Koopman  , though, does an admirable job. His tempo is slower than Mr.
Suzuki's, and the singer conveys some of the despair and longing found in the text. I am curious about other people's opinions about these two movements, and about how other conductors render these two movements. It's interesting that Bach avoids turning the story into a mini-oratorio by quoting scripture directly, but rather allows the narrative to be the theological platform for another allegory of the Faithful Soul and Christ another example would be " Wachet Auf ". It's noteworthy that the only scriptural "dictum" from the actual Gospel is the beginning of the bass aria which stands at the centre of the cantata.
Thus we have the souls searching for Christ in the first four movements and following him in the final three four if you count the second half of the duet. The first half is dominated by B minor and A major. In the bass aria, the tonalities pivot to D major.
Something of the same symmetry occurs in " Wachet Auf! Neil Halliday wrote February 6, The solution to this puzzle, I think, is to work backwards from Bach's musical setting, and interpret the text from there. Nevertheless, listen for the incursions into minor keys, and especially note the dissonant, momentary B flats of the diminished 7 th on the 1 st oboe, at the second mention of " Schrecken " bar 30 , clearly heard in the Rilling recording . I agree that Suzuki  , in this movement, is less pleasing than Koopman  , and most of the other recordings for that matter, but for the simple reason that he Suzuki loses some of the grace that is attendant on a slower tempo.
The charm of the instruments makes dealing with Ann Murray's vocal vibrato relatively easy in Rilling' recording . Rilling has no keyboard instrument. Rilling's vigorous performance  , while it has his usual instrumental strength and clarity, lacks the depth of feeling attained by the more measured performances of either Harnoncourt or Koopman, IMO.
The A,T duet expresses unabashed joy, and I enjoy Rilling's performance  with its crisp, punchy continuo line. The harpsichord may be a distraction in the Suzuki recording. Others have commented on the attributes of the voices in the various recordings. Julian Mincham wrote February 6, One is frequently surprised, not so say amazed at Bach's choice of major or minor key as it is, as in this case, not what one would expect.
An interesting 'game' which one can play when approaching a 'new'cantata or even revisiting one not heard for some time is to read the text and to guess how Bach will set it--e.
Frequently he took the overall structure of the work into account this is perhaps more true of the second than the first Leipzig cycles. Thus a work which may be predominantly minor might suddenly produce a major movement at a time of hope, affirmation, optimism, belief in faith etc etc.
Quite frequently it is worth looking at the last aria in the work as it's setting often sheds light upon Bach's developmental thinking for the whole work. It is also the case that Bach's unfailing optimism meant that he seldom, if ever, gives us a work of unremitting grief.
He usually finds the light at the end of the tunnel and accentuates the positive and joyful implications of the text as in the case of this cantata's 4th movement whilst playing down more tragic elements. It's often a masterly balancing act--but in general, for JSB, optimism wins out over pessimism.
Quite extraordinary when one considers, as already mentioned in this discussion0 the continuous tragedy which dogged his life. Incidently, Malcolm Boyd suggests that this cantata or some movements of it might have come from an earlier Weimar work but he does not offer evidence. Does anyone have any info on this??
Lastly the comments in the introduction about Bach's little use of the choir in this work because of the workload are interesting. There seems to be internal evidence of the fact that at heavy load periods e. Christmas, Ney Year and Easter he would take the pressure off the choir. However in the second cycle of chorale cantatas he couldn't do this--at least not until he broke the pattern after the first forty the last one of which was BWV 1 Here he required the choir to sing at leat one big chorus in each work.
He may have had practical matters in mind right from the start of the cycle because he began the first few by giving the easier cantus firmus line to different voices thus spreading the load. OF course he also frequently used trombones and cornets to double vocal lines as a backup. John Pike wrote February 6, I have now listened to Harnoncourt  , Rilling  and Leusink  as well.
I feel Suzuki hits the right tempo for the opening movement.
I feel Rilling's faster tempo is less effective in conveying the sense of loss. One of the other recordings? The alto and soprano vibrato is, for me, a recurring problem with Rilling's recordings and this is evident here as well. Otherwise, I enjoyed all the recordings. My top choice for this cantata would be Suzuki.
Mein liebster Jesus ist verloren BWV , is a church cantata by Johann the Gospel "Wisset ihr nicht, daß ich sein muß in dem, das meines Vaters ist?" (Do you not know that I must be in that which is My Father's?. Mein liebster Jesus ist verloren, BWV (Bach, Johann Sebastian) .. Cantatas BWV 1– BWV 1: Wie schön leuchtet der Morgenstern; BWV 2: Ach Gott.
Douglas Cowling wrote February 6, The clouds of sin covering the Sun of Righteousness is a common devotional device, most notably the breathtaking storm of " Sind Blitzen und Donner in Wolken verschwunden " in the Matthew Passion BWV Thomas Braatz wrote February 7, Julian Mincham wrote February 7, Neil Halliday wrote February 8, Bradley Lehman wrote February 8, That Wikipedia entry is an accurate article, as far as the assumption of equal temperament goes for general theory. The tritone is exactly half the octave geometrically , and its inversion is indeed the same size: But take out the assumption of equal temperament, or the rigid adherence to any keyboard temperament, and everything can shift dramatically on the way the tritones actually sound in music.
Orchestras and a cappella vocal groups at least in music of slow to medium speed don't as a rule hit the tritones exactly where they would be in ET, but rather try to get it more consonant than that.
Members of ensembles instinctively adjust their pitches slightly until they are better in tune with one another, on long sustained notes where there is opportunity to do so. And switch to some milieu where the prevailing standard in pedagogy and practice is not equal temperament an atonal system , but rather something more tonally focused, and the situation changes dramatically again. In that field of sounds, the tritone is an especially consonant-sounding and stable interval. It makes a pure sound that locks in: Or, more directly and quickly, tune either of the following sequences of pure intervals no tempering: It rings out, loudly, as the notes reinforce one another.
Furthermore, the inversion of it -- F up to the next C -- is not at all the same size, because we're nowhere near bisecting the octave C to C in the placement of that F. The tritone in them locks in, and creates a big resonance. So do the fully-diminished 7th chords, for the same reason that the tritones in them are making pure intervals. And playing simply that C-F itself in isolation: Ach, lieben Christen, seid getrost BWV Mache dich, mein Geist, bereit BWV Gott, man lobet dich in der Stille BWV a: Gott, man lobet dich in der Stille.
Christum wir sollen loben schon BWV Das neugeborne Kindelein BWV Meinen Jesum lass ich nicht BWV Herr Gott, dich loben alle wir. Fugue in G minor BWV Ich freue mich in dir BWV Wohl dem, der sich auf seinen Gott BWV Wachet auf, ruft uns die Stimme. Uns ist ein Kind geboren by Johann Kuhnau?
Nimm, was dein ist, und gehe hin BWV Nach dir, Herr, verlanget mich. Jauchzet, frohlocket, auf, preiset die Tage II.
Fallt mit Danken, fallt mit Loben V. Ehre sei dir, Gott, gesungen VI. Herr, wenn die stolzen Feinde schnauben. Tritt auf die Glaubensbahn BWV Mein liebster Jesus ist verloren BWV Mein Gott, wie lang, ach lange BWV Ich lasse dich nicht, du segnest mich denn! Der Friede sei mit dir BWV a: Der Friede sei mit dir BWV Sehet, wir geh'n hinauf gen Jerusalem BWV Nur jedem das Seine BWV Ihr, die ihr euch von Christo nennet BWV Wo gehest du hin BWV Gott soll allein mein Herze haben BWV Erschallet, ihr Lieder BWV Durchlauchtster Leopold BWV Es ist ein trotzig und verzagt Ding BWV Siehe zu, dass deine Gottesfurcht BWV Leichtgesinnte Flattergeister BWV Es wartet alles auf dich BWV Ich habe meine Zuversicht BWV Singet dem Herrn ein neues Lied.
Gloria in excelsis Deo BWV Nun danket alle Gott BWV Der Herr denket an uns BWV Gott ist unsre Zuversicht BWV a: Emmanuel Music in the News Press Releases. Arie T Mein liebster Jesus ist verloren: Aria T My beloved Jesus is missing: Recitative T Where shall I meet my Jesus, who will show me the way that my soul's most burning desire, my Savior, has taken? No misfortune could ever touch me so deeply than if I were to lose Jesus. Wie verlanget meinem Herzen, Jesulein, nach dir mit Schmerzen! Komm, ach komm, ich warte dein, Komm, o liebstes Jesulein!
Chorale Jesus, my treasure and Redeemer, Jesus, my confidence, Jesus, strong serpent-crusher, Jesus, light of my life! How my heart longs little Jesus, for You with anguish!
More information about this can be found here. Didn't you know I would be about my Father's business? In the three arias Bach sets extreme affekts to music: The cantata is structured in eighth movements. Recorded at Miniemenkerk, Brussels, Belgium. Amore traditore BWV