The WTF Bach Podcast Evan Shinners

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Volume One:
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Volume Two:
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Volume Three:
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As for the music covered today, we will hear Doubles layered over their preceding dance movements. A Double is an elaboration on the preceding movement, where the melody is quickened— often twice as quickly. The harmonic structure of the Double and its preceding movement is the same, allowing for one to play both movements at the same time with very interesting results.
Pieces studied:
Sarabande and Double from Sixth English Suite, BWV 811
Gigue and Double from the c minor lute suite, BWV 997
Partita in b minor for solo violin, BWV 1002
People/places mentioned:
Burp Castle at 41 East 7th Street in the East Village of Manhattan (between 2nd Ave & Cooper Square).
Paul Spring (guitarist)
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Thanks for all your support during The Bach Store! If you’re in NYC on Friday, come to Le Poisson Rouge at 158 Bleecker Street at 7pm.
Be sure to mark your calendars: April 24th, 2024, my new albums will be on PRE-sale. It marks the beginning of my most ambitious project to date: a very thorough, if possible, ‘complete’ set of the keyboard works of Bach. I will certainly send another reminder as the date approaches.
And now for a brief journey into Bach around this date in 1724: today’s episode covers the cantata for the second Sunday after Easter, BWV 104, Du Hirte Israel, höre. Unlike the other cantatas I have recently discussed, this cantata is not based on a chorale melody.
And don’t miss out on your WTF Bach merchandise! Here are seven magnets for your fridge. Send me a note to arrange a sale (T-Shirts, Pins, Bags, 3D Printed Heads, Lighters, also available).
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You read correctly: The Bach Store is back. In Erfurt, Thuringia, the state from where the Bachs hail. I will play for five hours, March 14-28, 12.00-18.00 GMT +1 (7AM-1PM EST.)
You can (hopefully) stream the whole run on my youtube. Subscribe HERE.
Or go to: www.youtube.com/@wtfbach
Here is the latest video I mentioned in the podcast.
Bach Store Merchandise is available on request. Send an email to bach (at) wtfbach (dot com)
—
Meanwhile, the music in today’s episode comes from the “Neumeister Collection,” a collection of over 80 chorale preludes from multiple composers, published for the first time in 1985. More than 30 of the pieces come from J.S. Bach ca. 1700, when the composer was only 15 year old. Hence one of the newest Bach discoveries showed us the youngest portraits of the composer. I played three of them, one on a ‘real’ organ (Saint Anne’s, London) and two on Organteq (by Modartt.)
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This week I’ll be performing some flute chamber music in Santa Barbara, California. I realize I’ve never specifically mentioned Bach’s wonderful flute repertoire on this podcast.
We tackle here what I find is the most complex composition in the repertoire: the first movement of the b minor sonata, BWV 1030.
Pieces heard:
BWV 1030.1 Source P. 1008, early version, harpsichord part.
BWV 1030.2 The later version, arranged as a flute sonata.
Articles:
Contentious writing on flute vs. recorder
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This is the final episode introducing Bach’s cantata cycle of 1724. In the first four cantatas of the cycle, we heard how Bach used Lutheran hymnal melodies as cantus firmi in different voice parts in each opening movement (sopranos, followed by altos, followed by tenors, followed by basses.)
Here, the next two cantatas see less predictable treatments of the old melodies. Bach evidently valued these two cantatas, as later in life he arranged single movements from both BWV 10 and BWV 93 into his publication of organ music known as the “Schübler Chorales.”
Pieces heard:
BWV 10, Meine Seel erhebt den Herren (Full Performance of the cantata)
BWV 648, Meine Seel erhebt den Herren (Organ version)
BWV 93, Wer nur den lieben Gott lässt walten
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Check this playlist:
I mentioned this playlist in the episode: all the cantatas in the 1724 cycle. Love to my fans!
The book I mentioned on the use of ‘Tonus Peregrinus”
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Last episode we introduced Bach’s second cantata cycle from 1724. We saw in the first cantatas of the cycle, Bach used a church melody as the cantus firmus first in the sopranos, then the altos.
This episode we will explore the next two cantatas where Bach sets the cantus firmus in the tenors in BWV 7, and the basses in BWV 135.
About the melody you may know as “O Sacred Head Surrounded”
Pieces heard:
BWV 7, Christ unser Herr zum Jordan kam (Full Performance)
BWV 135, Ach Herr, mich armen Sünder (Full Performance)
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Posting almost daily music from the keyboard repertoire.
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Check this playlist:
A fan of the show made this great Spotify playlist with all the cantatas in the second cycle! Thank you! Love to my fans-
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