rssThe vocal sense is the most important factor in the hearing of polyphony. One hears counterpoint far less in terms of its component notes than in terms of the transitions between these notes. - Ralph Kirkpatrick
Cantata
2011, February 18
Cantata Cycles
Four cycles of cantatas are defined by scholars. Many have been lost. Here is a list of those we have.
Four cycles of Bach's Leipzig cantatas are generally talked about; this table appears on Wikipedia.
The table below is adapted from Christoph Wolff, 2000, p 270-287.
BWV numbers in parentheses are repeat performances of cantatas written earlier. Cycle One: * 1723: 75, 76, (21), 24, (185), 167, 147, 186, 136, 105, 46, 179, (199), 69a, 77, 25, 138, 95, 148, 48, (162), 109, 89, (163), 60, 90, 70, (61, 63), 40, 64 * 1724: 190, 153, 65, 154, (155), 73, 81, 83, 144, 181, (18, 22, 23, 182, 31, 4), 66, 134, 67, 104, (12), 166, 86, 37, 44, (172, 59), 173, 184, (194, 165) Cycle Two: * After Trinity of 1724 he started a second annual cycle of mainly chorale cantatas. 20, 2, 7, 135, 10, 93, 107, 178, 94, 101, 113, 33, 78, 99, 8, 130, 114, 96, 5, 180, 38, 115, 139, 26, 116, 62, 91, 121, 133, 122 * 1725: 41, 123, 124, 3, 111, 92, 125, 126, 127, 1 (Chorale cantatas end) Cantatas of unknown origin: 6, 42, 85 Mariane von Ziegler texts: 103, 108, 87, 128, 183, 74, 68, 175, 176 Cycle Three: * After Trinity of 1725 Bach began a third annual cycle. 168, 137, 164, 79, 110, 57, 151, 28, 16, 32, 13, 72, 146, 43, 129 39, 88, 170, 187, 45, 102, 35, 17, 19, 27, 47, 169, 56, 49, 98, 55, 52, 36, 58, 82, 84 Cycle Four: * 1726: 197a, 171, 156, 84, 159, 190, 145, 174, 149, 188, 157 Outside the annual cycles: 36, 248, 158, 11, 34, 30, 51, 50, 200 (Chorale cantatas, later additions) 177, 9, 137, 80, 140, 14, 112, 129, 117, 192, 100, 97 For special occasions 119, 193, 29, 69, 34a, 197, 195, 157, 194, 120
2011, February 11
Cantata BWV 76
JS Bach Cantata BWV 76: Die Himmel erzählen die Ehre Gottes
(The heavens declare the glory of God)
Second Sunday after Trinity June 6 1723
Scoring: Trumpet, oboe I,II, oboe d'amore, violin I,II, viola, viola da gamba, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 6; p 267
Reading: Epistle: 1 John 3:13-18
Reading: Gospel: Luke 14:16-24
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 397-402
Whittaker vol 1 p 181-195
Green p 173-176
Terry vol 2 p 285
Boyd p 139
Chafe p 27
As I said previously, I could go on with this music for a long time. I am leaving these two cantatas 75 and 76 ready to move on, but also ready to listen again and again to many parts which have become favorites.
Part One
1 Die Himmel erzählen die Ehre Gottes: Chorus
Instrumental m 1-12
bass solo m 12-16
instrumental m 17-19
choir c instruments m 20-35
instrumental m 36-43
choir c instruments m 43-59
instrumental m 59-66
then a fugue with tenor m 66 bass m 72 soprano m 77 alto m 82: NBA shows no instruments except continuo until m 94 when oboe I and violin I come in, joined by oboe II and violin II at m 99, viola at m 104 with trumpet returning at m 116 for a voice in the fugue to the end at m 137.
Fugal with sections for solo quartet (Green p 174).
The opening chorus ...is cast in the form of a prelude and fugue which incorporates elements of the concerto, both in the ritornello opening and in the contrast between solo voices (accompanied by continuo) and full choir (with orchestral support).(Boyd p 139)
The text is that used by Haydn in the opening of "The Creation".
2 So läßt sich Gott nicht unbezeuget: Recitative tenor
God calls us all to the feast in a very compelling and attractive invitation.
3 Hört, ihr Völker, Gottes Stimme: Aria soprano
A very lovely aria with violin obbligato. The soprano exhorts all people to respond to the invitation.
4 Wer aber hört: Recitative bass
The bass lashes out at humanity for not listening to the call, rather following earthly desires.
5 Fahr hin, abgöttische Zunft: Aria bass
Backed by trumpets the bass rejects the world and
6 Du hast uns, Herr, von allen Straßen: Recitative alto
The alto acknowledges the invitation in a solo with continuo only.
7 Es woll uns Gott genädig sein: Chorale
Discussion of chorale melody by C.S. Terry in PDF excerpt
Discussion of chorale melody in Bach cantatas.com
This chorale reminds me of Numbers 6:26 The Lord lift up his countenance upon thee, and give thee peace.
Part Two
8 Sinfonia
Resembles a trio sonata for oboe d'amore, viola da gamba and continuo. Both solo parts are fairly difficult and dramatic, requiring a high level of musical sophistication (Green p 175).
Whittaker notes that this is the first cantata making use of the oboe d'amore; Bach uses it in sixty more church cantatas, as well as secular cantatas and larger church works. It always appears either alone, or paired, but never with a third instrument.
Four measure adagio in 4/4 time followed by a 61 measure vivace in 3/4.
James Kibbie
Instrument: Trost organ, St. Walpurgis, Großengottern, Germany (1717)
James Pressler
Instrument: The Hinsz-Organ at Leens in the province of Groningen (1733/34)
Instrument: Mühleisen Orgelbau, St. Cornelius and Cyprian (1997)
Instrument: Gottfried Silbermann Organ, St. Georgenkirche, Rötha, Germany (1721)
Instrument: Casavant, Opus 3246 (1975) at Grace Lutheran Church, Champaign, Illinois
9 Gott segne noch die treue Schar: Recitative bass
The bass describes how God blesses the faithful so that they might display heaven on earth in this short recitative.
10 Hasse nur, hasse mich recht: Aria tenor
The tenor expands on the theme of hatred.
11 Ich fühle schon im Geist: Recitative alto
With hatred purged, love is revealed by the alto.
12 Liebt, ihr Christen, in der Tat: Aria alto
The alto exhorts Christians to love one another in counterpoint with the oboe d'amore.
13 So soll die Christenheit: Recitative tenor
The tenor summarizes the message: we must praise God's love and make it manifest.
14 Es danke, Gott, und lobe dich: Chorale
Thanks and praises God and asks for blessing.
The music
BGA score of BWV 76 with old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus SATB, trumpet, oboe I,II, violin I,II, viola, continuo (NBA: not specified) |
| 2 | Tenor recitative, violin I,II, viola, continuo (NBA: not specified) |
| 3 | Soprano aria, violin, continuo (NBA: not specified) |
| 4 | Bass recitative, continuo (NBA: not specified) |
| 5 | Bass aria, trumpet, oboe I,II, violin I,II, viola, continuo (NBA: not specified) |
| 6 | Alto recitative, continuo (NBA: not specified) |
| 7 | SATB chorale, trumpet, oboe I,II, violin I,II, viola, continuo (NBA: not specified) |
| 8 | Sinfonia, oboe d'amore, viola da gamba, continuo (NBA: not specified) |
| 9 | Bass recitative, violin I,II, viola, continuo (NBA: specifies viola da gamba) |
| 10 | Tenor aria, continuo (NBA: specifies viola da gamba) |
| 11 | Alto recitative, continuo (NBA: specifies viola da gamba) |
| 12 | Alto aria, oboe d'amore, viola da gamba, continuo (NBA: not specified) |
| 13 | Tenor recitative, continuo (NBA: not specified) |
| 14 | SATB chorale, oboe I,II, violin I,II, viola, continuo (NBA: not specified) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1, 3 | Psalm 19:1,3 | 1. The heavens declare the glory of God; and the firmament sheweth his handywork. 3. There is no speech nor language, where their voice is not heard. |
| 6 | Luke 14:23 | And the lord said unto the servant, Go out into the highways and hedges, and compel them to come in, that my house may be filled. |
| 7 | Psalm 67 | Martin Luther’s original chorale text: Es wolle Gott uns gnädig sein based on Psalm 67 1. God be merciful unto us, and bless us; and cause his face to shine upon us; Selah. 2. That thy way may be known upon earth, thy saving health among all nations. 3. Let the people praise thee, O God; let all the people praise thee. 4. O let the nations be glad and sing for joy: for thou shalt judge the people righteously, and govern the nations upon earth. Selah. 5. Let the people praise thee, O God; let all the people praise thee. 6. Then shall the earth yield her increase; and God, even our own God, shall bless us. 7. God shall bless us; and all the ends of the earth shall fear him. |
References for the text: Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 1, 3 | Psalm 19:2,4 | 2. Die Himmel erzählen die Ehre Gottes, und die Feste verkündiget seiner Hände Werk. 4. Es ist keine Sprache noch Rede, da man nicht ihre Stimme höre. |
| 6 | Luke 14:23 | Und der Herr sprach zu dem Knechte: Gehe aus auf die Landstraßen und an die Zäune und nötige sie hereinzukommen, auf daß mein Haus voll werde. |
| 7 | Psalm 67 | Martin Luther’s original chorale text: Es wolle Gott uns gnädig sein based on Psalm 67 2. Gott sei uns gnädig und segne uns; er lasse uns sein Antlitz leuchten, Sela, 3. daß wir auf Erden erkennen seinen Weg, unter allen Heiden sein Heil. 4. Es danken dir; Gott, die Völker; es danken dir alle Völker. 5. Die Völker freuen sich und jauchzen, daß du die Leute recht richtest und regierest die Leute auf Erden. Sela. 6. Es danken dir, Gott, die Völker; es danken dir alle Völker. 7. Das Land gibt sein Gewächs. Es segne uns Gott, unser Gott! |
References
Emmanuel Notes BWV 76.
Emmanuel Translation BWV 76.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
Discussion from the Bach Choir of Bethlehem, Carol Traupman-Carr
Julian Mincham's guide
2011, February 03
Cantata BWV 75
JS Bach Cantata BWV 75: Die Elenden sollen essen
(The meek shall not go empty)
First Sunday after Trinity May 30 1723
Scoring: Trumpet, oboe I,II, oboe d'amore, violin I,II, viola, bassoon, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 6; p 111
Reading: Epistle: 1 John 4:16-21
Reading: Gospel: Luke 16:19-31
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 381-387
Whittaker vol 1 p 181-195
Green p 170-173
Terry vol 2 p 284
Boyd p 138
Chafe p 27
In May, after Telemann and Graupner were excluded from consideration, Bach moved his family to Leipzig and took on the position of cantorate of St. Thomas Church where he would serve the rest of his life.
For the first two Sundays of his tenure Bach wrote a pair of companion cantatas, BWV 75 and 76. Since they were presented on different weeks and are both quite long, I am listening to them separately.
Dürr says in his description of BWV 75 It can hardly escape notice that in character, the arias have a certain affinity with dance. The tenor aria, no 3, might be viewed as a polonaise, the soprano aria ...no 5 as a minuet, and the alto aria...no 10...as a quasi-passepied.
Both BWV 75 and 76 are written in two parts, the first sung before the sermon and the second during communion, after the sermon. Both these cantatas have been analyzed extensively, by many authors. BWV 75 is written for the beginning of the Trinity season, so is the first cantata in the annual cycle starting on Trinity Sunday. The other half of the year, the Temporale season starts with the first Sunday of Advent. Chafe states that though Bach probably reordered his cycles to begin with Advent, the fact that their composition was six months out of phase affected the ways in which Bach articulated the beginning of the Trinity season. Thus...Bach's cantatas for the first and second Sundays after Trinity in 1723 appear very much to have been intended as a musico-theological "message" for his new community.
These two cantatas are both long and complex; I could go on listening and reading here forever. Overall I have enjoyed listening to this cantata; I am partial to Klaus Mertens for the bass parts, but enjoy Leonhardt's reading for tempo and dynamics. The oboe d'amore part in section 5, and all the oboe music, is special.
Part One
1 Die Elenden sollen essen, daß sie satt: Chorus
Slow, majestic chorus, on Psalm 22:26. The piece is in two parts, the first from measure 1 to measure 67 in 3/4 time, which Boyd says is like a French overture, but sounds to me rather like a processional. The second part starting at measure 68 to the end at measure 105 is a fugue on the words "Euer Herz soll ewiglich leben." (Your hearts shall live forever). Ewiglich (eternally) is given a very long held note, while leben (live) is given a very extended melisma (14 beats, 41 notes).
2 Was hilft des Purpurs Majestät: Recitative bass
Emphatic rhetorical questions, with strings. The vocal line has large leaps and dissonances, especially at the beginning where there is a tonic pedal.
3 Mein Jesus soll mein alles sein: Aria tenor
A happy tenor sings Jesus will be his all.
4 Gott stürzet und erhöhet: Recitative tenor
Short and declamatory
5 Ich nehme mein Leiden mit Freuden auf mich: Aria soprano
Wonderful oboe d'amore part, in duet with soprano.
6 Indes schenkt Gott ein gut Gewissen: Recitative soprano
Short reading with organ accompanying.
7 Was Gott tut, das ist wohlgetan: Chorale
Discussion of chorale melody in Bach cantatas.com
Discussion of chorale melody by C.S. Terry
Trumpets enter and play interludes in this very upbeat chorale.
Part Two
8 Sinfonia
Trumpet plays Was Gott tut, das ist wohlgetan with accompaniment of strings.
9 Nur eines kränkt: Recitative alto
Slow and dignified
10 Jesus macht mich geistlich reich: Aria alto
I like most Leonhardt's slow and deliberate tempo with the strings articulated, not legato. It most matches the mood of the previous recitative.
11 Wer nur in Jesu bleibt: Recitative bass
With continuo only. Seven measures, passing through five tonal areas, though I would not say modulation. I see A Major to b minor, a lovely chromatic passage to e minor, a move to a minor, to end in C Major. Whittaker sees the same except he sees D Major as the first area. Only Pieter Jan Leusink, of my recordings, holds the pedal points so you get the great dissonances.
mp3 of Klaus Mertens singing the 30 second recitative with Ton Koopman directing.
mp3 of Bas Ramsclaar singing the 30 second recitative with Leusink directing.
12 Mein Herze glaubt und liebt: Aria bass
Alfred Dürr says, The least dancelike aria, and the most strongly influenced by the concerto [form],is the last, no. 12. The trumpet which takes no part in the opening movement and otherwise plays only the cantus firmus in the sinfonia that opens Part 2...is here...assigned an unexpectedly significant role. It opens the movement thematically, with the support of the string orchestra and thereafter comes to the fore with its virtuoso figuration. The bass timbre of the voice part, its wide and powerful intervals, and the radiant brilliance of the trumpet: all these things unite to give a most vivid illustration of the words 'My heart believes and loves...'.
The bass part alternates with the trumpet and strings to create the effect of a vocal concerto.
13 O Armut, der kein Reichtum gleicht: Recitative tenor
14 Was Gott tut, das ist wohlgetan: Chorale
Identical with 75.7.
The music
Sinfonia from the second part, unknown performers
BGA score of BWV 75 with old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, SATB, oboe I,II, violin I,II, viola, bassoon, continuo (NBA: not specified) |
| 2 | Bass recitative, violin I,II, viola, continuo (NBA: not specified) |
| 3 | Tenor aria, oboe, violin I,II, viola, continuo (NBA: not specified) |
| 4 | Tenor recitativ, continuo (NBA: not specified) |
| 5 | Soprano aria, oboe d'amore, continuo (NBA: not specified) |
| 6 | Soprano recitative, continuo (NBA: not specified) |
| 7 | SATB chorale, oboe I,II, violin I,II, viola, continuo (NBA: specifies organ) |
| 8 | Sinfonia, trumpet, violin I,II, viola, continuo (NBA: not specified) |
| 9 | Alto recitative, violin I,II, viola, continuo (NBA: not specified) |
| 10 | Alto aria, violin I,II unison, continuo (NBA: not specified) |
| 11 | Bass recitative, continuo (NBA: not specified) |
| 12 | Bass aria, trumpet, violin I,II, viola, continuo (NBA: not specified) |
| 13 | Tenor recitative, continuo (NBA: not specified) |
| 14 | Chorale SATB, oboe I,II, violin I,II, viola, continuo (NBA: specifies organ) |
Biblical references for each part
References for the text: King James Bible, Luther Bible 1545
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 22:26 | The meek shall eat and be satisfied: they shall praise the Lord that seek him: your heart shall live for ever. |
| 1 | Psalm 22:27 | Die Elenden sollen essen, daß sie satt werden, und die nach dem Herrn fragen, werden ihn preisen; euer Herz soll ewiglich leben. |
* The difference in the Psalm verse is because the German psalm is numbered from verse 2; the dedication at the beginning is numbered as verse 1.
References
Emmanuel Notes BWV 75.
Emmanuel Translation BWV 75.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
Discussion from Answers.com
Discussion from the Bach Choir of Bethlehem
Julian Mincham's guide
2011, January 18
Cantata BWV 22 and BWV 23
JS Bach Cantata BWV 22: Jesus nahm zu sich die Zwolfe
(Jesus called to him the twelve)
Quinquagesima Sunday [Estomihi] Feb 27 1723
BWV 23: Du Wahrer Gott und Davids sohn
(Thou very God and David's Son)
Scoring: Oboe I (II in BWV 23), violin I,II, viola, Violoncello, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 3; p 393 and p 425
Reading
Epistle: 1 Corinthians 13: 1-13
Gospel: Luke 18: 31- 43 21:1-9
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 240-248
Whittaker vol 1 p 173-181
Green p 53-57
Terry vol 2 p 186, 188
Boyd p 249 and p 145
Christoph Wolff (1991) p 128
In 1723, Bach made a trip to Leipzig where he presented these two cantatas on February 7, before and after the sermon, in the St. Thomas Church. Written near the end of his stay in Köthen, these pieces constituted his audition for position of the cantorate.
Green gives the impression that BWV 23 was written originally as the test piece, but submitted BWV 22 instead because it adhered to the style to which the Leipzig congregation was accustomed. However, Robin Leaver in Boyd states that both pieces were played, Cantata 23 during communion, BWV 22 before the sermon. Whittaker states that it is practically certain that BWV 23 was set aside in favor of BWV 22, which was not played until the following year.
They will be very enjoyable to any fan of the oboe, which Green says requires a strong player.
BWV 22
1 Jesus nahm zu sich die Zwölfe und sprach: Tenor and bass arioso with chorus
The tenor sings a short intro, then the bass sings the rest. The oboe plays throughout in counterpoint. After this solo section, the chorus comes in for a short section, first soprano, then alto, then tenor, then bass.
2 Mein Jesu, ziehe mich nach dir: Alto aria
The oboe has an independent obbligato throughout, with the alto and cello.
3 Mein Jesu, ziehe mich, so werd ich laufen: Bass recitative
Violins play in counterpoint to the bass.
4 Mein alles in allem, mein ewiges Gut: Tenor aria
Dürr states this aria brings to mind the Köthen rather than the Leipzig Bach. The piece is dancelike with tenor and strings.
5 Ertöt uns durch dein Güte: Chorale
Discussion of the chorale Herr Christ, der einge Gottessohn on Bach Cantatas.com
Terry on chorales from BWV 22 and 23 in PDF excerpt
Running sixteenth notes in the oboe and violin I, running eighth notes in violin II.
BWV 23
1 Du wahrer Gott und Davids Sohn: Soprano and alto aria duet
A prayer for mercy, quiet and rather repetitive. This is a complex interweaving of five voices: two oboes with triplet rhythms, the soprano, alto and cello.
2 Ach! gehe nicht vorüber: Tenor recitative with instrumental chorale
Oboes and violins play the first line of the Agnus Dei in counterpoint to the meditative tenor.
3 Aller Augen warten, Herr: Chorus
A quick chorus, in three quarter time, which sounds to me beat in one, with running eighth notes exchanging parts.
4 Christe, du Lamm Gottes: Chorale
Terry on chorales from BWV 22 and 23 in PDF excerpt
Text of the Agnus Dei from San Francisco Bach Choir.
The organ piece from James Pressler
The chorale theme Christe, du Lamm Gottes, the German Agnus Dei, first appeared in printing in Johannes Bugenhagen's Braunschweig Church Order, published in Braunschweig in 1528. The theme is an adaptation of Luther's setting of the Kyrie eleison in his Deutsche Messe
The chorale starts with an adagio section, changing to a section in andante at measure 19. Dürr says this section is of sublime intensity. Oboes and strings form an independent structure which incorporates a prelude and interludes. In order to counterbalance them, the vocal parts were in 1724 reinforced with cornett and trombones.
The music
Leonhardt BWV 22 part 1 and 2
Leonhardt BWV 22 part 3 4 5
Leonhardt BWV 23 part 1 and two
Leonhardt BWV 23 part 3 4
BWV 22.3 Koopman/Mertens Bass recitative mp3
PDF of BWV 22 score in old clefs
PDF of BWV 23 score in old clefs
Instruments and voices for each part BWV 22
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, SATB, Oboe I, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 2 | Alto aria, oboe, continuo (NBA: violoncello and keyboard) |
| 3 | Bass recitative, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 4 | Tenor aria, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 5 | SATB chorale with instrumental interludes, oboe, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
Instruments and voices for each part BWV 23
| Section | Instruments, voices |
|---|---|
| 1 | Aria duet soprano, alto, Oboe I,II, continuo (NBA: violoncello and organ) |
| 2 | Tenor recitative, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
| 3 | SATB chorus, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
| 4 | SATB chorale with instrumental interludes, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
Biblical references for each part BWV 22
References for the text: King James Bible, Luther's German Bible
| Scripture | EnglishText | German | |
|---|---|---|---|
| 1 | Luke 18:31, 34 | 31. Then he took unto him the twelve, and said unto them, Behold, we go up to Jerusalem, and all things that are written by the prophets concerning the Son of man shall be accomplished. 34. And they understood none of these things: and this saying was hid from them, neither knew they the things which were spoken. |
31. Er nahm aber zu sich die Zwölfe und sprach zu ihnen: Sehet, wir gehen hinauf gen Jerusalem, und es wird alles vollendet werden, was geschrieben ist durch die Propheten von des Menschen Sohn. 34. Sie aber vernahmen der keines, und die Rede war ihnen verborgen, und wußten nicht, was das gesagt war. |
Biblical references for each part BWV 23
References for the text: King James Bible, Luther's German Bible
| Scripture | EnglishText | German | |
|---|---|---|---|
| 3 | Psalm 145:15 | The eyes of all wait upon thee. | Aller Augen warten auf dich. |
References
Emmanuel Notes BWV 22.
Emmanuel Translation BWV 22.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
Emmanuel Notes BWV 23.
Emmanuel Translation BWV 23.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
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