Schlage doch, gewünschte Stunde - Cantata No. 53 - BWV53

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Recorded in Berlin , Germany. Konzertgruppe der Schola Cantorum Basiliensis. Cantatas for Contralto [E-2]. Vienna State Opera Orchestra. Orchestre de Chambre de la Sarre. Les Grandes Cantates de J. I Solisti di Zagreb. Baldwin-Wallace College Conservatory of Music.

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Amor Artis Baroque Orchestra. Matthew Passion, Mass in B minor [C-1]. I Solisti di Zagreb 1 st Violin: Cantatas BWV , 54, [C-1]. Jard van Nes ; Leo van Doeselaar Organ. Recorded at Bethlehemkerk, Papendrecht, Holland. Recorded live at Teatro Pergolesi di Jesi, Italy. Academy of St Martin-in-the-Fields. Recorded at Air Studios, London, England. German 17 th -Century Church Music [C-1]. Parley of Instruments [Pitch: Timeless Recordings - Sampler [C-2]. Recorded at Auditorio S. Recorded in ChilwortFriary, Surrey, England.

Riccardo Nughes wrote January 6, Would you happen to know what proof there is that Bach did not write this and that Hoffman "borrowed" phrases from Bach--based on the excerpts I have heard. Would you also happen to know if this recording uses real church bells in it?? Ludwig wrote January 6, Irregarless of whether or not Bach wrote it; it is a very important work from the point of Orchestration. It is the only work along with one by Handel that calls for genuine bells with Orchestra and voices.

The bells called for would weigh in the neighborhood of 20, lbs or more. Now where such bells existed in Bach's neighborhood when he was living can not be determined be cause Napoleon and others after him requisitioned bells and made them into Cannon and guns. Russia use to be a place of great bells that is until Napoleon and Hitler came there.

You would be surprized how many fake bell sounds are out in the world trying to pass as real tuned bronze bells. It does not take a rocket scientist to know the difference because the sounds of real bells is not easily duplicated by tubular chimes,electronics or other cheap substitutes. Real musical bells are made of Bronze and thus tend to be expensive.

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When a real bell sounds it sounds more than one notein fact a chorus of them. The tuner puts the newly cast bell on a lathe and voices the bell so that it's tuned fundamental note is the loudest while the other notes act like the Mixture Stop of an Organ. Thus when you hear a bell; you have the illusion of hearing only one note but if you listen carefully you will hear all the others also.

Paschal's in Spain which has the worlds largest rollover bell i.

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If one listens carefullyif even sounds like Bach at least to a certain extent. Could it be that Bach wrote some of this music and added Hoffmans music to it or is it that Hoffman copied Bach's score and added something of his own. Or maybe Bach sketched things out roughly and then had Hoffman fill in the details for him? The evidence is contained in books that I do not have access to: Bachs , Leipzig, , , [Vol.

I have nothing to indicate that this work is in Bach's handwriting. In all probability this work is by Georg Melchior Hoffmann. BWV 53 is not a genuine, original work by J. Spitta, in the late 19 th century, states that it is obvious that this work was not to be performed in a church since it is much too short for a church service and for a funeral the words are not suitable. Schweitzer, very early 20 th century, says that "strictly speaking it is not a cantata, but a "mourning aria," as it is called on the title page of the old manuscript in which it has come down to us.

As Bach employs two bells in this work, Forkel thinks that "it does not belong to the period of his [Bach's] purified taste.

He thinks it must have been an extremely early work of Bach's. There was no way to date the manuscript. The manner in which the desire for death is expressed is not the way one usually finds it expressed in other works by the master. Voigt suggests numerous cuts that can be made to shorten the aria. A difficult problem for the conductor is how to perform the "Campanella" which has two notes, 'b' and 'c' that are notated in the bass clef. Is it possible that there just happened to be two small church bells with these pitches, bells that could be struck with a light hammer?

Or did the organ chosen for the performance have a campanella stop? As a last resort a horn can be used as a replacement. Cantata 53 Hiroluwian wrote February 6, It remains a sublime piece of music although usually excluded more recently. I was surprised tonight to run across a listing on the Bongiovanni Yes, I know that it is ascribed to various beings, but I have never seen it listed as by another.

Arbeitman wrote April 15, I have a very simple problem amidst a lot of joy. Hoffmann currently stills smells as sweet to me as ever. I haven't for some years now. I am not capable at this point of transferring them either. That is the joyous part. I ordered this item and Scherchen's BWV a performance I really never liked, but that's another matter [5].

Last night I went reading on Aryeh's site concerning this cantata and found the recommendations for the recording of Henri Ledroit [14] the lamented: Back then his name meant nothing to me. I have recently become very interested in this counter-tenor. The postage from there to the USA is almost the same as the cost of the set. The set sells for c. Does anyone know of another source for this set? Aryeh Oron wrote April 15, Hope to see you writing more often. This 2-CD was re-issued a short while ago [14].

The package of this reissue by Ricercar label is beautiful indeed. I am not sure that the content is identical with the original issue.

I prefer him to Lesne [26] , whom you hold in high esteem. I purchased the album in Israel couple of months ago. We are lucky here to have many of the small labels, which are imported on more or less a regular basis. Back to Ledroit, IMO it is worth the price. I understand that it is quite expansive for you considering the shipment. But I am not sure how long it will stay in the catalogue. My recommendation is purchasing it as long as it is available. I believe that you will not regret it. I shall order it bc. Let food worry about itself and rent too.

Arbeitman wrote May 11, Those interested in Cantata 53 will find interesting files at: Arbeitman wrote June 10, Great collection of Cantata BWV 53 recordings at: Laurens, I Barocchisti, D. As you see, most current ones are by counter-tenors.

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I know this list primarily discusses those works of Bach which are considered authentic, but I was wondering if anyone here had any thoughts on the apocryphal cantata formerly catalogued as BWV 53 " Schlage Doch " , but now attributed to Melchior Hoffmann? I fell in love with this cantata when I first heard the Maureen Forrester recording on LP [10] many years ago recently re-issued on CD on the "Amadeus" label - still unsurpassed, in my opinion. At that time I had no reason to doubt that it was not an authentic Bach cantata.

However, upon repeated hearings, and after listening to other Bach cantatas, it began to seem like an "odd man out" to me in many ways. It is hard for me now to understand why this cantata was ever considered to be an authentic part of the Bach canon. And how was its attribution to Hoffmann determined? Also, for those who are familiar with it, which recordings do you prefer? As stated above, I love the Forrester recording [10] , but the recent recordings by Lesne [26] and Mena [24] both of which use the Hoffmann attribution are growing on me. I have a particular aversion to Jacobs' recording on Harmonia Mundi [17] which attributes it to Bach, on a recital of "Bach Cantatas for Alto" which I find almost unbearable although I have heard other recordings by Jacobs I HAVE liked, in general I prefer him in his role as conductor than as singer.

I'm looking forward to reading any comments others on this list may have on this cantata, especially those of musicians or music students I fall into neither category who may be able to analyze this cantata better than I can. Aryeh Oron wrote July 28, Arbeitman wrote July 29, Three persons joined that group today and that has never happened before. Thanks, Aryeh, for the advertising. I have recently also become fascinated-- as a byproduct of the Schlage doch recordings I have been collecting-- withthe two great cantatas of Johann Christoph Bach " Wie bist du denn, o Gott, im Zorn auf mich entbrannt?