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It's time for Bachtoberfest!  Tonight we treat ourselves to a wine & cheese spread, tailored to the different variations in this iconic piece. 

We had so much fun with this that we think you should try it too.  Just pair some of your favorite wines and cheeses and other snack items with the musical feast that is the Goldberg Variations.  Then, let us know how it went!

And with that, season 5 of A Moment of Bach comes to a close.  As always, we are so grateful to our listeners!  Thank you for continuing to spread the word about our podcast!  And, thanks to Netherlands Bach Society for the continued use of their excellent recordings.

CHRISTMAS CONCERT DETAILS in Southern California: Christian's church: Christmas Carol Festival at Abiding Savior Alex's church: Christmas Concerts at St. John's Orange, Dec 5, 6

Christian's Carnegie Hall invitation details here. Registration portal found here (if closed, email Christian at amomentofbach@gmail.com)

Unabashed joy describes this short and sweet cantata, which Bach wrote at age 23 for a wedding. In its sparkling finale, some mysteries hide. A curiously unexpected tonality sets off the happy declamation of "ihr seid" (you are), with emphasis on "seid"; according to Bach we ARE blessed by God, rather than "us" being special. 

Then what do we make of the ending? Even in an early cantata which generally sounds like 1600s Lutheranism, some new special effects are hidden. Bach surprises us with his piano marking along with some Haydn/Mozart-like figurations. It's hard to listen to this level of happiness without cracking a smile.

Der Herr denket an uns (BWV 196) mvt. 5 "Ihr seid..." as performed by the Netherlands Bach Society

Christian's Carnegie Hall invitation details here. Registration portal found here (if closed, email Christian at amomentofbach@gmail.com)

Today we talk "Men in Black", "Coco", "Futurama", and hear a slappin' bass line from an 80's funk song.  Oh, and some Bach.  Remember to stop and smell the forget-me-nots -- in other words, enjoy those moments.

In memoriam Fred Jacobs.

Charles Daniels (tenor), Meineke van der Velden (da gamba), and Fred Jacobs (theorbo) performing "Vergiss mein nicht" (BWV 505) for the Netherlands Bach Society

Video on the theorbo by Elizabeth Kenny for the Orchestra of the Age of Enlightenment

Overtures belong at the beginning, introducing what is to come. So why is one found at Variation 16 of the giant Goldberg Aria and Variations? 

Well, it is the beginning, but of the second half of 30 variations. Variation 15 takes us into fear and anguish with a mirrored canon in the (unheard of) key of G minor. After 45 minutes of bright G major since the opening aria, this change into the parallel minor key is stark, but not as stark and bare as the open fifth ending: a lone D string. Then follows a pause (in this performance by Jean Rondeau) of fully 35 seconds.

We start fresh, renewed with the joy of G major after this pause which literally divides the performance in half. The French "Ouverture" is a new beginning, replete with bright and shimmering baroque ornamentation. And yet it fits in the mold of the harmonic structure of the original Aria. While we think that there are beautiful performances of the Goldberg Variations on the modern piano, we lament the limitations of the low end of our big new instrument. Of all the 30 plus the Aria, this variation is the one which must be heard on the instrument for which it was intended -- harpsichord. 

Aria mit 30 Veränderungen (Goldberg Variations) BWV 988: Jean Rondeau, Netherlands Bach Society

To play baroque music properly -- especially a bouncing jig like this one in 12/8 time -- you must "unlearn what you have learned", and rethink how you articulate music.  Articulation is so important -- the music must feel and look light and airy.  This performance by the Netherlands Bach Society fits this feeling perfectly -- the musicians look casual yet classy, showing that Baroque music can indeed be lighthearted and fun.

See this performance by the Netherlands Bach Society, directed by Shunske Sato

SOUTHERN CALIFORNIA LISTENERS! See a FREE performance of this cantata at Alex's church, by Cathedral Singers and orchestra, Sunday, November 2, at 4pm; details here.

The towering thirty Goldberg Variations combine into a masterwork of keyboard music. As all variation pieces, they were based on a relatively simple source material. But as is his way, Bach organized the variations with a complex and deliberate structure. But also unlike other composers of this form, he poured more into this source material itself. 

The famous Aria could stand alone as a sublimely decorated Baroque keyboard piece, but it doesn't stand alone; its bass line and harmonic progression (not its gorgeous melody!) are the actual foundations of all thirty variations. Bach simply could not resist pouring this beauty into even this, the harmonic "template" for the next 90 minutes of music! And this foundation does hold up, all the way until the end, where we are told to play the Aria again, now as our ending.

Baroque ornamentation and performance practice takes this piece past its simple structure. We discuss this ornamentation and one particularly strange and almost inscrutable moment in the middle. 

Aria mit 30 Veränderungen ("Goldberg Variations") BWV 988, as performed by Jean Rondeau for the Netherlands Bach Society

Listener HG drew our attention to a similarity between the Courante of this cello suite and the "Cum Sancto Spiritu" from the Mass in B minor.  We talk about these dance forms and how they affect the affect, so to speak.  Nowadays, it's easy to think of Bach as old-fashioned, and certainly some composers in the late 1700s thought the same; however he shows here that he was ahead of his time. 

The "shoulder cello" (violoncello da spalla) makes another appearance here, smaller than the typical cello.  The instrument sacrifices the deep warmth of the cello for nimbleness and an extra string which allows for higher notes.  

Performance of Cello Suite no. 6 (BWV 1012) by Sergey Malov for the Netherlands Bach Society

"An understated overture" is the description Christian arrives at to describe the humility of the micro-regal sonata which opens the Weimar cantata "Himmelskönig, sei willkommen." Is this thing, marked "adagio, grave," actually a triumphant French Overture? The performance suggests so, in some ways, and not in others. Experienced musicians of baroque music will know the subtleties, which we discuss in this episode. Indeed, it is a march of kingly victory, but not in pomp and circumstance; it is the small and gentle arrival of a humble king of Heaven and Earth, arriving to the world as a helpless baby, and arriving to Jerusalem on a donkey on Palm Sunday.

Also, featuring Rage Against the Machine and a very unsettling "Shepard Tone"!

BWV 182 cantata "Himmelskönig, sei willkommen" as performed by the Netherlands Bach Society, directed by Johanna Soller

This cantata has an unusual run of three arias in a row -- and the last one of the three is the most remarkable.  In deleting a note, creating a rest where there should be music, Bach breaks all the rules -- and creates a stunning effect.

See the performance of BWV 182 by the Netherlands Bach Society, Johanna Soller, artistic director

Bach used the materials for this sonata several times throughout his life. Each collection of parts is different, and there are three versions. This is version 1019c, as labeled by the BWV categorical system for Bach's works. There are five parts of this last of his six sonatas for violin and harpsichord. We discover the joys of rhythmic ambiguity, rhythmic complexity, and even a middle movement without the violin! (And yet sometimes this is called "Violin Sonata in G major," shirking the credit of the keyboardist.) 

Christian focuses in on the end of the 4th movement, where a short ending extends and wanders into a surprising and somewhat tonally unclear ending. But it is made clear in the next moment, when the joyful key of G major returns in the jaunty final allegro.

Sonata for Violin and Harpsichord in G major (BWV 1019c) as performed by Shunske Sato and Diego Ares for the Netherlands Bach Society

When assembling his Mass in B minor, Bach drew from many of his older works.  Here is one great example.  If you, like us, have always been mesmerized by the haunting sound of the "Qui tollis" movement from the Mass in B minor, you absolutely must hear the opening chorus to the cantata Schauet doch und sehet, which is the full version of the material, and which concludes in a twirling, twisting fugue. 

See the performance of Schauet doch und sehet (BWV 46) by the Netherlands Bach Society, conducted here by Hans-Christoph Rademann

Compare with the "Qui tollis" movement of the Mass in B minor, Netherlands Bach Society, led by Jos van Veldhoven

We return to the Mighty Fortress cantata to do a deeper analysis on the theological counterpoint of this movement.  Bach combines two vocal parts -- one is Luther's hymn and the other is new poetry with Bach's own music -- and weaves both of those into a tapestry of staccato strings and marching bass.   Bach's theological profundity is what separates him from the other composers; when Bach weaves two separate texts together, he adds meaning to both by connecting their core essences together.

Netherlands Bach Society performing BWV 80 mvt 2

What good is a centerpiece but to add to the pomp and pride and beauty of a ceremonial occasion? The Polonaise is historically such a centerpiece for such an elegant, lavish affair. Chopin is the natural figure for the Polonaise, a stately dance for pairs, but it was known much earlier to the Baroque composers. Bach was no stranger to Polish style, as shown in this centerpiece Polonaise to the Menuet of the Brandenburg Concerto No. 1. 

When Bender the robot was driftless in space with his candelabra, he realized it belonged on a piano centerpiece. It was a shame that he couldn't manage to get his Chopin working before he got too frustrated. 

Polonaise from the Menuet of Brandenburg Concerto No. 1

Oboe talk today! 

Mastering this instrument is almost unreasonably challenging, but the juice is worth the squeeze -- the baroque oboe, when played truly well, is one of the most rewardingly beautiful instruments.

Musical examples, as always, are courtesy of the Netherlands Bach Society.  Check out their "All of Bach" project.

Referenced in today's episode:

Brandenburg Concerto No. 1: Trio I (2 oboes and bassoon) - performance by Netherlands Bach Society

Brandenburg Concerto No. 1: Trio II (2 horns and 3 unison oboes) - performance by Netherlands Bach Society

Short documentary video on the baroque oboe, featuring NBS oboist Katharina Verhaar

Another cantata we referenced today: Vergnügte Ruh (BWV 170)

Scott Leger horn - youtube short - excerpt from Brandenburg 1 trio II

The three instrument families in this big baroque orchestra leads us to speculate that Bach represented three social classes: the royal elite (elegant strings, one leader), the aristocratic nobles (horns, for upper-class hunting expeditions), and the common people (reeds, as for outdoor bands or shepherding). Bach concludes the concerto with the elegant and grand menuet (note his spelling; not "minuet"). The French dance exudes class and status, though in this case, the hunters and even the common townsfolk are invited to participate in the great dance of strings, reeds, and horns. 

In this episode we discuss the repeating refrain section, called the "menuet" section. There are three other parts of the complete structure to be discussed in our next two episodes. 

Audio note: at 20:55-21:15, we recommend stereo listening, so that you can hear the two pitches/beats separated to the left (bottom pitch; slower beating) and right (higher pitch by perfect fifth interval; faster beating). The respective ratio is 2:3. As it gets slower, listen for two clicks on the left for every three on the right.

Menuet of Brandenburg Concerto No. 1

The "rule of three" is in full effect here, as Bach carries us along with this jaunty dance, rhythmic triplets and triple sets of musical sentences abounding with life and energy.  This eloquent piece can be considered a precursor to the later "sonata form" of the Classical period, along with Bach's other Brandenburg concertos.

Performance of movement 3 of Brandenburg 1 by the Netherlands Bach Society

A far far cry from the happy hunting horns of the first part, the second part of Brandenburg Concerto No. 1 is a bitter adagio. To modern ears, its aesthetic of dark gangster drama is less galant, and more "Godfather."

(Look at our past seasons to find episodes covering Brandenburg Concertos 3, 4, 5, and 6.)

Performance of Brandenburg 1 by the Netherlands Bach Society

"Horns, horns, horns, in dark Mindolluin's sides they dimly echoed. Great horns of the north wildly blowing. Rohan had come at last." (J.R.R. Tolkien, The Return of the King)

It's time for our yearly miniseries celebrating the famous Brandenburg Concertos!  This year: Brandenburg 1.

The horn call has an undeniable power.  Here, Bach uses it to great effect at the opening two measures of this rousing piece.  We explore the baroque horn and its idiosyncrasies.

(Look at our past seasons to find episodes covering Brandenburg Concertos 3, 4, 5, and 6.)

Performance of Brandenburg 1 by the Netherlands Bach Society

-The second part of our look into Cantata 78, where we look at the opening chorus. 

For an overview of this cantata and a deeper look at the wonderful duet and the rest of the parts, see the episode previous.

For this lamentation hymn about Christ's anguish used as ransom for our salvation, Bach chose to accompany the tune with a "lament bass." To start, he sets up this sad descending bass line as a repeated pattern under a varying texture (passacaglia). The stress on beat 2 of 3 is a Sarabande metric figure, reminding us of his more famous passacaglia "Crucifixus" in the B Minor Mass.

When voices enter, the tortured chromaticism is imitated and they herald the coming of the soprano melody, which would have been recognized by the churchgoers on that Sunday in 1724. Variations in musical texture always match the line of text currently being sung. In the many variations, the lamenting line can be in any instrument or voice, and may also be inverted and ascend in a sort of wailing prayer.  

BWV 78 as performed by the Netherlands Bach Society

In this year's Leaving Certificate for students in Ireland, the music exam consists of examples from Tchaikovsky's Romeo and Juliet, Irish composer Gerald Berry's Piano Quartet, and Queen's Bohemian Rhapsody. Also in the exam is this chorale cantata composed in 1724 in Leipzig for a church service in which the biblical story of Jesus healing the lepers was read. 

The hymn Bach based this work on was flexible enough for a dramatic span of affectations across the seven parts of the cantata. In this episode we will look at moments in the duet, and also speak to the other parts, through the final chorale. 

The relative simplicity of the final chorale is defied by its several complexities. Its text is prayer-like, much like the other movements, with its first line reminiscent of the familiar saying "Lord, I believe; help me in my unbelief (weakness)." Even in relatively simple harmonization, the text is full of vivid emotion. Bach enjoys a chance for a militaristic trill near "Streit" (battle) and a Picardy third on the last note of hopefulness ("sweet eternity"). 

In the preceding recitatives and arias, the text painting is even more on-the-nose, as is the case with Bach. But while other cantatas have a single affectation, this one is always changing. 

BWV 78 as performed by the Netherlands Bach Society

Welcome to A Moment of Bach, where we sometimes zoom in so close that our targeted moment consists of only one note!  But Bach leaves us no choice but to pick this moment from BWV 4, where the music screeches to a halt, almost cartoonishly fast.  One thing's for sure: when ever the word "nichts" comes up, Bach can't resist giving us some interesting text-painting.

Performance of BWV 4 by Netherlands Bach Society, conducted by Rene Jacobs

Here is, almost certainly, Bach's last composition for voices.

"Et incarnatus est" is the short choral movement in the Mass in B minor which precedes and sets up the central "Crucifixus." Being not quite yet Christ's death, the "Et incarnatus est" depicts the sighing descent of Christ being made man. A mournful coincidence: this music also imminently preceded Bach's death. He likely finished it in 1750, the year of his death, to complete the compilation of the masterfully crafted and structured Mass in B Minor. 

Christian focuses on one of the single most haunting and uncommon chords: the augmented sixth chord, which in Baroque music is found only in the most sorrowful moments.

**Music theory note!** When we discuss the other augmented sixth chord example from "O Schmerz" in the St. Matthew Passion, this chord has that augmented sixth interval inverted, so while the effect is similar, this interval becomes a diminished 10th (from B in the bass to D flat in the tenor)! 

"Et incarnatus est" choral movement from the Credo section of Bach's Mass in B minor BWV 232, as performed by the Netherlands Bach Society

Today: we talk about Nokia ringtones, how Bach is the best at bass; Bach's French wordplay, and "Bach can be played at any tempo".

Performance of "Badinerie" by the Netherlands Bach Society

This week's moment of Bach is a blissful ascending sequence in the fast final fugue movement of this keyboard toccata, which reminds us of the audacious repeating steps up and up (and down and down) of Monteverdi's "Si ch'io vorei morire." 

Does this fugue opening sound familiar? Its subject is ALMOST another much more famous one. The fugue's ending is no less spectacular.

Fugue from Toccata in E minor BWV 917 as performed by Bart Jacobs for the Netherlands Bach Society

Si ch'io vorrei morire (Claudio Monteverdi): translation

"Complex" is Bach's default setting. 

On this 300th anniversary of the Easter Oratorio, which was premiered in Leipzig on Easter Sunday 1725, we talk about duet recitatives, recorders and bassoons (shout out to Benny Aghassi), and Bach's marvelous trumpet writing.  

See the performance of the Easter Oratorio here, by the Netherlands Bach Society, conducted by Jos van Veldhoven

After witnessing Christ's death, we experience a frozen scene -- an aria -- which is a space for reflection that Bach so often gives us in his cantatas and passions. But this time we also experience some harsh tonal whiplash as first we hear Christ's head falling in death, then a dancing, hopeful aria. This aria with interspersed chorale is filled with questions, and the positivity of one final answer. 

Bach produces an innovative and complex "theological counterpoint" of the bass aria's poetry with the simultaneous chorale text. The answer is a confident affirmative; the bass holds a moment and then nods "ja." And so, our question "can I inherit the kingdom of heaven? Is this the redemption of the world?" is answered: as Christ lowered his head in death, he silently bowed his head "yes."

Aria "Mein teurer heiland" with chorale "Jesu, der du warest tot" as performed by Drew Santini and the Netherlands bach Society

"It is finished."  This falling melody, sung by Christ at the moment of His death, is followed by the pivotal alto aria "Es ist vollbracht".  We explore the musical texture, the dramatic contrasts, the foreshadowing of the "vivace" middle section, and the way that silence can speak louder than words or music.   We also uncover a truth about the word "finished" in this biblical passage. 

"Es ist vollbracht" as performed by Marine Fribourg (alto), Meineke van der Velden (viola da gamba solo) for the Netherlands Bach Society

Link to the devotional book Alex mentioned at the end of the episode.  Thank you to listener and friend Marcia Biang for this book recommendation!

Why, at number 25 of 30 variations mostly in sunny G major, is here one of the most profoundly sad things he ever wrote? This one gets at something deep. He certainly knew suffering; was it his personal experience? Bach's full range of expressions is at play in the Goldberg Variations, here including sorrow. 

Dubbed the "Black Pearl" by keyboardist Wanda Landowska, the long and wandering variation retains its structure, yet takes us to such lonely and desolate places. 

The Goldberg Variations (var. 25) as played by Jean Rondeau for the Netherlands Bach Society

"For me, Bach is the greatest of preachers. His cantatas and Passions tune the soul to a state in which we can grasp the truth and oneness of things, and rise above everything that is paltry, everything that divides us." -- Charles-Marie Widor, from the Preface to the biography J. S. Bach by Albert Schweitzer

We all know that Bach is a technical wizard.  Counterpoint might be what he's best known for.  But if you want to convince someone of Bach's power as a spiritual storyteller, go to the chorales in the cantatas and Passions.   There you will find pieces like this, "O große Lieb" (O great love), where in four lines of text, Bach's harmonies perfectly paint the mood of each line of text, sometimes laser-targeted down to the very note.  

"O große Lieb" from St John Passion, Netherlands Bach Society, Jos van Veldhoven, conductor

At the beginning of our podcast seasons, we always look at a new part of BWV 61. This week Christian chooses what may be the most pure, unassuming aria of total soul transcendence. The aria "Öffne dich" is the 'heart' of this regal Advent cantata, and offers an opposite effect of the other parts while we hear a plead (from us) to our own heart: "Open yourself, my whole heart; Jesus comes and enters."

A simple cello bass line and organ accompaniment frame a floating, unpinned rhythm and subtle, elegant soprano ornamentation. But the music opens and shines from the heavens in transcendent peace at "O wie selig werd ich sein!" -- the cello enters a blissful flow as "O how blessed will I be!"

This episode's featured aria as performed by the Netherlands Bach Society Zsuzsi Tóth, soprano

BachCantataTexts.org annotated translation of BWV 61

BWV 106 Gottes Zeit in concert THIS SUNDAY in Orange, California - free concert directed by Alex - info here

Welcome to season 5 of A Moment of Bach!

We kick off the season with a suggestion from Charles Raasch -- the Great Fantasia and Fugue.  Does Bach know where he's going with this one?  Of course he does, but, it's still fun to get lost in the music.  Come with us as we wander into the complex harmonies, built mostly on fully-diminished dissonances, until Bach finally leads us home to a supremely sonorous G major ending.

Great Fantasia and Fugue (BWV 542) performed by Leo Van Doeselaar for the Netherlands Bach Society

Give to the Netherlands Bach Society -- help them finish All of Bach!

PATREON -- a new opportunity to donate to A Moment of Bach -- always optional, always appreciated! 

Our fourth season was the best year yet for our downloads. Thank you for your listenership! And we still welcome your listener "moments" of Bach as ideas for future episodes. 

For this season closer, we invite Reverend Eric Clausen, a Lutheran pastor, to help us unpack the background of BWV 80 (A Mighty Fortress Is Our God). The bold and powerful text of the source hymn comes directly from Martin Luther. Bach's cantata incorporates the four hymn stanzas plus poetry by Salomon Franck. Two aMoB listeners suggested moments from BWV 80; we discuss the specific moment requested for the second movement. 

PATREON for A Moment of Bach - always optional, always appreciated.

Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast.

BWV 80 Ein feste Burg ist unser Gott, as performed by Netherlands Bach Society under the leadership of Shunske Sato, Artistic Director

Martin Luther, J.S. Bach, and Reformation Sunday -- this most Lutheran of all cantatas is our subject for today.  "Ein feste Burg" was the battle-cry of the Reformation: "A mighty fortress is our God!"  Bach's cantata weaves in all 4 stanzas of Luther's strong hymn.

We marvel at movement 1 with its "dizzyingly complex counterpoint" (as Richard Atkinson puts it in his video).  This is one of the maybe 2 or 3 most complex opening chorale fantasias in all of Bach's cantata ouevre, and that's a high bar to clear!  But then we zoom in on a more tender moment, the end of the alto/tenor duet in movement 7: "[the heart] will finally be crowned, when it slays death". Here, the bass line drags down in twisting chromatic motion, the tempo slows, and Bach resists the urge to return to an "A" section of text, instead closing the movement with a short instrumental coda.

BWV 80 Ein feste Burg ist unser Gott, as performed by Netherlands Bach Society under the leadership of Shunske Sato, Artistic Director

Come see this very cantata, BWV 80, in Orange, California at a free concert put on by Alex's church music program!  October 20, 4pm, more details at this link.  Also on the program: a new arrangement of A Mighty Fortress, orchestral liturgical music, BWV 29 sinfonia, and "Dona nobis pacem" from Mass in B minor.

Translation of the text of BWV 80 from bachcantatatexts.org, which we mentioned in this episode

A great article about BWV 80 featured on the Bach Choir of Bethlehem's website

Dizzyingly Complex Counterpoint in BWV 80: video by Richard Atkinson which we mentioned in this episode

"In Your Eyes" by Peter Gabriel, a song that was referenced in this episode.  The last minute or so of the song features the dense instrumentation that Alex mentioned: 2 bassists, 2 drummers, etc. Also, here is a great episode of the podcast Strong Songs which breaks down "In Your Eyes".

The organ, a sacred sound, gets an unusual role in this cantata for solo voice. We hear the organ leaping all over with a virtuoso part against violins and oboes and the alto soloist. There is no better way to convey the rich concept of the "confused joy" of the believer who witnesses miracles. 

In this cantata, which took place during the Sunday where the story is read of Jesus healing the deaf and mute, Bach sets his poet's words: 

Spirit and soul become confused, when they gaze on Thee, my God. For the miracles they know, And which the people tell with joy, have made them deaf and mute.

Geist und Seele... from BWV 35, as performed by the Netherlands Bach Society

Organist Katrina Liao joins us to talk about one of her favorites, this chorale prelude that is crackling with spiritual fire.  The off-beat bass at the beginning is a neat touch -- could Bach have meant to signify the Holy Spirit by focusing on the 3rd division of the beat? -- but, Katrina's favorite moment comes in the second verse, when the bass gets to carry the melody with a strong, reedy pedal sound.  Christian also points out a hidden "B-A-C-H" motif.

"Komm, Gott Schöpfer, Heiliger Geist" organ chorale prelude (BWV 667) performed by Reitze Smits for the Netherlands Bach Society

Why do we play games?  Because they're fun?  Or is it because they give us a sense of structure and a clear goal, a refreshing contrast to our real lives, which are messy, unpredictable, and complicated?

In the same way, we listen to Bach to give a much-needed feeling of structure and clarity to our hectic, messy lives.  

But sometimes, he doesn't quite give us what we expect.  He breaks the patterns. And it's at those moments when we can catch a glimpse of the angels in the architecture.

Italian Concerto, BWV 971, second movement, as performed by Christine Schornsheim for the Netherlands Bach Society

"Wandering Flame", from the soundtrack to Final Fantasy X; this track is by the composer Masashi Hamauzu

Link to chapter 1 of "Travels in Hyperreality" by Umberto Eco; the discussion on Disneyland mainly takes place on pages 43-48 of this document

An austere fugue subject here begins with a strange leap. To play this four-note opening on a keyboard is to outline a symmetrical structure, reminding us of the bare pillar that holds up the structure. Adorned on the structure are two faster, florid themes which enter later in this long piece. 

But our moment today is its ending -- a deceptive ending leads to a brief coda, but when it happens, its harmony strikes us with a surprising dissonance, feeling almost like the resolute major tonic triad that it wants to become. But a pesky A natural, the sixth scale degree, dashes this to pieces. 

Bertrand Cuiller plays the C# minor fugue (with prelude) for the Netherlands Bach Society

Today we bring you 24 repeated notes on the same pitch.  Can you think of any other Bach piece which features this special effect?  Certainly this is unique in the orchestrational context here: a high-pitched recorder, beeping out a digital-sounding alarm clock noise.  Or is it a bell ringing?  We explore what this all means -- because, of course, with Bach, it MEANS something.  

Liebster Gott, wenn werd ich sterben (BWV 8) performed by the Netherlands Bach Society. Shunske Sato, conductor; Benny Aghassi, recorder solo

In his early twenties Bach produced this compact, delightful cantata, likely for a wedding. The text of the duet is still applicable in a religious school community:

The Lord shall increase you more and more, you and your children.

Bach saves a special effect for the last two measures, where a modern technique is used: from highest of highs to the lowest note of the cello, a single line is passed across the string instruments. 

We discuss Christian's recent programming of this cantata on Aug. 25, 2024 for a service honoring school faculty and beginning a school year.

"Der Herr segne euch" duet by Netherlands Bach Society

Bach proves his mastery of the Baroque concerto here, as in the Brandenburgs -- except this time, we don't have the original music!  We do have a harpsichord concerto as well as an organ concerto version of the first movement (which is actually from a cantata)... but we do not have the violin concerto version, which scholars assume must exist.  The reason for this assumption is that this music is suited exceptionally well for the violin, and so, this reconstruction was made.  

The first six bars of this piece are some of the most dynamic in Baroque music -- if you ever hear someone complain that classical music is "boring", hand them some good headphones and turn this one on!  

Violin Concerto in D minor - the main recording we talk about on this episode: Netherlands Bach Society, led by Shunske Sato

Another recording of the same piece by Netherlands Bach Society, led by Shunske Sato

Cantata "Wir müssen durch viel Trübsal" (BWV 146) (featuring the source music for this concerto)

"I shall sing of the wonders of Jesus." The trumpet reflects the text purely before the singer begins. The oboes and violins join in and play off the trumpet, each finishing each other's musical lines. 

You probably know this cantata for its most famous movement -- two verses of what we would call in English "Jesu, Joy of Man's Desiring." 

But there is much more brilliance to be explored in this cantata. 

Bass aria "Ich will von Jesu Wundern singen" as performed by the Netherlands Bach Society

Cantata Herz und Mund und Tat und Leben (BWV 147), entire

A hidden gem, a fully-formed masterpiece from a young Bach, a cantata unburdened by his later fascination with Italian-style recitative and da capo arias: it is the incomparable Gottes Zeit ist die allerbeste Zeit.

We look at this cantata for a third time (see season 1 episode 8 for the sonatina, and season 3 episode 15 for the soprano solo ending moment).  Near the end of the cantata, we are placed in the viewpoint of the criminal on the cross, who receives forgiveness by Christ and is told "today, you will be with me in Paradise".  Bach weaves in a Luther hymn about departing this earth peacefully... and at a critical moment, the Christ solo ends and the hymn is all that's left, with the words "gentle and quiet".  The Netherlands Bach Society interpretation of this moment is unique and powerful -- they let the moment breathe.

Performance of BWV 106 "Gottes Zeit" by the Netherlands Bach Society, led by Jos van Veldhoven

or, skip ahead to "Heute wirst du mit mir im Paradies sein"

The famous C minor fugue near the beginning of the Well-Tempered Clavier expresses the emotions of sadness, loneliness, and melancholy, according to harpsichordist Masato Suzuki. Suzuki provides a sensitive performance with attention to articulate detail in the fugue subject.

This, naturally, leads Christian and Alex into a comparison with race cars. 

But, more straightforwardly, this fugue is part of the large journey that is the whole two books of preludes and fugues. The first prelude is a walk in the garden; its fugue is a hopeful step forward. But the following prelude in C minor is intrepid and fearless, boldly marching out the door. So, this fugue is when we finally run onto the road, with all of the uneasiness this entails. Explore with us how these first four parts of the WTC work together, what a countersubject (or even a second countersubject) is, and how this fugue embodies the very word root of "fugue" (to fly, flee). 

Fugue in C minor as played by Masato Suzuki for the Netherlands Bach Society

Playlist with the entire Well-Tempered Clavier

Vivid and subtle, this cantata follows the spiritual journey of the soprano soloist who carries the weight of sin on her shoulders. The journey is one from darkness into light, and our moment, sent in by listener Dave, comes at the cathartic middle movement, where hope is found in patience.

Soprano Julia Doyle delivers a heartfelt rendition of this stirring cantata, one of Bach's most openly emotional.  We discuss how Bach's choice to make this a solo cantata is a masterstroke in itself, and we talk about how thrilling it is when Bach (and other artists/creators, even video game developers!) allow their works to be driven by the story and characters of the text, rather than trying to force the work into a predetermined structure.  The music is subservient to the emotional journey that is the heart of the text.  This, we think, is what gives Bach's cantatas and passions their magic.

Aria "Tief gebückt" from this cantata, Mein Herze schwimmt im Blut (BWV 199), as performed by Julia Doyle and the Netherlands Bach Society

Companion video by the Netherlands Bach Society: interview with soprano Julia Doyle

On the last note of Mozart's "Kyrie eleison" in his requiem, he chooses a stark and intense open fifth instead of a triad. What happens when a composer finishes...not correctly? Is this allowed?

When using old melodies which start and end on scale degree 3 (relative to major), Bach adapts this old Phrygian mode to his idiom, but this does create an unexpected ending. Even more surprising is the wild hellish chromaticism of the final passage leading up to the Phrygian ending of this "Kyrie" setting. Even by Bach's own standard, this chromatic passage goes beyond. 

Leo van Doeselaar plays BWV 671 (the focus of this episode and the text on the Holy Ghost) for the Netherlands Bach Society

BWV 669 (text on God the Father)

BWV 670 (text on Christ the Son)

Mozart Requiem II. Kyrie (excerpt): Public Domain recording

We take a suggestion from listener Bruce, and jump into the "other" Nun komm cantata, BWV 62.  Yes, BWV 61 is admittedly the one we prefer, having talked about it several times on this podcast over the last four years.  But sometimes it's good to shine some light on the facets of a hidden gem.  The opening movement of BWV 62 contains multitudes.

Nun komm, der Heiden Heiland (BWV 62) performed by the Netherlands Bach Society, directed by Jos van Veldhoven

Yes -- the famous one!

One of Bach's most universal melodies, the melody in the strings opens a profoundly perfect setting of a verse of the hymn "Wake, Awake, for Night Is Flying" in the central movement (4th of 7) in the beloved masterwork "Wachet auf" cantata. Here is the exceptional performance by the Netherlands Bach Society.

Why does this opening string melody stick with just about all listeners? There are secrets hidden in the very first few notes that we will dissect. Then there is the stately hymn tune which Bach seamlessly incorporates, with a text calling for longing, joy, love, and reverent magnificence.

PATREON for A Moment of Bach - always optional, always appreciated.

Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast.

Thanks also to Syndey LaCom for our podcast artwork.

In four notes, Bach reframes our idea about what is possible in common practice harmony.  This is one of the weirdest moments of Bach, coming from one of the weirdest openings to a hymn tune.   But as always, it makes sense in the context of the text.  It even makes sense harmonically, as we see when the hymn tune closes on four much more normal-sounding notes... and Bach repeats these, adding closure to the text "es ist genung" (it is enough).   This little repetition at the coda, even more than the wildly inventive opening, shows the genius of Bach, the subtle choices that make him enduringly great.

Netherlands Bach Society performs the closing chorale of O Ewigkeit, du Donnerwort (BWV 60) under the direction of Shunske Sato

A textbook "moment" of Bach -- in a charming setting of the three verses of the German song "O Lamb of God, Most Holy," suddenly near the end of the third verse Bach finally heeds the text and shows us the strange despair we are praying for mercy to avoid. He employs several musical devices in this sudden moment: a change in meter, a suggestion of a distant tonality, and a barrage of harsh chromaticism (notes outside of the key).

First we learn the background and the tune "O Lamm Gottes, unschuldig" before showing how Bach introduces this Cantus Firmus (melody) in this organ prelude's beginning and first verse where it is heard on top. The Cantus Firmus moves lower in the second verse, and in the third it is down at the bottom in the organist's pedalboard. Here the text of the last line changes from "have mercy on us" to "grant us peace." Ending strong and firm, Bach gives us peace from that sudden harsh "moment."

Netherlands Bach Society: "O Lamm Gottes, unschuldig" as played by Wolfgang Zerer for All of Bach

Thank you to listener David for the excellent suggestion. 

One of Bach's most famous works, and one of the greatest melodies of all time -- this comes to us by way of an almost impossibly good performance/recording by the Netherlands Bach Society.  By having the first violin part played by a section rather than a solo, they give Bach's wandering melody more purpose than it has in the famous version for solo violin, "Air on the G String", which is actually a re-arrangement of this original version -- and one which, we assert, does not stack up to the original version's greatness.  That greatness comes not only from getting the first violin part back in its proper higher register and key, but also from the interplay of the inner lines in the second violin and viola parts, as well as the famous walking bass line of the continuo part. 

Ultimately, though, it is that upper melody which enchants us most.  Is there any wonder that it has enchanted generations since Bach -- it seems to reach toward some meaning, something just out of grasp -- and will enchant generations to come? Yes, the melody wanders... but not all who wander are lost. 

See "Air" from Orchestral Suite No. 3 performed by the Netherlands Bach Society, conducted by Lars Ulrik Mortensen.

PATREON for A Moment of Bach - always optional, always appreciated.

Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast.

Thanks also to Syndey LaCom for our podcast artwork.