Johann Gottlieb Goldberg: A Sunday in Leipzig | Cantatas Collection | 1742

The only two cantatas by a very young Goldberg (1727-1756), which he wrote when he was fifteen, under the supervision of the Cantor whose famous eponymous Variations immortalized the name of this gifted composer, unfortunately broke by tuberculosis.
Each successive Sunday in Leipzig required a new cantata, which Johann Sebastian Bach himself could not provide for a long time when he was appointed Cantor in 1723. He therefore drew from the works of his contemporaries: colleagues, relatives or pupils. So, J.S. Bach seems to have held Goldberg in high repute, encouraging him to write cantatas for his own churches in Leipzig. These two remarkable vocal works by Goldberg, one of them performed in Leipzig by J.S. Bach and later in Hamburg by Carl Philipp Emanuel Bach, provide an excellent example of the quality of the musical work that was carried out in the Bach household and of the standard Leipzig cantata style.
Through the sincere compassion
00:00:00 1. Through the sincere compassion of our God
00:03:42 2. You dark clouds, lessen and disappear
00:07:28 3. O happy ray of hope
00:08:47 4. That it may shine on those who dwell
00:10:47 5. When Adam and his descendants joined...
00:13:05 6. A bright light for mankind
00:13:21 7. That our feet may be led
00:15:24 8. So follow, o world, the light
00:16:15 9. John was Christ’s forerunner
Help, Lord, for the godly are no more
00:17:18 10. Help, Lord, for the godly are no more
00:20:17 11. Everyone utters lies to his neighbor
00:22:01 12. May the Lord cut off all flattering lips
00:22:46 13. Because of the oppression of the weak
00:25:54 14. The words of the Lord are pure like silver
00:27:54 15. O Lord, keep us safe and protect us
The composition of a new cantata for each successive Sunday was seen as normal practice for both Kapellmeister and cantors and was therefore regarded as a matter of course when Bach was appointed cantor of the Thomaskirche in May 1723. Although Bach composed many works of unequalled genius during his Leipzig years, in the end he did not completely fulfil the terms of his contract: at the beginning of his employment he often resorted to material that he had previously used, whilst works by other composers were performed more and more frequently from 1725 onwards. In 1726 he scheduled not only no less than 18 cantatas by his nephew Johann Ludwig Bach, but also cantatas by Telemann, Hoffman, Durante, Fasch, Stölzel, Graun, Conti and Kuhnau. These were sometimes performed unchanged, although they were often altered or corrected in minor ways; sometimes he would also compose additional music for them. From a modern viewpoint, all of these works have gone up in our estimation: they were, after all, good enough for Bach to perform them in the renowned Thomaskirche.
First cantata in this video Durch die herzliche Barmherzigkeit, found in J.S. Bach's library was prepared for performance for the feast of John the Baptist and performed by J.S. Bach in Leipzig c1743-1746. A cantata, makes rich use of oboes, five string parts and a five-part choir. The soloists’ contribution, however, is more modest: both soprano and alto sing grateful and extensively developed solo arias whilst the male voices are limited to a short recitative. Both oboes are limited almost completely to playing only when the choir sings and to doubling the upper string lines - these themselves principally being a doubling of the vocal parts. The use of such a technique in the choral sections creates a style of writing that is certainly well worked out, although from a technical viewpoint it creates an opaque web of sound within the polyphony. The music’s strength comes primarily from the energetic and enthusiastic use of imitation and fugato technique.
Second cantata Hilf, Herr! die Heiligen haben abgenommen uses the text from Psalm 12, a not uncommon practice, and divides it into sections for chorus, recitatives and arias. Here the forces he uses are more restrained, being limited to a setting for four parts. The first section for choir swiftly develops into a double fugue with inversion: always a mark of contrapuntal ingenuity. Other characteristic hallmarks of late Bach style can be seen in the arias and in the concluding choral fugue, with attention being paid to more complex polyphonic forms in an often contrived chromatic musical environment.
Translation from German: Peter Lockwood
Performed by:
• Ex Tempore (Vocal & Instrumental Ensemble)
• Direction: Florian Heyerick
• Sophie Karthäuser: soprano
• Marianne Vliegen: alto
• Stephan Van Dyck: tenor
• Lieven Termont: baritone
Cover:
St. Nicholas Church, Leipzig
Goldberg work "Through the sincere compassion" and several works by Bach, who was music director of Thomaskirche and Nikolaikirche from 1723 to 1750, premiered here. The church has been a Protestant seat since 1539 after the Protestant Reformation, but today the Catholic Church is also allowed to use it.
Serbian: • Јохан Готлиб Голдберг:...

[@AntoniettaChines]

Meravigliose🙏

[@raulsimon2218]

Both of them are very good. Great Goldberg!

[@danielwaitzman2118]

There are no words. Thank you for posting this.

[@RecordareDomineA415]

Thank you Daniel! Merry Christmas and Happy Holidays and wishing you and your family full of love, peace, good health and prosperity in 2023!

[@dieterpeszat2105]

Grazie! Buon Natale 2022!

[@RecordareDomineA415]

Thank you Dieter, you are one of our most devoted channel members. Merry Christmas and Happy Holidays and wishing you and your family full of love, peace, good health and prosperity in 2023!

[@dieterpeszat2105]

@@RecordareDomineA415 Thank you very much! - Respect for your achievements; always all the best for you! 🎵♥🎄