Paul McCreesh in Weimar in June 2010, with only 8 singers and a band of 'contemporary' instruments. The audience were too stunned by the experience to applaud for some minutes at the end.

Thierry van Bastelaer wrote (December 21, 2019):
My selections, from the comfort of your own home:

Bach Messe h-moll BWV 232 Mass B minor Sir John Eliot Gardiner

Gardiner prova Bach - Cantata bwv63 (07)
(Yes, more than 10 years old and the ratio is wrong, but these hands sing)

J.S. Bach - Cantata BWV 36 Schwingt freudig euch empor | 7 Aria (J. S. Bach Foundation)
(Nuria Rial at her best. The oboist's smile at 3:41 says it all)

J.S. Bach - Nuria Rial sings cantata BWV 49 "Ich geh und suche mit Verlangen" (J.S. Bach Foundation)
(Another sublime moment with Nuria Rial starts at 15:35. Watch "when I get into Heaven" at 18:45)

Bach - St Matthew Passion BWV 244 - Van Veldhoven | Netherlands Bach Society
And basically everything on The Netherlands Bach Society's All of Bach.)

Enjoy, and Happy Holidays to all.

And thanks, Aryeh, for everything you do every day for Bach lovers worldwide.

Thierry
Bach Coffee and Cantata Meetup, Washington DC

Niels Brandt wrote (December 21, 2019):
What springs in mind is several concerts with Collegium Vocale Gent and Philippe Herreweghe in Bruges (Belgium) during Bach Academie in January, which we have attended 4 or 5 times. I especially remember the Cantata "Ich elender Mensch" and it's unique opening choir, which made a huge impression on me.

Another great concert was in Oslo (Norway) a few years ago during the Church Music Festival: The St John Passion with Balthasar-Neumann-Choir and Thomas Hengelbrock. Sitting on first row I felt being surrounded by the highly dramatic events unfolding. Michael Nagy WAS Jesus Christ !

And although missing last decade by 2 or 3 weeks: King's Singers with WDR Big Band in Hamburg's Laeiszhalle performing The Christmas Oratorio. So wonderful, and not to forget, funny !
https://www.youtube.com/watch?v=b9j5r_tuQPo

Happy Christmas to all !

William Hoffman wrote (December 22, 2019):
Like the ubiquitous Shakespeare festivals, Bach festivals in New Mexico and Colorado have come and gone in the 21st century, leaving fewer opportunities to experience masterpieces live. In the first two decades, various activities flourished, including the Boulder Bach Festival, the Santa Fe Pro Musica Bach Festival, the Smithsonian Players, the New Mexico Symphony and Chorus and the Bach Project at Albuquerque St. John's United Methodist Church. Where each season brought at least one production of a major Bach work, the specter of increasing costs and challenging economics caused virtually all of them to disappear. Following the void have been only two organizations in the past decade. In 2016, the University of New Mexico Chorus and Orchestra presented one of the few local productions of Bach's B-Minor Mass, conduced by interim choral conductor Juan Hernández. It was a joy to participate in this music-making first-hand with young, talented performers.

The New Mexico Performing Arts Society with the New Mexico Bach Chorale and Players, directed by Franz Vote (https://www.newmusicusa.org/profile/new-mexico-performing-arts-society/, presents concerts in Santa Fe and Albuquerque at Lent with selections from the John and Matthew Passions and at Christmas with the Shepherds Adoration Cantata from the Christmas Oratorio, with a group of talented semi-professional singers and a small ensemble with piano. On occasion, the New Mexico Philharmonic presents chamber music concerts with Bach concertos while like other organizations does a major choral concert favoring Carl Orff's "Carmina Burana" to pack the concert hall, as well as multiple annual "Messiahs" and "Nutcrackers." This means that Bach fans now must accept all manner of recordings and media broadcasts to fill the resounding live void, as well as the Bach Website. In 2018, the commendable Bach the Music, Bach 333, the J. S. Bach New Complete Edition (Berlin: Deutsche Grammaphon, https://www.bach333.com) at $500 yielded a range of recordings with liner notes from Nicholas Kenyon and fine essays from the Bach Arkiv Leipzig. A transcription radio service also is available, "Sunday Baroque" (https://sundaybaroque.org)

Jeffrey Solow wrote (December 24, 2019):
2 recorded performances that gave (and give) me great pleasure:

Cantata BWV 169 "Gott soll allein mein Herze haben" with the Switzerland Choir and Orchestra of the J. S. Bach Foundation
Rudolf Lutz - conductor; Claude Eichenberger - alto
https://www.youtube.com/watch?v=urh1YM1LSmk&feature=emb_err_watch_on_yt
As I noted in a YouTube comment, the performance features baroque period instruments played with beauty, virtuosity, taste, and classy style - not full of annoying “period” mannerisms!

Hilary Hahn performing the Andante from the Sonata in A minor, BWV. 1003
https://www.youtube.com/watch?v=RAWbNqOWrKs
Magical playing!

My favorite Bach ‘print’ performance is John Elliot Gardiner’s 2013 book, “Music in the Castle of Heaven.”

Lastly, I feel an especial satisfaction with my own 9 (so far) cycles of the 6 Suites for Cello at Bargemusic in New York.

Aryeh Oron wrote (December 25, 2019):
In June 2010 I heard the Mass in B minor performed by J.E. Gardiner and his Monteverdi Choir & English Baroque Soloists at the Thomaskirche on the closing concert of Bachfest Leipzig 2010. A week later I wrote to the BCML:
"That was the strongest musical experience I have ever had".
We were 6 people who had come from Israel especially for thisconcert; all of them shared similar feelings. I am still poisoned by that performance, meaning that every performance of the Mass in B minor I have heard since than suffer from the comparison to that once-in-a-lifetime experience.
During the Bachfest I also met some friends from the Bach Mailing Lists, among them the dear Elizabeth Schwimmer, harpsichordist/pianist/conductor, and founder and main organizer of the BachFest Cochabamba in Bolivia. She passed away in May 2018.

A month later I attended again the Bachfest Leipzig. This time to hear the mini-cycle of 30 something Cantatas performed by four of the supreme Bach conductors of our time: J.E. Gardiner, T. Koopman, M. Suzuki and H.C. Rademann. That was another unforgettable experience from which I have not yet recovered. Every performance of every cantata transcended the recorded rendition of the same cantata by the same conductor. However, the single movement I would cherish is the chorus "Weinen, Klagen, Sorgen, Zagen" from Cantata BWV 12 conducted by J.E. Gardiner. The link to the Mass in B minor under his baton I heard 8 years earlier is obvious.
The bonus to these performances was meeting face to face some friends from the Bach Mailing Lists. I wonder if they share my impression of these concerts.

Happy New Year!

Zachary Uram wrote (December 26, 2019):
I would like to wish everyone a very Merry Christmas and a Happy New Year!

Razvan Georgescu wrote (December 26, 2019):
Being in the audience for a consistent Bach music performance can be a lifting and intensely spiritual experience. But performing Bach is beyond all I know.

In last 10 years I sung Bach many times.

I remember Johannes Passion and then Mattheus Passion at Sibiu, Romania, inside of a wonderful Lutheran church, filled with people. As I performer I can sense easily when the audience is connected with you and there was no one in the church that have moved in their chairs. That sense of stillness, of sinking in music was amazing. It was, both times, an ambiance of serenity, of a spiritual density, of warmth and comfort, of such a out-of-this-world sensation that time seems to stop. At the end, I had tears in my eyes, and not only me. The public was not able to applaud, for tens of seconds. And then it was an explosion.

It was, for sure, the most intense moments in my artistic life and definitely, the closest to God I have ever been.

Thank you JSB, my humanly God.

Ralph Johansen wrote (December 26, 2019):
This is an interesting thread. Since I live in a remote part of coastal northernmost California, I don't get around much anymore to live performances.

However, In the last couple of weeks online I have come across some of the most inspiring performances I have ever heard of the works of Bach, by the Netherlands Bach Society, which I noticed has been going since 1921.

The first that I heard, Joseph Van Veldhoven conducting the SJP, made me want to stand up and cheer at its completion, much as I did when I first heard Toscanini's performance of Brahms's Symphony #2 (last movement especially, on 78 years and years ago, https://www.youtube.com/watch?v=xfw81A1iSH4. I just listened to Toscanini and the Philharmonia's performance again, and while it's very vigorous, vibrant and convincing I don't quite see why I was so excited about it when I was in my 20s).

The soloists and others in this NBS SJP are, apparently except for the principal instrumentalists, 35 or under, an assemblage of very enthusiastic, talented, promising artists, all obviously highly inspired in their performances. Also, there's an engaging set of interviews and comments by the participants on the website.

The second was the performance by the same group, different soloists, of the B Minor Mass. I know of no better rendition, and I've heard most of what's out there. Same for the SJP. These NBS performances are all available on the website of the group which for those who may not know has been named All of Bach https://www.bachvereniging.nl/en/allofbach. Its' an impressive array, which makes me wonder why Van Veldhoven isn't more commonly considered up there among the top roster of interpreters of the vocal music of Bach like Gardiner, Herreweghe, Suzuki, Richter, Koopman, Parrot, Harnoncourt, McCreesh, Junghanel, etc. (Or maybe he is and I just don't know about it).

Best wishes to all in the coming year.

Bach and Italy

William Hoffman wrote (January 11, 2020):
Here is an abstract of the Bach Network biennial Dialogue Meeting, July 19: <<Bach Reception in Italy 1950–2000: A Global View
MARIA BORGHESI (DRESDEN). This paper is based on my doctoral dissertation ‘J. S. Bach’s Reception in Italy (1950–2000): Words, Sounds, and Ideas’. Itaims to identify how Italian cultural peculiarities affected the process of reception of Bach’s music and Bach as a figure, and to consider the impact of the debates around the Kantor in the Italian definition of ‘Germanic’. The study focuses on musical educational, scientific and popularising bibliography, and on the broad panorama of live and recorded performances. https://www.bachnetwork.org/dialogue/DM9Programme.pdf>>.

Chiara Bertoglio wrote (January 11, 2020):
[To William Hoffmann] Thank you for this! Indeed, Dr Borghesi is the cofounder of www.jsbach.it Together with myself and one of the members of the Conference Committee for the “Bach and Italy” international Conference. Thanks for bringing her research to the attention of this mailing list!

Report: Australian Bach Society, Melbourne Bach Forum July 2014

Zachary Uram wrote (March 9, 2020):
https://www.academia.edu/10505188/Report_Australian_Bach_Society_Melbourne_Bach_Forum_July_2014?email_work_card=view-paper

Self Intro

Michael Hochgartz wrote (April 6, 2020):
https://www.bachfestleipzig.de/en/bach-festival/passion-proof-against-pandemic

Online Bach Cantata Listening Group - Join Us!

Thierry van Bastelaer wrote (April 6, 2020):
In these difficult times, Bach's music once again shows us its extraordinary ability to echo and amplify every human emotion.

One Sunday a month (at 10 am EST/15h BST/16h CEST/17h IDT/22h MYT), Bach cantata lovers gather online to listen to and discuss the works that Bach wrote for that day in the Lutheran calendar. Translations and scores are provided, as well as historical, personal and musical details about the works featured.

Interested in joining us? Sign up at https://www.meetup.com/Bach-Coffee-and-Cantata/.

Bach Fest Leipzig cancelled

Johan van Veen wrote (April 7, 2020):
Bach Fest Leipzig was cancelled on Monday:
https://www.l-iz.de/kultur/musik/2020/04/Wegen-Corona-Bachfest-2020-in-Leipzig-abgesagt-325295

Jeffrey Solow wrote (April 7, 2020):
[To Johan van Veen] ...from 1904:

<Pic-Topics/Julius-Klengel-1903>

The 1904 Leipzig Bach Festival included a performance by cellist Julius Klengel (1859-1933) of Bach’s fifth Suite, reviewed by Charles Maclean:

“Julius Klengel’s tour de force, Bach’s No. 5 Suite in C minor for violoncello solo, was wholly astonishing. Those dreary violin solos (a twelfth higher), with the performer struggling with four-part chords which exasperatingly upset the rhythm at every other bar, are known to patient concert goers, and it is a pity they ever leave the class-room. Here there was no such sense, and perhaps Klengel also had a rather flat bridge. He gave twenty minutes of this without a flaw of intonation, and one would not have wished it a minute shorter.” [Maclean (1904): 734-5]

Dr. Charles Maclean (1843–1916)
Classical scholar and organist, Exeter College, Oxford. Studied muscomposition in Cologne under Ferdinand Hiller. Director of music, Eton College, 1871-1875. Son of classical scholar Rev. A. J. Maclean. Father of composer Alexander Morvaren Maclean.

Eduard van Hengel wrote (April 9, 2020):
Tomorrow, Good Friday at 3.00 pm (CEST) in St Thomas Church in Leipzig an extraordinary St John Passion will be performed under Corona conditions: by three musicians, the harpsichordist Elina Albach, the percussionist Philipp Lamprecht and as the only vocalist the tenor Benedikt Kristjánsson, taking all the roles and texts and conducting the public in the chorales.
I attended this performance two years ago in Weimar and was deeply impressed.
More details at: https://www.bachfestleipzig.de/en/bach-festival/passion-proof-against-pandemic

Festival Early Music Utrecht 2020 cancelled

Johan van Veen wrote (April 17, 2020):
As expected, the Festival Early Music Utrecht 2020 has been cancelled.
https://oudemuziek.nl/festival

Bachfest Leipzig 2020 - "marathon light"

Michael Hochgartz wrote (June 12, 2020):
https://www.youtube.com/watch?v=FuZZvscn0xU

Niels Brandt wrote (June 12, 2020):
[To Michael Hochgartz] Thanks Michael,

Would have been in Leipzig by now, had the Bachfest not been cancelled.

Thanks for making us aware of the Bach Marathon taking it's place this year.

So it will be 2 great weekends with Bach anyway !

Michael Hochgartz wrote (June 12, 2020):
[To Niels Brandt] Thanks Niels,

I had booked a holiday for yesterday's symposium in honor of Christoph Wolff. I hope it's just postponed.

Some backgrounds (for german readers) about the next very exciting week:
https://www.bachfestleipzig.de/de/bachfest/bersicht-ber-die-konzerte-des-bach-marathons
https://www.mdr.de/kultur/videos-und-audios/audio-radio/bach-marathon-audio-100.html

TV : concerts celebrating Bach

Marc Genevey wrote (July 29, 2020):
Lots of events to celebrate Bach's death 270th anniversary on Arte TV: https://www.arte.tv/fr/videos/RC-019919/bach-superstar-du-baroque/
I am currently listening to the concertt with Goerne, Frang and Altstaedt for the second time in a row... Top-notch performance !!

Don't miss these

Bach Fest 2021: Bach "Messiah" Cycle

William Hoffman wrote (May 8, 2021):
The Bach Archiv Leipzig has just announced another ambitious Bach Fest for 2021 with a livestream of Bach's "Messiah" cycle of 12 concerts in five days with distinguished performance forces, June 11-15 (https://www.bachfestleipzig.de/en/bachfest/statement-regarding-2021-bachfest). This "Messiah" cycle of vocal music will feature 33 selected cantatas, the St. Matthew Passion and the Christmas, Easter and Ascension oratorios on the various Christological phases in the ministry of Jesus Christ. These involve the promise (advent), birth, and formative childhood, baptism and calling of the disciples to the public sermons, parables, and miracles to the entry into Jerusalem and Passion, and, finally, Easter, Johannine farewell to the disciples, Ascension and Pentecost (https://www.bachfestleipzig.de/en/bachfest/bach-s-messiah-schedule-livestream).

Michael Maul, Bach Fest music director, assembled this 2021 cycle, "continuing the Ring of Cantatas concept presented at the 2018 Bachfest, but extending it in numerous respects," says the Bach Fest (https://www.bachfestleipzig.de/en/bach-festival/introduction-cycle-bach-s-messiah). This includes readings from the "Gospels underlying the cantatas, in Luther’s translation, that "provide the narrative of the action and set the cantatas in their biblical context," a related series of talks on Bach's "Messiah" cycle, in concerts with a range of participating musicians. The concept of a Bach "Messiah" cycle was previously described in scholar Christoph Wolff's Bach's Musical Universe: The Composer and His Work, Chapter 6, "A Grand Liturgical Messiah Cycle: Three Passions and a Trilogy of Oratorios" (New York: W. W. Norton, 2020), Amazon.com). This cycle involves Bach's three extant Passions (1723-31) and the three sacred dramas of the Christmas, Easter and Ascension Oratorios (1735-38), involving "the four major Christological feasts of the ecclesiastical year" (Ibid.: 193), "covering the same thematic range" in Handel's Messiah: Christmas birth, Good Friday Passion, Easter Sunday Resurrection, and Ascension into heaven. In the spring of 1725, Bach presented a Johannine Christological trilogy of the John Passion, the Easter Oratorio, and the Jesus Farewell Discourse in the Easter-Pentecost season mini-series of nine cantatas set to texts of Leipzig poetess Christiane Mariane von Ziegler. A full Bach Christological Cycle of church works could also involve the Latin Church music of the Mass Ordinary and the Magnificat in Christ's pre-birth conception and incarnation as well as the free-standing liturgical plain chorales, BWV 253-435. As part of a well-ordered church music, this cycle also has correspondences with Christological observances celebrated in the church-year cantata cycles: the three Marian feasts of the Presentation, Annunciation, and Visitation, the apostles and saints feasts of John the Evangelist and John the Baptist, the Transfiguration of the Lord, Palm Sunday, and the apocryphal feast of Michael and All-Angels (source, http://www.bach-cantatas.com/Topics/Christological-Cycle-Summary.htm).

Bach Fest 2021: Bach "Messiah" Cycle

William Hoffman wrote (May 21, 2021):
Bach at Home: Concert details, https://www.bachfromhome.live/all-events
More details: https://www.bachfromhome.live/home-en

Baroque livestream concert from Ghent today and tomorrow Festival website: http://www.cydonia-barocca.org

Kim Patrick Clow wrote (May 22, 2021):
Free Livestreamed baroque festival today and tomorrow!
Cydonia Barocca 2021 - 22-23 May
For all fans of #Graupner, #Telemann and #Bach works for and including the bassoon there is an unmissable weekend of music. Cydonia Barocca is a baroque festival established by music academic, harpsichordist and conductor Florian Heyerick, which takes place in Ghent, Belgium. Each edition focuses on particular instrument. In 2021 it is the bassoon's turn. An international cast of bassoonists will descend on Ghent and perform chamber music, concertos and cantatas by the three German composers who wrote so much for the instrument. The great news is that the festival is going to be streamed online at www.soundofghent.be.
The programme is on the festival website (http://www.cydonia-barocca.org/ ). As it is in Flemish I have translated it (N.B. I am not responsible for errors; I have nothing to do with the organisation of this festival) and copy it below. Included are links to the works for those (like me) who like to follow proceedings in detail.

SATURDAY 22 MAY (ALL TIMES CEST)

10:00 - Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Telemann - Sonatina for bassoon and continuo, TWV 41:a4 (Score: https://imslp.org/index.php... )
Graupner - Bassoon Concerto in C, (GWV 301) (Score: https://imslp.org/index.php... )
12:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - „Komm, Herr, rette Dein Geschöpfe" for Bass, Bassoon, Strings and Continuo from the Cantata „Hebet eure Augen auf gen Himmel”, GWV 1102/40 (For the 2nd Sunday of Advent 1740) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... )
Telemann - Sonata in f for bassoon and continuo TWV 41:f1 (Score: https://imslp.org/index.php... )
14:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Telemann - Triosonata in F for violin, bassoon and continuo, TWV 42:F1 (Score: https://imslp.org/index.php... )

Telemann - Sonata d for bassoon, 2 flutes and continuo, TWV 43:d1 (Score: https://imslp.org/index.php... )
16:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - "Steigt und strömt, ihr Tränenquellen", aria for bass, 2 flutes, 2 oboes, strings and continuo from the cantata GWV 1127/26 "Wisset ihr nicht dass auf diesen Tag" (Good Friday, 1726) (Score: https://imslp.org/index.php... )
Graupner - "Beuge dich, sündhaftes Herze", aria (andante) for soprano, bassoon, strings and continuo and "O Herr, mein Gott, vergib's mir doch", chorale (largo) from the cantata GWV 1160/53 "Wohl dem die Übertretungen vergeben sind", (19th Sunday after Trinitatis, 1753) (Text and link to manuscript: https://christoph-graupner-gesellschaft.de/details-einer... )
18:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
|Graupner - "Es ist genug", aria for soprano, bassoon and continuo from the cantata GWV 1148/11 "Liebster Gott vergisst du mich" (7th Sunday after Trinitatis, 1711) (Score: https://imslp.org/index.php... )
Telemann - "Abscheuliche Tiefe des großen Verderbens", cantata TWV 1:1 for the Sunday after Christmas for alto, recorder, bassoon and continuo (Score: https://imslp.org/index.php... )
Graupner - "Sündensklaven, hört!", aria for soprano, (flute, oboe), strings and continuo from the cantata GWV 1166/39 "Es wird grosse Not auf Erden sein" (25th Sunday after Trinitatis, 1739) (Score: https://imslp.org/index.php... )
20:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
J.S. Bach - "Du mußt glauben, du mußt hoffen", aria for alto, tenor, bassoon and continuo from the cantata BWV 155 "Mein Gott, wie lang, ach lange?" (2nd Sunday after Epiphanias, 1716/24) (Score: https://imslp.org/index.php... )
J.S. Bach - "Dein Name gleich der Sonnen geh", aria for bass, agot and continuo from the cantata BWV 173a "Durchlauchtster Leopold" (birthday cantata 1722) (Score: https://imslp.org/index.php... )
J.S. Bach - "Seid wachsam, ihr heiligen Wächter", aria for alto, tenor, bassoon and continuo from the cantata BWV 149 "Man singet mit Freuden vom Sieg" (Michaelis, 1728) (Score: https://imslp.org/index.php... )
J.S. Bach - "O du angenehmes Paar", aria for bass, oboe, bassoon, strings and continuo from the cantata BWV 197 "Gott ist unsre Zuversicht" (Marriage cantata, ca. 1736) (Score: https://imslp.org/index.php... )
22:00
J.S. Bach - "Jesu, Retter deiner Herde", aria and chorale for tenor, bassoon and continuo from the cantata BWV 143 "Lobe den Herrn, meine Seele" (New Year, 1713?) (https://imslp.org/index.php... )
J.S. Bach - "Nach dir, Herr, verlanget mich", cantata BWV 150 (Arnstadt 1704-08) (Score: https://imslp.org/index.php... )

SUNDAY 23 MAY (ALL TIMES CEST)

10:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Telemann - Sonatina seconda for bassoon and continuo, TWV 41:c2 (Score: https://imslp.org/index.php... )
Graupner - Trio Sonata for chalumeau, bassoon and continuo, GWV 201 (Score: https://imslp.org/index.php... )
12:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - "Gott ist treu", aria for soprano, bassoon, strings and continuo from the cantata GWV 1117/40 "Befleissige dich Gott zu erzeigen" (Septuagesima 1740) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... Modern Edition: https://imslp.org/index.php... )
Graupner - Bassoon Concerto in c, GWV 307 (Score: https://imslp.org/index.php... )
14:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - "Herr und König", aria for bass, viola, bassoon, strings and continuo from the cantata GWV 1101/40 "Kommet lasset uns anbeten" (1st Advent, 1740) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... Modern edition: https://imslp.org/index.php... )
Telemann - Double Concerto for recorder and basson in F, TWV 52:F1 (Score: https://imslp.org/index.php... )
16:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - "Ach bleib bei uns Herr Jesu Christ", cantata GWV 1129/46 for SATB, 2 bassoons, strings and continuo (2nd Easter, 1746) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... Modern edition: https://imslp.org/index.php... )
Graupner - Aria (S) - aria (S) - aria (, for 2 bassoons, strings and continuo from the cantata GWV 1174/20 "Preise Jerusalem den Herrn" (Birthday cantata, 1720) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... )
18:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Graupner - Triple Concerto in C, GWV 306 for chalumeau, bassoon, violoncello, strings and continuo (Score: https://imslp.org/index.php... )
Graupner - "Schlecht und recht!", aria for bass, 2 bassoons, strings and continuo from the cantata GWV 1158/36 "Der Gottlose lauert im Verborgenen" (17th Sunday after Trinitatis, 1736) (Text and link to Graupner's manuscript: https://christoph-graupner-gesellschaft.de/details-einer... )
20:00 Free live stream here: https://hogentschoolofarts.createsend1.com/.../i-l.../
Telemann - "Kommt, verruchte Sodomsknechte", cantata TWV 1:1014 for SATB, 4 bassoons, strings and continuo (10th Sunday after Trinitatis)
22:00
Telemann - "Gott, schweige doch nicht also", cantata TWV 1:678 for SATB, 2 oboes, 3 bassoons, strings and continuo for Sunday Judica from the "Französischer Jahrgang" (Frankfurt, 1714/15) (Score: http://sammlungen.ub.uni-frankfurt.de/.../pageview/10413707 )
Festival website: http://www.cydonia-barocca.org

William Hoffman wrote (June 11, 2021):
Concert programs (wth biblical readings, some cantatas selections only):

Promise, 6/11: BWV 61, 23, 1, 10
Birth, 6/12: BWV 248/1-3
Birth, 6/12: BWV 248/4-6
Childhood, baptism and calling of disciples, 6/13: BWV 616, 82, 154, 7, 88
Sermon on the Mount and first miracles, 6/13: BWV 635, 298, 187, 72, 48
Jesus' parables and miracles I, 6/13: BWV 18, 81, 77, 105
Jesus' parables and miracles II, 6/14: BWV 35, 47, 48, 179
Entry to Jerusalem, 6/14: BWV 617, 159, 182, 46,163
Passion, 6/14: BWV 244
Easter, 6/15: 625, 276, 249, 6
Farrewell to disciples, 6/15: 42, 67, 108, 86, 87
Ascension and Pentecost, 6/15: 11, 34, 74, 127

William Hoffman wrote (June 12, 2021):
There are six YouTube podcast commentaries of Michael Maul, Bach Fest Music director, about the perspective and content selection of the Bach Archiv Leipzig Bach's Messiah Cycle, see YouTube.

William Hoffman wrote (June 16, 2021):
The Bach Messiah Cycle of the Bach Fest concludes June 19 with a concert featuring BWV 21 and 243, Magnificat (Bach from Home: Closing Concert). Michael Maul, director, in his last pre-concert discussion, said that the 2022 festival will feature Bach ensembles throughout the world presenting the entire chorale cantata cycle of 53 cantatas and that possibly in 2024-25, the festival might return to a long, Messiah type cycle. Besides presenting more works from the de tempore first half of the church year on the life of Jesus Christ, the festival could consider works from the omnes tempore second half of the church year which has a pattern of parables, miracles and teachings (see BCW: "Thematic Patterns in Bach's Gospels."

Bach-Archiv * Bachfest Leipzig: 2022 BACH - We are Family

William Hoffman wrote (June 20, 2021):
With the virtual conclusion of the Bachfest Leipzig 2021, plans for the Bachfest 2022 -- "We Are Family" are being revealed:
program (Bach family music, Bach chorale cantatas), https://www.bachfestleipzig.de/sites/default/files/files/BF_2022_Vorschau_Internet.pdf; also interview with Michael Maul, Bachfest director (with English subtitles), Facebook. The Portland Bach Ensemble will be participating and, hopefully, the Bach Cantatas Website.

Bach Network "Discussing Bach 2" (2020), 'Bach and Jesus'

William Hoffman wrote (July 8, 2021):
Bach Network has just published "Discussing Bach 2" (2020), 'Bach and Jesus,' with Bach scholars Noelle M. Heber, Robin A. Leaver, and Michael Marissen. Here is the announcement, Bach Network Mailing List, access Bach Network: Discussing Bach. All three scholars have special interests in Bach spirituality, a topic also being discussed on the Bach Mailing List, beginning with Leaver's Bach Studies: Liturgy, Hymnology, and Theology, BML. Heber's J. S. Bach’s Material and Spiritual Treasures is next on the discussion list, followed by Craig Smith's "Bringing Bach's Music to Life: Essays on Bach's Cantatas." Marissen "is currently preparing, with Daniel R. Melamed, critically annotated new translations of the complete texts of Bach’s liturgical cantatas, secular cantatas, and motets," says Ruth Tatlow, BN founder and chair. Marissen's most recent article is NY Times.

Video- in live discussion. Recorded on 18 August 2021 Discussing Bach 3

Kim Patrick Clow wrote (October 13, 2021):
https://youtu.be/ZzxhLETc8T4

Discussing Bach 3 (October 2021). Visit https://bachnetwork.org/db3 for full contents including Editorial Introduction, Authorised Transcript, two new articles, and a list of further reading and listening.

A fascinating video with participants Steven Zohn, Barbara M. Reul, Ursula Kramer, and Michael Maul in live discussion. Recorded on 18 August 2021. I found the section on the "thought experiment," i.e. on what potentially would have happened to Bach (and the other candidates) had Telemann accepted the position in Leipzig.


Discussing Bach 3 (October 2021). Visit https://bachnetwork.org/db3 for full contents including Editorial Introduction, Authorised Transcript, two new articles, and a list of further reading and listening.

Many thanks to Marc-Roderich Pfau.

William Hoffman wrote (October 14, 2021):
[To Kim Patrick Clow] Click on top line for video, https://youtu.be/ZzxhLETc8T4; try again Bach Network access full contents, https://bachnetwork.org/discussing-bach/db3/

Kim Patrick Clow wrote (October 15, 2021):
[To William Hoffman] Thank you.

Bach from home – enjoy a feast of German Bach festivals

Aryeh Oron wrote (November 7, 2021):
[From BBC Music Magazine]
Ten places, three festivals, hundreds of artists – and a streaming platform! With our festivals we are able to make the authentic places where Bach worked resound

Bach from home – now available at home

Three festivals, ten historic locations, hundreds of artists and many concerts – this unites and characterises the Bach region of central Germany. Now the Thuringia Bach Festival, the Leipzig Bachfest and the Köthen Bach Festival have created a joint streaming platform.

Find out more
Read on to find out more about the joint streaming platform...

A choir performing in a Bach church

For the festivals taking part it has long been a key ambition to make the authentic locations in which Bach lived and worked resound. This is where they put on concerts which attract music fans from around the world. With their new web initiative these experiences will become available to Bach fans who are not able to attend them live. ‘In this way we are responding not only to the pandemic restrictions but also to an issue which has been around for a long time’ explains Christoph Drescher, Director of the Thuringia Bach Festival. ‘In terms of climate change we have been seeking alternative ways to enable Bach fans around the world to access the gift of authentic Bach locations, even if they are unwilling or unable to travel to Germany.’ With the new platform bachfromhome.live the three festivals have now found the answer.

A cellist performing in a Bach church

The website connects streams from festival concerts with a growing archive of past concerts and inspiring information about the ten historic locations in ‘Bach land’. Alongside these broadcasts international Bach fans are encouraged to chat with each other and to get in touch with the artists and festival organisers.

A choir and orchest performing in a Bach church

Bachfromhome.live launched in the spring and presented a number of concerts from the Leipzig Bachfest, but also exclusive productions from the Bach churches in Weimar and Arnstadt. All these concerts are available as videos on demand in the growing library of the platform.

A choir and orchestra performing in a Bach church\

From 11-14 November, the Thuringia Bach Festival will present a number of concert premieres from their recent season. This digital festival will include appearances of renowned artists and ensembles from the UK as well: A much acclaimed St. John Passion with The English Concert, conducted by Kristian Bezuidenhout, and the talented singers of Solomon’s Knot presenting their recent ‘Not the Christmas Oratorio’ programme, performed at Bach’s baptismal font at the Georgenkirche Eisenach.

Two singers and an orchestra performing in a Bach church

Discover Bach’s home by attending digital concerts in your own home, and get in touch with Bach lovers from all over the world. There is a lot to explore at www.bachfromhome.live.

Discover more

great choices! NY Times: 5 Minutes - Bach

David Couch wrote (December 14, 2021):
5 Minutes That Will Make You Love Bach - The New York Times [Nov 3, 2021]

I was very thrilled to see the choices avoided almost all the “same old familiar” pieces I dreaded seeing. There’s only one, single choice I think is off the mark, which I will not identify.

I think this list gives a neophyte a great idea of the range of what Bach could do and provides broad welcoming avenues for a newcomer to explore.

Bachfest Leipzig 2024; In the Footsteps of Bach tour

Melissa Raven wrote (September 5, 2023):
Hello fellow Bachphiles

Is anyone attending Bachfest Leipzig next June?

I will be attending, for the first time (my first time in Germany too).

I was planning to go to Weimar, Arnstadt etc. after Leipzig. But last week, I found out about a tour organised by Hayllar Music Tours (based here in Australia), which seems to have been conceived with me in mind (I’m sure I will not be the only person who thinks that):

IN THE FOOTSTEPS OF BACH

4–17 JUNE 2024 (14 DAYS) | 11 CONCERTS AS PART OF THE PRESTIGIOUS BACHFEST LEIPZIG, EXCLUSIVE PRIVATE TALKS & EXPLORATIONS OF WEIMAR, LEIPZIG & TOWNS AND CITIES WHERE BACH LIVED, COMPOSED & PERFORMED

This scintillating tour provides an exploration of Johann Sebastian Bach’s life and music by taking you on a journey, with an expert guide, through the towns and cities where he lived, worked and performed. It culminates in Bachfest Leipzig providing you with many opportunities to hear his glorious music at a variety of stunning venues by world-class musicians. The tour also provides a picturesque tour of historic Central Germany, the chance to stay in luxurious hotels, to travel in comfort and to enjoy delicious meals. It is a tour to stimulate the mind and delight the senses.
https://hayllarmusictours.com/2024-tours/in-the-footsteps-of-bach

Is anyone else from Australia (or perhaps New Zealand, or elsewhere) going/considering going on this?

Continue of this discussion at: Discussions of Bach Tour: Part 3