rssMan is always more than he can know of himself; consequently, his accomplishments, time and again, will come as a surprise to him. - Golo Mann
2011, November 15
Margaret Greentree June 6, 1943 - August 12, 2011
I would like to start with expressing an immense appreciation for the readers of this site, jsbchorales.net. My dear mother passed away unexpectedly in August and I [her eldest daughter Patricia] would like to take a few minutes to share something of the person who created this site.
During the last 3 years, I was living with her here in the East Bay of CA as we both needed each other for different reasons. Her health was declining and I was in a major life transition.
She would speak to me daily about the chorales she was working on for the site, she loved to talk about Bach. His life, work, the history of the church and his family life. She LOVED the chorales, I tried but they did not grab me the way much of his other works do.
She spoke to me of each of you who wrote to her for help with questions and/or queries. Sometimes she would act like this was asking SO much of her, however this was a front. She loved the connection and the appreciation. It took her forever to put a donation button up, at my suggestion and only for the hosting fees. And I do respect and agree with her desire for the site to be advertisement free and a resource for musicians and academics to use freely.
She would read me the emails from folks who sent their appreciation and every so often she would have to explain that the person was A Very Big Deal in the Bach/Baroque world.
My mother was not person who liked to interact with folks in a social setting and it was rare for her to participate in activities where people were around. The connection she had with the Bach community was, although one could say peripheral- fed her social needs. Here is a bit of the amazing, intelligent, deep, philosophical, witty, no-nonsense woman I used to tease and call a rock star. To me my mother was indeed a rock star, for throughout her life, her many interests she was able to fulfill. She also was able to translate her ideas and designs into an either physical manifestation or in the case of this website, a repository of her love, passion and fascination with Bach, History and Music.
She also had an ability to crack me up with laughter with her wry, no BS, biting insights on life and people. No one has ever made me laugh so deeply and truthfully as she could.
Of the multitude of long standing childhood memories I have, many of them are of her love for music. Classical music, I used to call it- a general catch all phrase to cover that type of music when it played in our home. I can still remember the lesson of why calling all of her music, the general name of Classical music, was incorrect. The periods and their differing names. She was always one for doing everything possible so I would not: sound ignorant when having discussions. Her exact words.
In Chicago during the Seventies we were taken to see Itzhak Perlman and Ravi Shankar. Family outings were consistently to the bookstore, Krochs and Brentanos and the record store, Rose Records. We also went to the library, the museums [the Field Museum, Museum of Science and Industry and the Adler Planetarium and Astronomy Museum.
We accompanied our mom to her trips to Bein and Fushi for violin tuning and were dropped at the beautiful downtown library while she had her lessons nearby. And there was a tiny period when my sister and I were very small, we too had violin lessons and could play a simple song.
There was little tolerance over bickering about tv programs between my sister and I. Watched on the smallest b&w tv set one can imagine. I will never forget when her patience broke and the tv was thrown out. Literally. In the garbage and we did not have another one until I was in high school. This of course allowed more time for the radio, reading, games, crafts and record playing. Although at the time my sister and I thought we were the strangest family that existed.
My mom began taking piano lessons after we moved to Seattle. Our car, a Toyota wagon [which my mom had since my sister and I were babies] died there after years of Chicago’s ritual salting of the streets rusted its frame We were a family with a violin and a piano but no car [and no tv], bussing it everywhere throughout the city. At this time in our lives she also got involved with music theory classes and singing in a community choir.
I remember her love of Glenn Gould coming before her love [actually a passion] of J.S. Bach. I too loved Glenn Gould and would always listen to her tapes and records.
I cannot really recall when Bach pretty much took over everything. But both my sister and I had moved out and the musical contact we had was in CDs and tapes she made for me. A selection of music I not heard from any of my friends or heard on my radio stations.
I do know that the Mac [which she created jsbchorales on] came at a time in her life when she had grown bored with knitting, weaving,literature and even reading and practicing the piano/violin. 
On one of my college breaks, I noticed her using the ancient metal tank of a typewriter she had before we were born. It was being used for a writing class she was attending at the U of WA extension. I told her about the Mac I used at my college computer room. I figured there had to be one at the U of WA. There was, we went and you cannot imagine the joy and transfixion that occurred from this introduction.
She had to have her OWN computer, no using the communal room on campus. And she wanted to understand how the computer worked and how the software worked on the computer. Me, I just thought it was cool, made typing papers a breeze and a nifty tool for a college student.
She had all of the first original share ware type software made of the Mac, had the Finale software before it was called Finale and was blogging years before it was a craze.
I can remember being so confused as to what made it different from a website and her many attempts to explain- of course I only understood once I learned to do some basic HTML coding myself.
My mom was obsessed with what she called, elegant coding and spent painstaking hours to learn and then apply her knowledge with her own site, jsbchorales.net. She helped me learn, tutorials and lessons in HTML- for me I would rather pay someone else to do it. But she genuinely loved it.
She was our go-to person for all computer related issues, when I had a job that had an IT dept. I truly understood how amazing her abilities were. She was our IT person and maintained our computers/laptops, the home network and she even managed to figure out how to get her ancient Apple Laser Writer4/600PS to work all the way up to OSX snow leopard.
My sadness and heartache over missing her, losing the laughter and not being able to converse with her ever again is a grief that no words can express. It is my sincerest wish that you, her readers/followers will continue to use this site and tell anyone else who you think could benefit from her work here to please visit and peruse the site.
I apologize for the appalling coding of this entry and its length/scattered nature, I am not a writer but I wanted to express something of the person my mother was in life. She wanted no service, only to be cremated and no fuss made. However I feel such a desire for something of this person to be known.
I will continue to make sure this site stays available for its intended purpose. To contact me, my info is:
p l m l o v e s p a r i s a t g m a i l d o t c o m no spaces of course.
If anyone had any interactions with my mom regarding jsbchorales.net, I would like to put them up on the workshop site in an entry of Remembrances. You can email me the exact wording and I will copy paste it into an entry here.
Thank you for your time and your use of this site. Patricia
2011, July 08
Cantata BWV 25
JS Bach Cantata BWV 25: Es ist nichts Gesundes an meinem Leibe
(There is nothing sound in my body)
Fourteenth Sunday after Trinity August 29, 1723
Scoring: Trumpet I, Trombone I,II,III, Recorder I,II,III, Oboe I,II, Violin I,II, Viola, Organ, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 8; p 391-426
Reading: Epistle: Galatians 5:16-24
Reading: Gospel: Luke 17: 11-19
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 520-523
Whittaker vol 1 p 676-681
Green p 59-61
Terry vol 2 p 192
Boyd p 164
This short cantata presents with a more than average amount of Baroque rhetoric on the subject of sin. This is an occasion when a lack of knowledge of the German language is an asset. Dürr says: The text, whose graphic Baroque metaphors seem to us today barely tolerable, and anything but poetic, refers to the Sunday Gospel, applying its account of the healing of the lepers to the situation of mankind as a whole. The Fall of Man has stained everyone, the whole world is a hospital, for sin has made man sick.
Whittaker brings up the list of sins of the flesh found in Galatians 5:19-21: Adultery, fornication uncleanness, lasciviousness, idolatry, witchcraft, hatred, variance, emulations, wrath, strife, seditions, heresies, envyings murders, drunkenness, revellings and such like. Whittaker calls the text describing the human condition as nauseating lapses of taste.
1 Chorus: Es ist nichts Gesundes an meinem Leibe
Green says this part presents the most significant challenges. Bach has written a four-part fugue for the chorus which is sometimes accompanied only by continuo, sometimes harmonically supported by the strings, and sometimes directly doubled. Against this choral fugue he has juxtaposed a five-part setting of the chorale in the brass and winds. The choral singers must be capable of maintaining their parts independently against this chorale. Great care will need to be given to establishing an effective balance between these contrasting timbral elements.
Stephen A. Crist in Boyd agrees that the first and fifth movements are the most interesting. Of the first section he says Throughout this contrapuntal tour de force, by judicious use of chromaticism and harmonic instability, Bach conveys a vivid sense of the hhysical and spiritual sickness that are the subject of the work.
The discussion of the instrumental chorale on Bach Cantatas.com.
2 Tenor recitative: Die ganze Welt ist nur ein Hospital
This recitative, and the following two sections are sung with continuo only as instrumental support.
3 Bass aria: Ach, wo hol ich Armer Rat
Dürr says that Jesus here appears a trifle pale as an almighty miracle-worker rather than as the oblation for our sins.
4 Soprano recitative: O Jesu, lieber Meister
5 Soprano aria: Öffne meinen schlechten Liedern
Dürr states a preference for the text of the second aria, part five, saying it is perhaps the most successful poetically of the cantata. Musically, he also finds this part the most appealing; After all the agonizing helplessness described in the text up to this point, after the elaborately constructed opening chorus and the three scantily scored intervening movements, the dancing minuet-like melody of this movement opens up a new perspective. The music has a tender, song-like, ethereal sound. One is reminded baroque representations of angels playing music--not least, of course, because they are mentioned in the text.
6 Chorale: Ich will alle meine Tage (Treuer Gott, ich muß dir klagen, last verse)
Discussion of the final chorale on Bach Cantatas.com
The music
Harnoncourt 1 Chorus, 2 Recitative, 3 Aria
Harnoncourt 4 Recitative, 5 Aria, 6 Chorale
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, cornetto, trombono I,II,III, recorders I,II,III in unison, oboe I with violin I, oboe II with violin II, viola, continuo (NBA: organ) |
| 2 | Tenor recitative, continuo (NBA: organ) |
| 3 | Bass aria, continuo (NBA: organ) |
| 4 | Soprano recitative, continuo (NBA: organ) |
| 5 | Soprano aria, recorders I,II,III, oboe I with violin I, oboe II with violin II, viola, continuo (NBA: organ) |
| 6 | Chorale SATB, cornetto, recorders I,II, III, oboe I, violin I with soprano, trombono I, oboe II, violin II with alto, trombono II, viola with tenor, trombono III with bass, continuo (NBA: organ) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 38:4 | For mine iniquities are gone over mine head: as an heavy burden they are too heavy for me. |
References for the text: Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 38:4 | Es ist nichts Gesundes an meinem Leibe vor deinem Dräuen, und ist kein Friede in meinen Gebeinen vor meiner Sünde. |
References
Emmanuel Notes BWV 25.
Emmanuel Translation BWV 25.
Discussion from Julian Mincham
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
2011, June 23
Cantata BWV 77
JS Bach Cantata BWV 77: Du sollst Gott, deinen Herren, lieben
(Thou shalt love God, thy Lord)
Thirteenth Sunday after Trinity August 22 1723
Scoring: Trumpet da tirarsi, Oboe I,II, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 8; p 315
Reading: Epistle Galatians 3:15-22
Reading: Gospel Luke 10:23-37
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 510-513
Whittaker vol 1 p 644-650
Green p 176-178
Terry vol 2 p 287
Boyd p 144
Chafe p 161
This work features the tromba da tirarsi, "a single slide natural trumpet where the whole body of the the trumpet is moved to obtain the slide positions. The Corno da Tirarsi is believed to be the same instrument but used with a horn type mouthpiece to produce a softer tone. The Tirarsi is often specified in Bach Chorales, often in unison with the sopranos, as it can play chromatically within the staff." - Matthew Parker Trumpets.com.
Though this is one of Bach's shorter cantatas, it is very intense and a rather overwhelming. I have had a great deal of difficulty listening to and writing about it, perhaps because so much has been written by others. Eric Chafe devotes two chapters in his book Analyzing Bach Cantatas, 2000, one to the theological message of the first movement, and another to the musical structure of each of the sections. His treatment is so exhaustive that by the time I finished reading it, I wasn't sure I was reading about music. I had to put the whole thing away and break for a month to recover. Returning after a course in watercolor paints, I find I still have trouble with this short cantata. So I am going to post the few notes I have been able to make, so that I can move on to the next piece.
1 Chorus: Du sollt Gott, deinen Herren, lieben von ganzem Herzen, with instrumental chorale
The chorale played by the trumpet is known as the Ten Commandments chorale:
These are the holy ten Commandments
that our Lord God gave us,
through Moses, His faithful servant,
high upon Mount Sinai.
Kyrie eleison!
This reference to the Old Testament commandments is placed in counterpoint to the New Testament summary of the commandments sung by the chorus: Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind; and thy neighbour as thyself.
PDF of old score in original clefs, just BWV 77.1
Other treatments of the Ten Commandments chorale by Bach:
PDF score BWV 678
Übung III, German organ mass BWV 678
BWV 678 with scrolling score
James Kibbie at the organ
BWV 678 from James Pressler
---------
Orgelbuchlein BWV 635 with scrolling score
PDF score BWV 635
James Kibbie at the organ
BWV 635 midi file
BWV 635 from James Pressler
Article about BWV 635
----------------
PDF score BWV 298
Matt - favorite, 35 seconds
Rilling - very good, 41 seconds
Suzuki - organ overpowering, 39 seconds
Gritton - too slow, 46 seconds
The very complex imitative chorus Bach created for the New Testament statement has been analyzed to death, as noted above.
2 Bass recitative: So muß es sein
Wonderful in the Koopman recording with Klaus Mertens, ever popular. A simple straightforward statement. Pedal points in the continuo are not held in any of the recordings. This is my favorite part of the cantata.
3 Soprano aria: Mein Gott, ich liebe dich von Herzen
The oboe parts, with their rocking accompaniment in thirds and sixths are running through my head for hours after listening.
4 Tenor recitative: Gib mir dabei, mein Gott! ein Samariterherz
A prayer by the tenor, the soul pleading for the heart of the Samaritan, a reference to the gospel reading of the day, Luke 10:33.
5 Alto aria: Ach, es bleibt in meiner Liebe
The trumpet part in this section has a very different sound from the part with the first chorus; here there is a quality to the sound that makes it seem always a little sharp to my ears.
6 Chorale: Herr, durch den Glauben wohn in mir (O Gottes Sohn, Herr Jesu Christ verse 8)
Here the trumpet blends so well, it is much less noticeable.
Charles S. Terry discusses the origins of this final chorale melody in a PDF excerpt.
Final chorale melody notes from Bach cantatas.com
All scholars note the omission of the verse choice for this section.
The music
BWV 77 - Ton Koopman: Quick tempo, Klaus Mertens on bass recitative
BWV 77 - Leonhardt 1 Chorus, 2 Bass recitative, 3 Soprano aria: Slower tempo, especially chorus
BWV 77 - Leonhardt - 4 Tenor recitative, 5 Alto aria, 6 Chorale
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, SATB, with instrumental chorale in tromba da tirarsi, violin I,II, viola, continuo |
| 2 | Bass recitative, continuo |
| 3 | Soprano aria, oboe I,II, continuo |
| 4 | Tenor recitative, violin I,II, viola, continuo |
| 5 | Alto aria, tromba da tirarsi, continuo |
| 6 | Chorale Soprano c tromba da tirarsi, oboe I,II, violin I, Alto c violin II, Tenor c viola, Bass, continuo |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1 | Luke 10:27 | And he answering said, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind; and thy neighbour as thyself. |
| 4 | Luke 10:33-10:36 | But a certain Samaritan, as he journeyed, came where he was: and when he saw him, he had compassion on him, and went to him, and bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn, and took care of him. And on the morrow when he departed, he took out two pence, and gave them to the host, and said unto him, Take care of him; and whatsoever thou spendest more, when I come again, I will repay thee. Which now of these three, thinkest thou, was neighbour unto him that fell among the thieves? |
References for the text: Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 1 | Luke 10:27 | Er antwortete und sprach: Du sollst Gott, deinen Herrn, lieben von ganzem Herzen, von ganzer Seele, von allen Kräften und von ganzem Gemüt und deinen Nächsten als dich selbst. |
| 4 | Luke 10:33-10:36 | Ein Samariter aber reisete und kam dahin; und da er ihn sah, jammerte ihn sein, ging zu ihm, verband ihm seine Wunden und goß drein Öl und Wein und hub ihn auf sein Tier und führete ihn in die Herberge und pflegete sein. Des andern Tages reisete er und zog heraus zwei Groschen und gab sie dem Wirt und sprach zu ihm; Pflege sein; und so du was mehr wirst dartun, will ich dir's bezahlen, wenn ich wiederkomme. Welcher dünket dich, der unter diesen dreien der Nächste, sei gewesen dem, der unter die Mörder gefallen war? |
References
Emmanuel Notes BWV 77.
Emmanuel Translation BWV 77.
Julian Mincham's discussion
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
2011, May 12
Cantata BWV 69
JS Bach Cantata BWV 69: Lobe den Herrn, meine Seele
(Praise the Lord, my soul)
12th Sunday after Trinity August 26, 1748
Scoring: Trumpet I,II,III, timpani, oboe d'amore, oboe I,II,III, bassoon, violin I,II, viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 13; p 377
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 737-740
Whittaker vol 1 p 600-607
Green p 157-158
Terry vol 2 p 271
Boyd p 270
This cantata is revised from BWV 69a. Some parts were used as written, others were altered. Bach did this work, mostly revising the recitatives in the last years of his life.
1 Chorus: Lobe den Herrn, meine Seele, und vergiß
The opening chorus is the same as in BWV 69a.
2 Soprano recitative: Wie groß ist Gottes Güte doch!
A general statement of praise.
3 Alto aria: Meine Seele, Auf! erzähle
An exposed solo for oboe da caccia and recorder (Green). This is the longest movement in the cantata,
4 Tenor recitative: Der Herr hat große Ding an uns getan.
The most elaborate of the recitatives, this piece is in three phases; the first a general deliberation, the second accompanied by strings, reflecting on the town government, and the third an arioso prayer for future assistance.
5 Bass aria: Mein Erlöser und Erhalter
This aria is the same as BWV 69a.5.
6 Chorale: Es danke, Gott, und lobe dich, third verse of Es woll uns Gott genädig sein
A different chorale closes this cantata, with an independent part for the three trumpets, in keeping with the celebration of the council inauguration.
Charles S. Terry (p271) discusses the origins of this final chorale melody.
Final chorale melody notes from Bach cantatas.com
The music
BWV 69 parts 1 2 3 Koopman
BWV 69 parts 4 5 6 Koopman
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, SATB, trumpet I,II,III, timpani, oboe I,II,III, bassoon, violin I,II, viola, continuo |
| 2 | Soprano recitative, continuo (NBA: bassoon and keyboard) |
| 3 | Alto aria, oboe I, violin I, continuo (NBA: bassoon and keyboard) |
| 4 | Tenor recitative, violin I,II, viola, bassoon obbligato, continuo (NBA: keyboard) |
| 5 | Bass aria, obbligato oboe d'amore, violin I,II, viola, continuo (NBA: bassoon and keyboard) |
| 6 | Chorale: Trumpet I,II,III, timpani; Soprano c oboe I,II,III, violin I; Alto c violin II; Tenor c viola, Bass, continuo (NBA: bassoon and keyboard) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 103:2 | Bless the Lord, O my soul, and forget not all his benefits |
References for the text: Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 103:2 | Lobe den Herrn, meine Seele, und vergiß nicht, was er dir Gutes getan hat |
References
Emmanuel Notes BWV 69.
Emmanuel Translation BWV 69.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
Discussion from Julian Mincham.
