BACH 737

Hermann SCHERCHEN conducting
the Vienna Academy Choir
and Vienna Radio Orchestra

1:  CANTATA 35: Geist und Seele wird verwirret - Soul and Spirit are bewildered
Leipzig 1731 for the 12th Sunday after Trinity.
Alto, Strings, 2 Oboes, Oboe di Caccia and Organ obbligato

Maureen Forrester, Alto / Herbert Tachezi, Organ
Part 1   Part 2

2: CANTATA 53: Schlage doch, gewünschte Stunde - Strike then, O longed-for Hour
Known as the "Mourning Aria", or "Campanella Cantata". Leipzig, c. 1730 for Solo Alto.
Hilde Roessel-Majdan, Alto

3: CANTATA 42: Am Abend aber desselbigen Sabbats
On the evening of that same Sabbath

For Dominica Quasimodogeniti, "Concerto da Chiesa". Leipzig c. 1731
SINFONIA - Tenor RECITATIVE - Alto ARIA - Soprano/Tenor DUET

Teresa Stich-Randall, Soprano / Maureen Forrester, Alto
Alexander Young, Tenor / John Boyden, Bass
Part 1   Part 2

Total Time 71:20

Both Cantata 35 and 42 feature the alto soloist.

The absence of any choral movements might indicate composition between 1730 and 1732 when the remodeling of the Thomasschule caused the temporary dispersing of the choir. The extensive use of the organ in Cantata 35 also points to this period, during which the positive organ in the Thomaskirche was made separately playable.

The purpose of the Cantata in the context of the Leipzig service was to instruct the congregation in the Word of God, the Commandments, and godly conduct in general - as well as providing a measure of reassurance in a difficult world. Both cantatas are based strictly on the biblical text for the day. Cantata 35 takes the text of Mark 7: 31-37 where Jesus causes a deaf and dumb man to hear and speak; the mood of the text is one of wonderment and admiration at the miracles which Heaven can work.

The text of Cantata 42 is based on John 20: 19-31 - "Where two or three are gathered together in Jesus' name, there stands Jesus amongst them". Here we find consolation and reassurance. "Let the foes rage without", while Jesus guards his flock within.

Cantata 53 is a single Mourning Aria, here most beautifully performed by Hilde Roessl-Majdan. The unusual employment of two bells in the score has given it the name Campanella Cantata.

Baroque Music Library