J.S. Bach / Non sa che sia dolore, BWV 209 (Rifkin)
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- čas přidán 6. 06. 2012
- Johann Sebastian Bach (1685-1750)
Cantata BWV 209: Non sa che sia dolore (1729?)
1. Sinfonia
2. Non sa che sia dolore (Recitative: S) 06:25
3. Parti pur e con dolor (Aria: S) 07:16
4. Tuo saver al tempo e l'età contrasta (Recitative: S) 15:06
5. Ricetti gramezza e pavento (Aria: S) 15:36
Soprano: Julianne Baird
Performed by Joshua Rifkin and The Bach Ensemble (1989).
"No vocal work in the Bach canon poses more unanswered, perhaps unanswerable, questions than [Non sa che sia dolore]. Various scholars have sought to clarify its genesis, chiefly on the basis of its text; the best attempt has come from Klaus Hofmann, who has suggested that the cantata honours Bach's pupil Lorenz Christoph Mizler on his departure from Leipzig in 1734. Yet while Mizler, a native of Ansbach and something of an academic prodigy, would certainly fit the characterisation of the dedicatee in the second recitative, the grounds for linking him -- or anyone in the Bach circle -- with this music prove ultimately chimerical.
Non sa che sia dolore comes down to us through a score owned by Bach's biographer Johann Nikolaus Forkel; Forkel himself provided the composer's name and the text, both of which the copyist of the manuscript omitted. The text presents a number of anomalies. Written in a strange combination of elegant and garbled Italian, it has the look of a patchwork assembled by a foreign speaker. Recent investigations have in fact identified some of the compiler's sources: the opening line comes from Guarini's classical pastoral drama 'Il pastor fido', and all but the first line of the concluding number comes from the middle section of an aria in Pietro Metastasio's 'Semiramide riconsciuta', a libretto set in 1729 by both Leonardo Vinci and Nicola Poropra. Whatever their antecedents, however, the verses -- both within themselves and in relationship to the music -- violate norms of aria writing so basic that even a poet or composer with only minimal knowledge of Italian would not have ignored them unless working under special constraints. In neither of the two arias does the last line of the second section rhyme with one from the first; the second aria commits a further solecism in splitting Metastasio's lines between its two sections, causing the first to end without syntactical closure. At several points, especially in the first aria, the musical phrases appear to demand a poem longer than the one now there; and to compound the problem, Forkel's texting not infrequently fits the words to the notes in a fashion contrary to that indicated by the copyist's beaming of the vocal line...
For that matter, we have no word but Forkel's on the authorship of the cantata; and despite his ties to Bach's sons Wilhelm Friedemann and Carl Philipp Emanuel, his attributions to Johann Sebastian can scarcely claim absolute reliability. Yet while this and other considerations have led some to question the authenticity of 'Non sa che sia dolore', much of the music actually speaks well for Forkel's ascription. The opening 'Sinfonia', if sometimes texturally thinner than we might expect from Bach, shows other traits --'da capo' form and frequent recombination of sections -- more characteristic of his instrumental pieces than those of his contemporaries. Similarly, the first aria exhibits a degree of contrapuntal density and harmonic richness not encountered in any other known composer of the time. But doubts may legitimately attach to the final aria. Its refinement of polyphonic detail notwithstanding, the piece seems at odds with Bach's style in several particulars, above all the prominent use of augmented-sixth chords, a curious resolution of such a chord midway through the first section and awkward turn to the subdominant just before the 'da capo'. Rarely, too, does Bach end a vocal composition with an aria in a different key from that with which the entire piece began. ...
Clearly, only a chance discovery will enable us to get much closer to the origins of this music. But given its quality, we should perhaps simply feel grateful for what we do have. The recitatives and the last aria may not come up to Bach's usual standard in every respect, but the 'Sinfonia' and, above all, the first aria surely do. As likely products of his later years, moreover, they provide a rare glimpse of his receptivity to newer stylistic currents." - Joshua Rifkin
Background - Stormy Sea, Jan Brueghel - Hudba
Bach es el padre de la música, sus obras sublimes llegan al alma, saludos desde Chile, 🎼🎶❤
The textures on this song are pure cream
As light as fat-free whipped cream atop a hot fudge sundae! This is outstanding on all levels. Thank you for continuing t upload these Rifkin versions (and Baird, also) BRIAN
This the perfect song for the 2020 Coronavirus/ Financial meltdown
Can anyone tell me the soprano, is it Jullianne briad.
What does Joshua Rifkin mean by "the copyist's beaming of the vocal line"? Can anyone please translate into English?
Michael & Vivienne Goldblatt 1. under the influence of hallucinogenic drugs, a more palatable word for tripping.
In case you're still waiting for a sensible answer, two years later: "Beaming" means joining under beams two or more notes that, isolated, bear flags (crotchets / 8th notes and smaller values). This serves rhythmic orientation and, in traditional notation of vocal parts, also helps to visualise how many notes are to be sung to each syllable.
(If you still have no idea what I'm talking about, take a look at one of the vocal pieces on CZcams with score animation.)
So Rifkin's sentence about the copyist's beaming of the vocal line" would mean, for example (totally hypothetically), the grouping suggests that five notes should be sung to a given syllable, but then a new syllable sets in on, say, the third note, creating a discrepancy.
So, you see, not everything that doesn't seem to make sense has necessarily anything to do with hallucinations...