There's a difference in the way she answers, the way she vibrates. Of course, sometimes you almost want to quit!įor example, the sound production changes from string to string (with some you have to be delicate, with others you have to bite it a little bit more). Curiosity because each string is different, because it is an organic material, and you will have to adapt every minute. Faith in the fact that it is almost always you who can solve the problem, by changing your mind, attitude, vision, and not only by changing the string! Adventurous spirit, because it is a slippery and funny territory. Nerves to be able to stand every single caprice of the string. You need nerves, faith, an adventurous spirit, curiosity, and humility. The gut string is so sensitive and fragile, so that nothing is fixed, safe, or long-lasting. Gut playing is like a journey and since I started that journey, my life has been forever changed. It is like a friend, a territory, a spirit, an inspiration, a challenge, and a space for illusion and joy.
The first thought is that if you think of "cons" as problems that will lead to a better knowledge of your instrument, your music making, and yourself, then they are really "pros"! Secondly, the guts strings are an amazing surface to play on. There are two things I wanted to say at the beginning: The Violin Channel gave me a very interesting subject to think about: "Pros and cons of playing with gut strings." I am very happy to share my feelings about this topic with you. I love how well their voices and singing style match for this! This performance also features exquisite music-making by flutist Marc Hantaï, violinist Amandine Beyer, and tenor Charles Daniels.Photo credit: François Sechet Baroque violinist Amandine Beyer on the two sides of using gut strings My favorite part of this cantata is the glorious duet Herr, du siehst statt guter Werke, beautifully sung by soprano Julia Doyle and alto Alex Potter. Bach Foundation under direction of Rudolf Lutz. There’s a wonderful live performance of Cantata 9 on YouTube, by the J.S. Because later in his life, Bach most probably wrote Cantata 9 Es ist das Heil uns kommen her for this moment in the church year, in an effort to fill the gaps within his 1724/1725 chorale cantata cycle. For 1724, it is very likely that Bach never wrote a cantata that year for this Sunday. My speculations for why this might have happened in 1723 are mentioned in this blog post. Then watch the excellent and moving live performance of this cantata by Alex Potter with the Netherlands Bach Society here on YouTube.Ī lot more information, including the German text with English translations, a list of all participating instrumentalists, the staff that made this beautiful document possible, and a short but insightful interview (in text only) with organist Leo van Doeselaar, can be found here on AllofBach.īach’s first two cycles in Leipzig didn’t include a cantata for this Sunday (the 6th after Trinity).
So instead of offering you my own discussion, I suggest you watch Alex Potter’s here on YouTube.
I remember how happy and impressed I was when I first found this video. In my opinion, one of the absolute best background videos on AllofBach is the one in which countertenor Alex Potter explains the different layers of solo cantata 170 Vergnügte Ruh, beliebte Seelenlust from 1726. Soprano Julia Doyle, photo by Louise O’Dwyer
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