Bach cantatas
Starting in the 2017/18 academic year, “Historically Informed Performance Practice” will be organizing regular performances of a Bach cantata. While focusing on the vocal work of Johann Sebastian Bach in the broadest sense, his composition of cantatas will be considered in a particular context. For example, the cantata may be combined with a work by a contemporary (Telemann), or with other examples of the format (Handel), or presented in its historic context (works before and after Bach, works by the Bach family). Combinations with instrumental music may also be possible (Bach’s religious and secular music). There are virtually no limits on how Bach’s cantatas can be studied.
The performers are students of all the voice parts and instruments used by Bach, so the programme is determined by the students who are enrolled for that semester.
The main purpose is to focus on historically informed performance practice, taking the example of a Bach cantata. This format therefore exemplifies the basic practical idea behind “Historically Informed Performance Practice”: the cantata can be performed on either historic or modern instruments. Mixed groups of performers are also possible.
So far:
HS 17: Zu Gast bei Bach - Hochzeitsquodlibet BWV 524
FS 18: "Sei Lob und Ehr dem höchsten Gut“ BWV 117
HS 18: „Bach di Eisenach“, Werke von Johann Sebastian Bach?, „Gedenke, Herr, wie es uns gehet“ BWV 217
FS 19: „…nach italienischen Gusto“ - Bach und Italien, „Non sa che sia dolore“ BWV 209
HS 19: „Vergnügte Ruh, beliebte Seelenlust“ BWV 169
FS 20: In festo Michaelis archangeli, BWV 19 und 55
HS 20: O ewiges Feuer, BWV 34
FS 21: Gelobet sei der Herr mein Gott, BWV 129
HS 21: Jauchzet Gott, BWV 51
FS 22: Bach und seine Lehrer - Wär Gott nicht mit uns diese Zeit!
HS 23: Wer nur den lieben Gott lässt walten, BWV 93