WEEK 1

J. S. Bach: Cantata #32

“Liebster Jesus, mein Verlangen” (Dearest Jesus, my desire) 

Dear MBE Fans,

It is with excitement that we launch our “Back to Bach” Project. While we would emphatically prefer to perform for you live in Antonello Hall, we hope that this will be a meaningful way to connect during these uncertain times.

It was a true joy to go through MBE’s impressive audio archives. That’s no small feat for an ensemble in its eighth season: a big shout out to former artistic director Andrew Altenbach, all the fabulous MBE musicians, and the highly dedicated Board of Directors.

I wanted to begin with a movement placed near the end of Cantata #32. This might seem like an odd choice to kick things off, but when I looked at the original German lyrics of this duet, I felt this was simply meant to be. Often we read cantata texts in their poetic translations, intended to make them smoother and more idiosyncratic (but they sometimes miss the point!). In this case, the first verse starts with “Nun verschwinden all Plagen”, which usually is shows up as “Now all troubles disappear”. However, a verbatim translation is closer to this: “Now all Plagues will vanish”. Both versions strongly resonate with me these days, whether in the context of the nationwide calls for equality and justice, or the hope for a swift end to the global pandemic.

This movement is the conclusion of a so-called dialogue cantata (there is a short choral setting following this movement). The dialogue is between Jesus (bass) and the Soul (soprano). The entire instrumental ensemble joins this jubilant happy end! After much “soul searching”, the Soul has come around to embrace Jesus and the boundless happiness resulting from that embrace. Bach paints a musical canvas of pure joy and dance-like happiness, not too common for a composer known for his frequent brooding disposition. Bach does not smile very often, but when he does, his smile is particularly bright.

Cantata #32 was written for the first Sunday after Epiphany and first performed in January 1726 in Leipzig. The lyrics are based on texts by Georg Christian Lehms and it is part of Bach’s third cantata cycle.

Mischa Santora, MBE artistic director

Translation

5. Arie (Duett)
Nun verschwinden alle Plagen,
Nun verschwindet Ach und Schmerz.
Nun will ich nicht von dir lassen, 
  - Und ich dich auch stets umfassen. -
Nun vergnüget sich mein Herz 
  - Und kann voller Freude sagen: -
Nun verschwinden alle Plagen, 
Nun verschwindet Ach und Schmerz! 

WEEK 2

J. S. Bach: Cantata #32

“Liebster Jesus, mein Verlangen” (Dearest Jesus, my desire)

Dear MBE Fans,

Welcome to week 2 of Back to Bach! 
The opening movement of Cantata 32 is quite the contrast to the last one. Bach introduces the first character in this dialogue cantata, the soul (soprano). The brooding key of e-minor and slowly pacing eight notes set the mood: “Dearest Jesus, my desire, tell me, where can I find You?”
The solo oboe plays a long, melismatic line, “searching” high and low, quite literally, with a range of nearly two octaves! When the soprano takes up the principal melody, the oboe at times complements, interjects, and adds to the vocal line. Moving in roughly the same range, both soprano and oboe co-exist in a wonderfully expressive, sometimes playful manner; a specialty of the master.
As with all great vocal composers, Bach’s musical treatment (interpretation) of the text is very specific. The most extended melismas (embellishments) fall on three words: twice on “erfreue” (bring joy) and once on “umfangen” (embrace), underlining the emotional intensity behind the music. This movement combines depth and spirituality with musical economy. As they saying goes: less is more.

Mischa Santora, MBE artistic director

Translation

1. Arie (soprano)

Liebster Jesus, mein Verlangen,
Sage mir, wo find ich dich?
Soll ich dich so bald verlieren
Und nicht ferner bei mir spüren?
Ach! mein Hort, erfreue mich,
Laß dich höchst vergnügt umfangen.

WEEK 3

J. S. Bach: Cantata #32

“Liebster Jesus, mein Verlangen” (Dearest Jesus, my desire)

Dear Back to Bach Friends,

This week we present the Jesus Aria from Cantata 32, featuring bass and solo violin. 
It is a response to the previous movement, the soul’s quest for spiritual fulfillment (see week 2). The entire movement is structured on the number three: the overall meter is 3/8 (three eights), and each eight note unit is further subdivided into triplet sixteenths, creating a 3 x 3 feeling for each measure. Its dance like lilt is in stark contrast to the previous movement. In addition, the aria is tripartite with its da capo structure (the first section is repeated after the middle section). Numeric symbolism is an integral part of Bach’s compositions, and the abundance of three’s clearly signals the heavenly abode in the first line: “Hier, in meines Vater’s Stätte” (Here, in My Father’s place) and the implied Holy Trinity.

The next line results in a peculiar turn of harmony: “Findt mich ein betrübter Geist” (a troubled spirit finds Me). Throughout the opening section, “betrübt” is suddenly underscored by a minor chord; an unusual effect in the otherwise serene key of G-major. To make it even more emphatic, Bach puts the minor notes (b-flat, f-natural) in the vocal line on the central vowel “ü” in “betrübt”. This technique foreshadows expressive text treatment in the Romantic era in the style of Schubert or Wagner many years later!
This aria is the longest movement in this Cantata, with the fewest amount of words; evidently, the composer considered them very important.

Next week we will set aside the spiritual aura of Cantata #32 for a while and move onto more earthly matters. Stay tuned—and stay safe!

Mischa Santora, MBE artistic director

Translation

3. Arie (bass)

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. 

MBE performed Cantata #32 in October 2014, with the following solo artists:

Linh Kauffman, soprano
Andrew Wilkowske, baritone (www.andrewwilkowske.com)
Jonathan Magness, solo violin
Basil Reeve, solo oboe
Andrew Altenbach, conductor

We are deeply grateful for everyone’s permission to release these recordings.