No. 29 Fall 2018 BACH NOTES NEWSLETTER OF THE AMERICAN BACH SOCIETY BACHFEST LEIPZIG 2018: CYCLES A CONFERENCE REPORT BY YO TOMITA achfest Leipzig listening experience. B2018 took place There was an immensely from June 8–17 with warm and appreciative at- the theme “Zyklen” mosphere in the acoustic (Cycles), featuring space once owned and ex- works that can be ploited to its full by Bach grouped together, for himself almost 300 years instance collections ago. To me this part of the of six or twenty-four Bachfest was a resound- pieces, numbers with ing success. It will be long potential biblical sig- remembered, especially by nificance, or works the fully packed exuberant that share formal or audience at the tenth and stylistic features. In the final concert of the addition, this year’s Kantaten-Ring on June festival presented 10 in the Nikolaikirche, something quite ex- where the Monteverdi traordinary: nearly all Choir and English Ba- the main slots in the John Eliot Gardiner in the Nikolaikirche (Photo Credit: Leipzig Bach Festival/Gert Mothes) roque Soloists directed by first weekend (June 8–10) were filled by a vocal works from the sixteenth and seven- series of concerts called “Leipziger Kantat- teenth centuries. This arrangement exposed en-Ring” (Leipzig Ring of Cantatas), which the stylistic differences between Bach and In This Issue: looked like a festival of Bach cantatas within his predecessors, prompting us to consider the Bachfest. (Its own program book, at why and how Bach’s musical style might Conference Report: Bachfest Leipzig . 1 351 pages, was three times thicker than the have evolved, a precious moment to reflect entire booklet of the Bachfest!) Altogether on Bach’s ingenuity. In addition, the associ- The ABS and Social Media . .4 . thirty-three sacred cantatas cherry-picked ated passages from the Bible were read out A Review of Leipzig After Bach . 5. by the program committee were performed before listening to the music, which some of in ten concerts by five illustrious Bach inter- us found helpful to prepare both mind and Conference Report: ABS 2018 . 7. preters and their ensembles in turn—John spirit to appreciate Bach’s musical liturgy Recent Prize Winners . 9. Eliot Gardiner, Ton Koopman, Masaaki and its historical context. Quite separately, Suzuki, Hans-Christoph Rademann, and it was also a rare occasion to be able to hear New Publications . 10. Gotthold Schwarz—primarily in the two different approaches and renditions from main churches in Leipzig. Each of the ten the five ensembles, a frequent topic of dis- Announcements . 10 . was linked to a specific season in the liturgi- cussion among listeners after the concerts. Member News . 12. cal year and performed roughly in calendar From the concept of the programming to order, hence the concept of “cycle.” the quality of individual performances, ev- In each concert we heard several of erything seemed meticulously planned and © 2018 Bach’s cantatas interspersed with sacred rehearsed to produce such an exceptional The American Bach Society 2 John Eliot Gardiner performed six works: Bach’s “Es erhub sich ein Character Pieces op. 7 on Friday, June 15 in the Kongresshalle; and Streit” (BWV 19); Buxtehude’s “Nimm von uns, Herr, du treuer Andreas Staier on a double-manual replica Mietke harpsichord Gott” (BuxWV 78); Bach’s cantata with the same title (BWV playing the first half of WTC 1 interspersed by preludes and 101); “Jesu, der du meine Seele” (BWV 78); Schein’s “Freue dich fugues by Georg Böhm and Johann Caspar Ferdinand Fischer on des Weibes deiner Jugend;” and Bach’s “Wachet auf, ruft uns die Saturday, June 16 in the Bundesverwaltungsgericht. Combined, Stimme” (BWV 140). The final chorale of Cantata 140, “Gloria sei all three offered an interesting contest of Bach interpretations by dir gesungen,” was given as artists who have won repu- an encore, the audience be- tations in their own fields ing invited to join in, which of specialization. Of these, we all did! the most noteworthy, in Outside this intense my view, was by this year’s Kantaten-Ring were all sorts Bach Medal recipient, Rob- of events. Many concerts ert Levin. He had expected were slotted under various to use harpsichord for Bach “cycles” of Bach’s works such and fortepiano for Mendels- as Passions, Clavierübung, sohn, but we discovered on The Well-Tempered Clavier, the day of the concert that Cello Suites, Brandenburg he was to play on a modern Concertos, as well as those Steinway grand piano in- beyond but still connected stead, probably a necessary historically to Bach, such compromise considering the as cycles titled “florilegium unsympathetic acoustics of portense” and “Mendels- the Weißer Saal. Early in sohn.” Some of them were the recital, there were some accompanied by well-at- Andrew Talle and Pieter Wispelwey (Photo Credit: Leipzig Bach Festival/Gert Mothes) concerns as his touch and tended lectures given by the tone occasionally sounded researchers at the Bach Archive. For me the most memorable too harsh at moments when he seemed to have had an overflowing lecture-concert pair this year was on Bach’s Cello Suites (BWV surge of inspiration. But that was a trivial side effect of the greater 1007–1012), delivered by our ABS Vice President Andrew Talle gains from Levin’s mighty virtuosity. Through his able fingers, his with a performance by Pieter Wispelwey. In his lecture on Friday original voice as an interpreter of Bach stood out with both bold- June 15 in the Zeitgeschichtliches Forum, Talle explained some ness and sensitivity, as his colourful and long-breathed phrasing important facts about the manuscript and printed sources of the continued to develop logically, unfolding the inner structure of the suites, outlined his key findings, and illustrated the difficulties pieces. A moment of conviction came with the G-minor fugue: in interpreting the variants, especially the performance-related the way Levin marked out the fugue subject and characterized it marks, which he and Wispelwey also effectively demonstrated on reminded me of “Es ist der alte Bund: Mensch, du mußt sterben!” the cello. The same evening, Wispelwey performed the first three from the Actus Tragicus (BWV 106). It may be worth noting that suites in the Altes Rathaus, with the rest following the next day Levin supplemented his presentation of WTC in a unique and in the Salles de Pologne. Despite being late night concerts, the special way: he added his own improvisatory interludes between halls were fully packed, making the rooms rather too warm for the prelude-fugue pairs when the tonic shifts up a semitone (e.g. Wispelwey to keep his gut strings in tune; but with his wonderful moving from no.14 in F-sharp minor to no.15 in G major) in sense of wit and imaginative handling of phrasing and colours, he an attempt to minimise the sudden tonal shift, which makes an created a deeply rich sound world which seemed like a blessing interesting effect. Unlike the Promenade of Mussorgsky’s Pictures from Bach at the end of a long and busy day. at an Exhibition, his free improvisations kept a low-profile with no For many years The Well-tempered Clavier (WTC) was mysteri- apparent thematic identity of their own, and I felt they added little ously excluded from the Bachfest programs, but this year it was musically to our appreciation of Bach’s genius. Still, the concert distinctly featured in five concerts under a “Well-Tempered Clavier was most refreshing and enjoyable. cycle.” I went to three of these: Nelson Goerner on modern piano Under the “Passion cycle” were six events, and I have chosen playing the first six preludes and fugues from WTC 2, Partita no.6 to review two: the Passion oratorio, Der blutige und sterbende in E minor (BWV 830), and Chopin’s Préludes op. 28 on Mon- Jesus (1729 version), by Reinhard Keiser, recently rediscovered day, June 11 in the Gewandhaus; Robert Levin, also on modern by Christine Blanken and performed on Wednesday, June 13 piano, playing the second half of WTC 1 and Mendelssohn’s Seven in the Nikolaikirche by Cantus und Capella Thuringia directed No. 29 BACH • NOTES 3 by Bernhard Klapprott; and Bach’s St Matthew Passion on Thursday, June 14 in the Thomaskirche performed by La Chapelle Rhénane di- rected by Benoît Haller. The latter was the only concert proper of Bach’s Passion this year during the Bachfest, and, I regret to say, it was a disappointment. However, Keiser’s Passion oratorio was fascinating in many respects, especially because so few of his compositions from his later years have sur- vived, preventing us from getting a real sense of what Mattheson praised about his Passions in Grundlage einer Ehren-Pforte (1740). From the biographical angle of a composer and librettist Leipzig Bachfest at night (Photo credit: Leipzig Bach Festival/Gert Mothes, http://www.leipzig.travel/) (Menantes), who each in- fluenced Bach and his contemporaries, to the uproarious premier and subsequent reception of the work as documented in historical writings, to how it sounded to our own ears, the work has much to offer. Keiser’s oratorio is laid out very differently from Bach’s own oratorio Passion, and charting the similarities and differences while listening to it was an edifying experience. As one of Blanken’s important discoveries in recent years, it is truly fitting that it was featured in this year’s Bachfest. There were altogether 161 events in the space of ten days, and it was impossible to attend every one or even mention everything I did manage to attend. For instance, the Keiser Passion perfor- mance took place at the same time as András Schiff’s recital of the Clavier-Übung II (Italian Concerto and French Overture) and IV (Goldberg Variations) at the Gewandhaus, a recital said to have been an extraordinary feat in Bach interpretation on the piano, which I would have otherwise reported here in detail had I been able to attend.