These works both received their first performances in Leipzig - the Magnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up thepost of Kantor at the Thomaskirche in Leipzig, having previously been Kapellmeisterto Prince Leopold in Cothen. The Magnificat was originally heard ina version in E flat major at Christmas Vespers when movements with seasonaltexts were inserted; the version included on this disc was rendered by Bach someyears later, returning to the ordinary Magnificat text in order to makethe work performable all year round. Bach's approach to the evening canticle ischaracteristically large-scale. There is no use of recitative, owing perhaps tothe poetic nature of the text: the verses have little natural hierarchy and itis appropriate that they should all be afforded extended settings. The scoringis unusually rich and includes three trumpets, two flutes, two oboes, strings,continuo, and timpani - one of the largest ensembles to be assembled at theThomaskirche in Bach's time. Bach takes a literal view of the text in which, forinstance, the full five-part choir is used to demonstrate Omnes generationes ("All generations") with soloists used for the more reflective movements. Ina typically Bachian gesture the opening material returns for Sicut erat inprincipio ("As it was in the beginning").
"It is…a fine pairing of two of Bach’s more extroverted works, in which Herreweghe delves beneath the masculine surface of the Magnificat to find its more tender interior and boldly explores Bach’s expansion of Luther’s great Reformation hymn, Ein feste Burg ist unser Gott. For whatever reason, Cantata 80 seems to have lost a degree of popularity lately, and it’s good to hear it again, complete with W. F. Bach’s interpolated trumpets."– George Chien
In addition to the 75 J.S.Bach's Cantatas by Munchener Bach-Chor & Munchener Bach-Orchester conducted by Karl Richter.
The BWV 127 cantata was not included in the "75 Cantatas" set.
The Ensemble Pygmalion directed by Raphaël Pichon commences its collaboration with Harmonia Mundi with this new recording of J.S. Bach’s lost music to the Köthener Trauermusik (Cöthen funeral music), BWV 244a. Founded in 2006 at the European Bach Festival, Ensemble Pygmalion is a combination of choir and orchestra - all young performers with experience of authentic instruments and period-informed performance. Its repertoire concentrates primarily on Johann Sebastian Bach and Jean-Philippe Rameau.
Although Bach's sacred cantatas span a huge expressive range and display a striking stylistic diversity, they were all composed for performance during a church service. In the case of the secular cantatas, on the other hand, their respective purpose is as varied as their subject matter and emotional content. They were usually commissions intended for occasions such as weddings, funerals and birthdays. As such they were sometimes performed in churches, and some of them have religious texts, but as the works gathered here exemplify, they were not related to the particular theme of the church service on a certain day.
The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called ‘dramma per musica’. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the ‘drammi per musica’ do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved. Both cantatas recorded here are ‘academic’ cantatas, composed in honour of eminent members of the faculty at the University of Leipzig.
Although two of the works on this disc were composed for weddings, they are completely different in character. Weichet nur, betrübte Schatten is a charming and gracious garland of recitatives and arias for soprano solo in which Spring, Flora, Apollo and Amor are all invoked in a blessing of the newly wedded couple and their union.
The Quodlibet (Latin for ‘what pleases’) on the other hand, is an altogether unceremonious composition which was probably intended for a private function in Bach’s own circle or family. All we have is a fragment of the work – in Bach’s own hand – and the beginning and ending of the piece, including the title page, are missing.
Compared with J.S. Bach’s production of church music his secular vocal works occupy a modest place in his output: today we know of the existence of some fifty secular cantatas, but only about half of these have survived in performable condition. They were occasional pieces, tailored especially to the situation that engendered them. Unlike the church cantatas they could therefore not be performed again in unaltered form, and were thus of little practical interest for Bach’s heirs. The earliest surviving secular cantata is the ‘Hunt’ Cantata, composed in 1713 in Weimar for the birthday of Duke Christian of Sachsen-Weißenfels.