On this date in 1714 occurred the first performance of BWV 182, and in 1725 the first performance of BWV 1. Trinity I, 30 May 1723: Die Elenden sollen essen, BWV 75 Now, 20 years later, BIS is releasing the 55th and final volume of Bach Collegium Japan's traversal of the Bach cantatas. The ancient chorale this cantata is based on (as well as the motet by Samuel Scheidt we’re also singing during our December 5 workshop) The First Sunday of Advent in Leipzig. Bach wrote one cantata for this day, which marks the entry of Jesus into Jerusalem – although, as is typical, the cantata uses this only as a starting point for a different idea of entry. These two church cantatas provide out Bach Bagatelle for today: Bach’s Cantata Cycles. The Lutz cantata cycle isn’t generally known for star-studded casts of singers, but you can’t actually do much better for a quartet of soloists these days (or in 2014, at the time of the recording) than the lineup here. The New Grove Bach Family (Christoph Wolff et al.) The second cantata, Aus tiefer Not schrei ich zu dir, BWV 38, is from the chorale cantata cycle, and is based on a penitential hymn by Martin Luther with the same name. Cantatas for Cantate (Fourth Sunday after Easter): • BWV 166 – Wo gehest du hin? This Cantata was part of Bach’s 1724/1725 cycle of chorale cantatas, a stunning collection of cantatas that were considered the most important part of his cantata legacy directly after his death in 1750. Over the following six years Bach was to take on the huge task of writing at least four complete cycles of cantatas for the entire liturgical year. J.S. Christoph Wolff (ed. ‘Third Annual Cantata Cycle ... of Bach’s cantata performances in Leipzig between 1725 and 1727, and one of Bach’s hitherto unidentified librettists. He used the first and last verse of the appropriate hymn for the opening and closing movements, arranging and paraphrasing the words of the middle verses to suit setting as recitatives and arias. In practical terms, this meant composing about sixty cantatas per year corresponding to all the Sundays and holy days of obligation. Tomorrow we will talk about the two cantatas Chorale Bel Canto will sing on April 2, 2106. But Bach incorporated the melodies and the texts in many different ways – there is an entire cycle of cantatas based entirely on chorales, where the chorale is featured in every movement. Bach's motivation for composing a chorale cantata cycle may be based on the fact that the year 1724/25 was the second centenary of the publication of the first Lutheran hymnals, suggests Rathey (Ibid. Over the following six years Bach was to take on the huge task of writing at least four complete cycles of cantatas for the entire liturgical year. Wolff (p 278) quotes the theory that Bach’s librettist was Andreas Stübel who died on January 27th 1725. Emmanuel Music continues to perform cycles of large-scale and chamber works by Bach, Handel, Mozart, Schubert, Brahms, Debussy, Haydn, Schoenberg, Weill, Wolf, Medelssohn, and Schumann under Artistic Director Ryan Turner. Wie schön leuchtet der Morgenstern is the last chorale cantata of Bach's second cantata cycle, possibly because the librettist who provided the paraphrases for the middle movements of these cantatas was no longer available. So one year later, on Trinitatis I 1724, Bach starts his second cantata cycle, the so called chorale cantata cycle because each cantata is based on a hymn from the Protestant liturgical tradition. The sacred cantatas, according to what I read, were neglected for a long time and their revival started practically only after the second world war, when Harnoncourt and many others broke the time barrier around Bach’s cantatas. 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