It is neither the lessons of the Lutheran faith nor the depth of his own spiritual beliefs that J.S. Bach explores in his 211th cantata, Schweige stille, plaudert nicht, BWV 211; rather, it is a simple, earthly pleasure that had recently taken hold of European society, moving poets first to extoll and then, as in the case of Christian Friedrich Menrici Picander's text for BWV 211, to satirize: namely, coffee. The citizens of Leipzig, the city that Bach called home from 1723 on, were by all accounts especially enamored of this new, stimulating, and as some people of the time felt, dangerous beverage; in the Coffee Cantata, a concerned Leipzig father seeks to break his daughter from her addiction to it. Finally, by threat of preventing her from marrying, he succeeds in doing so; but after he leaves to find a husband for her, she turns full circle and proclaims that no suitor need bother her unless he is willing to insert a clause into the marriage contract that she can make coffee whenever and however she pleases!
This most secular and comical work, which was probably composed sometime in the mid-1730s, is indeed a far cry from the Bach cantata as most people understand it. The Coffee Cantata has ten musical numbers (five of them recitatives) and three characters. Schlendrian, the father, is a bass; Lieschen, his daughter, is a soprano; and there is a tenor narrator. The orchestra is made up of strings, basso continuo and a single flute. The narrator sets the stage with a few brief measures of recitative (No.1), and then Schlendrian grumbles his way through a D major aria, the strings twitching happily, the bass plodding steadily (No.2). Schlendrian confronts his "naughty daughter" in No.3. Lieschen sings lovingly of her favorite beverage in her first aria (No.4), but tension arises between father and daughter again in No.5. Then Schlendrian seems to get an idea (No.6), and in the recitative of No.7 he unleashes his secret weapon: she's grounded from going on any more dates until she gives up coffee forever. Lieschen, excited at the prospect of really getting a husband, sings a bouncing G major aria (No.8); and then comes the punch line: the tenor narrator tells, in recitative (No.9), that Lieschen is only playing a game with her father. An absurd final "chorus" (really just the three singers) in G major comments that if all the old maids and mothers and grandmas drink coffee, how can the daughters refuse it?
Source: Blair Johnston (allmusic.com)
|Benjamin Appl (Gramophone Classical Music Awards 2016 / Young Artist of the Year)|
Η «Καντάτα του Καφέ» (πρωτότυπος τίτλος στα γερμανικά "Schweigt stille, plaudert nicht" (Ήσυχα, μη φλυαρείς) με αριθμό καταλόγου BWV 211 είναι μία κοσμική καντάτα που συνέθεσε ο Γιόχαν Σεμπάστιαν Μπαχ μεταξύ των ετών 1732 και 1734. Παρόλο που κατατάσσεται στις καντάτες, είναι μία μίνι κωμική όπερα.
Η «Καντάτα του Καφέ» σατιρίζει την εξάρτηση από τον καφέ, γεγονός που είχε καταστεί κοινωνικό πρόβλημα στη Λειψία του 18ου αιώνα, όπου και το εν λόγω έργο πρωτοπαρουσιάστηκε.
Το λιμπρέτο της Καντάτας επιμελήθηκε ο Christian Friedrich Henrici, γνωστός ως Picander, και περιέχει στίχους όπως ο παρακάτω (ελεύθερη απόδοση): «Αν δεν πιω τον καφέ μου τρεις φορές τη μέρα, θα υποφέρω τόσο και θα συρρικνωθώ ως ένα κομμάτι ψητού» – κάτι που μάλλον εκτιμήθηκε ιδιαίτερα από τους ιδιοκτήτες του Zimmerman's Coffee House στη Λειψία, όπου και το Collegium Musicum του Μπαχ (ιδρύθηκε από τον Γκέοργκ Φίλιπ Τέλεμαν το 1702) παρουσίασε για πρώτη φορά τη σύνθεση αυτή.
Καθώς ο Μπαχ δεν συνέθεσε όπερες, η εν λόγω Καντάτα γράφτηκε, καθαρά και μόνο, για να παρουσιάζεται σε διάφορες εκδηλώσεις, με την ορχηστρική της μορφή. Σήμερα, ωστόσο, συχνά παρουσιάζεται σκηνικά με κοστούμια εποχής.
Την κοσμική καντάτα "Schweigt stille, plaudert nicht", BWV 211, του Γιόχαν Σεμπάστιαν Μπαχ, ερμηνεύουν η Ελβετή υψίφωνος Rahel Maas, ο Γερμανός τενόρος Andreas Weller, και ο πρόσφατα βραβευμένος με το Ειδικό Βραβείο Γκράμοφον 2016 του Νέου Καλλιτέχνη της Χρονιάς, 34χρονος Γερμανός βαρύτονος Benjamin Appl. Το μπαρόκ σύνολο Stiftsbarock Stuttgart διευθύνει ο ιδρυτής του συνόλου και διακεκριμένος Γερμανός οργανίστας και τσεμπαλίστας Kay Johannsen. Η συναυλία δόθηκε στη Στιφτσκίρχε (Ευαγγελική εκκλησία) της Στουτγκάρδης στις 20 Μαΐου 2014.
Johann Sebastian Bach (1685-1750)
♪ Cantata BWV 211, "Schweigt stille, plaudert nicht" ("Coffee Cantata") (1734, Leipzig)
i. Recitativo: Schweigt stille
ii. Aria: Hat man nicht mit seinen Kindern
iii. Recitativo: Du böses Kind
iv. Aria: Ei! Wie schmeckt der Kaffee süße
v. Recitativo: Wenn du mir nicht den Kaffee läßt
vi. Aria: Mädchen, die von harten Sinnen
vii. Recitativo: Nun folge, was dein Vater spricht!
viii. Aria: Heute noch, lieber Vater
ix. Recitativo: Nun geht und sucht der alte Schlendrian
x. Trio: Die Katze läßt das Mausen nicht
Rahel Maas, soprano
Andreas Weller, tenor
Benjamin Appl, bass
Conductor and harpsichord: Kay Johannsen
Schlosskirche Stuttgart, May 20, 2014
The organist, harpsichordist, conductor and choir-master Kay Johannsen born in 1961 in Germany and studied in Freiburg and Boston through scholarships awarded to him by the Studienstiftung des deutschen Volkes and the Bruno Walter Memorial Foundation, New York. He has won a number of prizes at national and international organ competitions, but winning first prize at the Deutscher Musikwettbewerb in 1988 was decisive for his career.
Since 1994 Kay Johannsen has been the choir-master and organist at the Stiftskirche of Stuttgart, where he founded the Stuttgarter Kantorei and Ensemble 94. He also founded the solistenensemble stimmkunst in 2003.
Kay Johannsen has performed as an organist at festivals in Europe, Asia, South America, South Africa and the USA. As a continuo player he has performed with the Berliner Philharmoniker under Claudio Abbado, the Wiener Philharmoniker under Trevor Pinnock, or with Berliner Barock Solisten.
In addition to broadcast recordings, Kay Johannsen has recorded numerous CD's, many of which have received awards. These include works by Bach, Boëly, Johannes Brahms, Felix Mendelssohn, Franz Liszt, Franck, Max Reger, Widor, and Förtig.
The Swiss soprano, Rachel Maas, began her musical education at the age of 4. She learned to play the violin, sang in children's choirs and has been involved as a vocal soloist at first CD productions still in primary school. After leaving school at a Musik-Gymnasium, she first completed an undergraduate degree in musicology, before she started in 2005 her vocal education studies at the Hochschule für Musik und Darstellende Kunst in Frankfurt am Main with Donna Woodward and graduated in 2009 with a diploma. From there, she went to Basel to study at the Schola Cantorum Basiliensis, where she specialized vocally with Professor Ulrich Messthaler ranging from Renaissance to Romantic. In June 2012, she completed her vocal studies with the Master of Performing Art' in Switzerland. She has participated in and in master-classes with Margreet Honig, Andreas Scholl, Christiane Iven, Gerd Türk and Alessandro de Marchi. Currently, she is vocally trained by Sibylla Rubens.
Since finishing her studies, Rachel Maas has since worked as a freelance concert singer. In addition to her career as a soloist in chamber and church music, she has been with professional vocal ensembles in concert and radio and has already appeared in various roles at the opera, among others as Blondchen in W.A. Mozart's Die Entführung aus dem Serail and as Fernando in Antonio Vivaldi's opera Montezuma in Nimes (France).
In the chamber cast of soprano, strings and basso continuo, Rachel Maas is part of the ensemble, Concerto +14, which was awarded in March 2012 at the Deutschen Musikwettbewerb (German Music Competition) with a scholarship and took up in the 57th Federal Selection of Concerts for Young Artists. Other interesting projects are planned for the future, and it is equally to all musicians a concern to preserve the energy and dedication that characterize the work of the ensemble, and expand.
Rachel Maas has worked with conductors such as Sir Roger Norrington, Ton Koopman, Neeme Järvi, Hervé Niquet and David Zinman. Her career as as a concert has already led her to renowned houses such as the Berlin Philharmonic, Tonhalle in Zürich, as well as to various international music festivals such as RheinVokal, the Festival des Cordes Sensible (France), or the Bach Festival Arnstadt. She currently lives in Bad Homburg, Hesse, Germany.
The German tenor, Andreas Weller, received his first singing lessons with the Stuttgarter Hymnus-Chorknaben (Professor Gerhard Wilhelm). He began his vocal studies with Prof. Bruce Abel at the State Conservatory of Music and the Performing Arts in Stuttgart, where he concurrently studied choral and orchestral conducting. He completed his postgraduate study in music with Prof. James Wagner at the Adacemy of Music and Theater in Hamburg from 1998 to 2000, graduating with distinction and receiving a diploma in lied. From October 2000 to February 2002, he was a student in Prof. James Wagner's solo vocal class at the Academy of Music in Lübeck, Germany.
Since then, Andreas Weller has become an internationally sought-after Evangelist and oratorio soloist. He has collaborated with Frieder Bernius (Stuttgarter Musikpodium), Helmuth Rilling (International Bach Academy), Marcus Creed (RIAS Kammerchor / Concerto Köln), Daniel Harding (Deutsche Kammerphilharmonie Bremen), Hartmut Höll (Hugo Wolf Academy), Roger Vignoles and the King's Singers, and has performed at renowned international festivals, including the Agora Festival of IRCAM in Paris, the Resound Festival in Schaffhausen, Toronto's Soundstream Festival, and the Maggio Mozartiano Internationale in Naples.
Andreas Weller has appeared on numerous CD productions and won first prize at the Elise Meyer Competition and the Michel Vocal Competition in Hamburg in 1999. In February 2002, he was awarded a scholarship by the Kunststiftung (Arts Foundation) in Baden Württemberg.
Amsterdam, Wiener Konzerthaus, Philharmonie Paris and Cologne and the Laeiszhalle Hamburg. The Wigmore Hall London have named him a Wigmore Hall Emerging Artist (2015/2016). He became an exclusive SONY Classical recording artist in May 2016.
He trained as a chorister at the renowned Regensburger Domspatzen and continued his studies at the Hochschule für Musik und Theater München. He is a graduate of the Guildhall School of Music and Drama in London, where he studied with Edith Wiens and Rudolf Piernay. He had the fortune to be mentored by one of the greatest Lieder sings, Dietrich Fischer-Dieskau.
Operatic appearances include Conte Le Nozze di Figaro in London, Owen Wingrave (title role) at the Banff Festival, Aeneas Dido and Aeneas at the Aldeburgh and Brighton Festivals, Schaunard La Bohème with the Munich Radio Orchestra, Baron Tusenbach in Eötvös's Tri Sestri for the Deutsche Staatsoper and a new commission for Bregenz Festival (Das Leben am Rande der Milchstraße by Bernhard Gander). Conductors he has worked with include Marin Alsop, Christian Curnyn, Johannes Debus, Edward Gardner, Michael Hofstetter, Bernard Labadie, Paul McCreesh, Roger Norrington, Christoph Poppen, Helmuth Rilling and Ulf Schirmer.
In concert he has appeared with the Akademie für Alte Musik Berlin, Gabrieli Players & Consort, Les Violon du Roy, the Bach Collegium Stuttgart, and on multiple occasions with the major BBC orchestras. He made his BBC Proms debut in September 2015 singing Brahms' Triumphlied with Marion Alsop and the Orchestra of the Age of Enlightenment, and Orff's Carmina Burana with the BBC Concert. His oratorio repertoire includes Bach's Magnificat, St John and St Matthew Passions, Brahms' Ein deutsches Requiem, Händel's The Messiah, Haydn's The Creation and Britten's War Requiem.
An established recitalist, he has performed at Carnegie Hall, the Ravinia, Rheingau and Oxford Lieder festivals, deSingel Antwerp, Heidelberger Frühling, and with Graham Johnson at the KlavierFestival Ruhr. He is a regular recitalist at the Wigmore Hall and at the Schubertiade Hohenems and Schwarzenberg. He works closely together with pianists including Graham Johnson, Malcolm Martineau, Helmut Deutsch, James Baillieu and Martin Stadtfeld.
His discography includes Mendelssohn and Schumann duets with Ann Murray (DBE), accompanied by Malcolm Martineau; his debut solo disc "Stunden, Tage, Ewigkeiten" accompanied by James Baillieu, which was released in April 2016 on Champs Hill records; and a live recording of Schubert lieder with Graham Johnson for Wigmore Hall Live label.
Source: augstein.info, September 2016
|Andreas Weller, Benjamin Appl|
More photos / Περισσότερες φωτογραφίες
See also / Δείτε επίσης
Benjamin Appl & James Baillieu: Heimat (Download 44.1kHz/16bit)
Gramophone Classical Music Awards 2016 – Part III. Special Awards 2016 | Young Artist of the Year: Benjamin Appl