Wikimedia Commons - By Hubert Kratz, artist ("Zeichner"), O. Kutshera, engraver ("xylograph")

This weekend, I'm playing a very nice cantata (Liebster Jesu, mein Verlangen, BWV 32) by J.S. Bach with @musicapoetica. It is for part of the series of cantata services that we produce in conjunction with the Maranathakerk in Den Haag. Basically, it is a collaboration to provide music for a set number of services in the year (cantatas that are linked to the Protestant theme of the time of the year) in exchange for use of the church as a rehearsal venue for other projects.

In a way, it is a bit of win-win situation for us as we get a rehearsal space, but also get to aim high and try to provide some of the highest quality music possible for a church service. The services usually have quite ordinary musicians putting things together at a last minute with little care and little quality, so it is a refreshing change to do this with a group that will try and do the best performance possible even in a "relaxed and low stress" setting.

In the performing thoughts section, I've tried to detail the ideas that are running through my head as I perform the piece. I tend to write very very little on the music (others like to pack many instructions into their parts), as I think it is better to understand the music rather than to blind follow rigid instructions. It is my belief that this leaves us more open as performers to be much more flexible in the real time performance of the piece than those who have a set interpretation in mind! (In addition, I don't see people writing in their books of text how to pronounce and articulate and pace every single word...it just wouldn't make sense unless you were imitating a foreign language with no understanding...). However, after reading the general thoughts (which are as detailed as some of the crazy notes that some people write, you will understand why I prefer not to talk about things, but to demonstrate and play (after all, in these notes, I'm not talking anything about specific articulations or anything technical!).

Please note the audio recordings are just the solo violin parts without the orchestra, and so they are a bit limited in fullness! Sorry about that!

The Cantata, BWV 32

The cantata is titled "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire), and is intended for the first Sunday after the Epiphany. It is comprised of 6 movements and is set for Soprano and Bass, with oboe and strings (plus harpsichord) as the accompaniment. The rough "story" outline of the cantata is that of a parent who is missing a child. In the cantata, this is represented with the Soprano being the parent and the "child" being Jesus (which is always represented in the pieces of Bach as a bass). So, it is more like a person who has lot their way and finds Jesus again (as always, I'm not religious, so I find the non-religious interpretation to be equally powerful but more resonant with me!)

Soprano Aria

The third movement of the cantata is one for solo violin (with Continuo accompaniment) and Bass. It is an aria that tells of Jesus (the bass) trying to calm the lost person. The symbolism of the violin solo (which is a right pain in the arse to play...) is the unsettled feeling of the lost person, in that the awkwardness of the writing is supposed to reflect the distressed nature of the lost.

It may not be immediately clear to the non-violinist, but a lot of the writing is awkwardly scattered across the strings with chords that are quite tricky to hit in tune due to the writing (it would be easier with one more finger...). In addition to that, a lot of the writing is also in the muddy middle register of the violin which makes it hard to be heard and to be agile...

Hier, in meines Vaters Stätte,
Findt mich ein betrübter Geist.
Da kannst du mich sicher finden
Und dein Herz mit mir verbinden,
Weil dies meine Wohnung heißt.

Here, in my Father's place
A distressed spirit finds me.
Here you can certainly find me
And unite your heart with me,
Since this is called my dwelling.

So, this is the opening tutti section of the aria which I will write a bit more in detail about. Before I begin this piece, it is one that initially entices you to start a touch too fast... which you will rapidly regret! So, a deep breath and an assured beginning is required, after all the distress doesn't happen right away!

The first four bars are the first phrase (sentence), with the first bar serving as an opening upbeat to the second bar. What is interesting is that the phrase doesn't develop fully, it tails off in the fourth bar to be interrupted by a completely new direction!

Normally the chords in the next four bars (appearing on the 6th and 8th bars) would suggest a sort of strong harmony or at least some sort of strong beat. However, in this case they serve the function of overlapping lines, with the 5th bar finishing on the lower B of the 6th bar chord, and the 6th bar theme beginning on the top D of the 6th bar chord (and likewise for bar 7 and 8). This sort of writing is quite common on organ and keyboard music, but the violin is more of a single line instrument, and so this sort of writing is a pain in the arse to do well (without taking the easy option and just crunching down on the chords).

Bars 9-11 are just rolling forward in a roundabout harmony until another abrupt change of character in bar 12. This sudden change is in keeping with the lost and distressed affect of the aria. Many disconnected changes and sudden swings in character/mood reflect the distress of the lost. Despite the fact that there is many notes and ornaments in this section, this is the sort of music that I do best (I LOVE playing fast and showy music... call me shallow...), and so for me it is more a of relief that I've hit this point!

Duo Aria

This aria is a duet aria between the Bass (Jesus) and the Soprano (the lost) with a 1st violin solo accompanied by oboe and strings (and continuo). It is a much more joyful part of the cantata (actually the end!), where the lost has been found (or has found the comfort of Jesus). The Bass talks about the comfort of their embrace and the banishment of the distress and sorrow.

Both:
Nun verschwinden alle Plagen,
Now all torments disappear,
Nun verschwindet Ach und Schmerz.
Now grief and sorrow disappear.

Soprano:
Nun will ich nicht von dir lassen,
Now I shall not abandon you,

Bass:
Und ich dich auch stets umfassen.
And I also shall constantly embrace you.

Soprano:
Nun vergnüget sich mein Herz
Now my heart is content

Bass:
Und kann voller Freude sagen:
And filled with joy can say:

Both:
Nun verschwinden alle Plagen,
Now all torments disappear,
Nun verschwindet Ach und Schmerz.
Now grief and sorrow disappear.

This is a much more fun aria to play than the previous one, it is a joyful one... however, there are moments where the key tonality slips away to reveal a hint of the distress that came before. However, there are no the character turns and sudden changes in direction of the previous aria. This is just a simple romp!

The first bar to the second bar is one that is a lifting of hope and joy (signified by the rising line), which immediately falls in a chromatic way (despair) only to be caught and uplifted again in the fourth bar. The significance is that the Bass (Jesus) will be there to catch the fallen and falling...

The sentence ends on the first beat of the 5th bar, after which I enjoy a little comma before leading onwards to the little scalic ornaments that serve to enliven the falling line. It is also a chance to give the rest of the orchestra a bit of workout, as it allows me to emphasis or stress different parts of the falling phrase to keep everyone on guard and reactive! However, the general plan (unless I judge otherwise, which in this piece where this part comes back many times, I will!), is to allow the dynamic and character fall with the descending harmony to the lowest point at the beginning of the 8th bar.

The second beat of the 8th bar is then the beginning... however this time it is more assertive, it DOES NOT fall, but in fact rises to a glorious end (which I screw up a little bit in the recording...Sorry!).