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Bach: Liebster Immanuel, Herzog der Frommen, BWV 123 | Emmanuel Music Boston

New to cantatas? Learn more about the cantata experience https://shorturl.at/UF2rN “Dearest Emmanuel (God with us), Prince of the believers, salvation of my soul, come, come soon!”The text, and its setting, with the constant presence of the initial motive, “Liebster Emmanuel,” insists on the bestowal of a name, Emmanuel. This naming – “God with us” – embodies the anticipation of Jesus’ coming, making the cantata more appropriate for Advent than for its official designation, Epiphany, the journey of the wise men, who are never mentioned in the text.The initial movement is like the designs on the walls of the Alhambra, the name of God woven into a constant, all-over design, so omni-present that it forms, along with the constantly circling melodic line, a tapestry without foreground and background. Craig Smith, who once characterized this cantata as ”a string of interesting failures,” remarks that “this chorus is a very daring and resourceful experiment that doesn’t quite succeed.” Emmanuel’s season began with half of Bach’s top ten cantata masterpieces, it will be interesting for our listeners to react for a few weeks to some of the least visited cantatas. Are they failed experiments, are they hidden treasures?The first aria finds us making the hard journey of the cross, replete with a sudden jarring storm, all of which, the tenor assures us in a rather nervous way, doesn’t scare him.Then the bass claims he is willing to accept the world’s disdain “in melancholy loneliness” (notice the wonderful little twists of melody and harmony that suggest this state, in a generally brave and optimistic context).So a hard personal journey, sad isolation, war with the world – aren’t these frequent Advent problems, justification for locating the piece in this time of year?About the final Chorale, Craig Smith again demurs: “The Chorale is block-like, so extreme in its lack of internal counterpoint that Bach must have had something in mind, but it is a mystery what it was.” It falls to us, performers and listeners, to pursue this question, and the other fascinating ambiguities and curiosities found in Cantata 123. © John Harbison Cantata Notes: https://www.emmanuelmusic.org/bach-no... Text and Translations: https://www.emmanuelmusic.org/bach-tr... Emmanuel Music Orchestra and Choir John Harbison, conductor Krista River, alto Jonas Budris, tenor David Mather, bass Heidi Braun-Hill, violin Vanessa Holroyd, flute Jennifer Slowik, oboe d'amore ‍Catherine Weinfield-Zell, oboe d'amore Emmanuel Music Livestream & Production Brad Dumont, Artistic Projects Manager Aysha Luzia Penha, Student Assistant to the Artistic Team Seth Torres, Live Recording & Mix Engineer Recorded live at Emmanuel Episcopal Church in Boston. January 12, 2025. Learn more at https://www.emmanuelmusic.org/ Consider supporting Emmanuel Music https://shorturl.at/UVT5J