Johann Sebastian Bach, the composer of sophisticated church music rich in theological meanings, did not shy away from works that were more down-to-earth – both in form and content. His cantatas successfully graced court celebrations in Weimar, especially in Köthen. Tribute compositions written to honor secular events were also written in Leipzig. One of the most famous and original works in this genre is the Peasant Cantata to the text by Picander, commissioned by Carl Heinrich von Dieskau in 1742. Its performance was to add splendor to the ceremony of taking over a new estate. Although there are echoes of folk melodies, it is certainly not folk music, and the choice of the peasant community as the setting for the plot serves aristocratic entertainment rather than social criticism. The modest peasant girl Mieke and her beloved banter, not shying away from mocking current guests and past events. The series of caricatures ends with praise for the best of masters, who are, of course, the hosts, followed by a stream of wishes and toasts. In individual movements one can find the characteristic rhythms of dances popular at that time – bourrée, polonaise, sarabande, and minuet – which emphasize the mood of joyful celebration. Yet not every secular work by Bach had a similarly distinguished patron.
In Leipzig, in addition to his duties as cantor, Johann Sebastian, together with the student ensemble of the Collegium Musicum, gave concerts in cafés, primarily in the famous Zimmermannsches Kaffeehaus at Katharinestrasse 14. He himself loved the black drink, so it is not surprising that in 1734, using the poetic text by Picander, he created a light, humorous, yet musically refined scene Schweigt stille, plaudert nicht, BWV 211. Coffee is portrayed here not only as a fashionable drink but also as an inseparable and integral element of a happy life.
PROGRAM
Johann Sebastian Bach
Bauern-Kantate (Peasant Cantata) Mer hahn en neue Oberkeet BWV 212
Ouverture
Aria (Duetto) Mer hahn en neue Oberkeet
Recitative Nu, Miecke, gieb dein Guschel immer her
Aria Ach, es schmeckt doch gar zu gut
Recitative Der Herr ist gut: Allein der Schösser
Aria Ach Herr Schösser, geht nicht gar zu schlimm
Recitative Es bleibt dabei, dass unser Herr der beste sei
Aria Unser trefflicher, lieber Kammerherr
Recitative Er hilft uns allen, alt und jung
Aria Das ist galant, es spricht Niemand von den caducken Schocken
Recitative Und unsre gnad’ge Frau ist nicht ein prinkel stolz
Aria Fünfzig Taler bares Geld
Recitative Im Ernst ein Wort!
Aria Klein-Zschocher musse so zart und susse
Recitative Das ist zu klug vor dich
Aria Es nehme zehntausend Dukaten der Kammeherr
Recitative Das klingt zu liederlich
Aria Gib, Schöne, viel Söhne von artger Gestalt
Recitative Du hast wohl recht
Aria Dein Wachstum sei feste und lache vor Luft
Recitative Und damit sei es auch genug
Aria Und dass ihr’s alle wisst
Recitative Mein Schatz, erraten!
Chorus Wir gehn nun, wo der Tudelsack
Kaffee-Kantate (Coffee Cantata) Schweigt stille, plaudert nicht BWV 211
Recitative Schweigt stille
Aria Hat man nicht mit seinen Kindern
Recitative Du böses Kind
Aria Ei! Wie schmeckt der Kaffee süße
Recitative Wenn du mir nicht den Kaffee läßt
Aria Mädchen, die von harten Sinnen
Recitative Nun folge, was dein Vater spricht!
Aria Heute noch, lieber Vater
Recitative Nun geht und sucht der alte Schlendrian
Tercetto Die Katze läßt das Mausen nicht
PERFORMERS
MARTA BOBERSKA SOPRANO
IWONA LUBOWICZ SOPRANO
SYLWESTER SMULCZYŃSKI TENOR
ARTUR JANDA BASS
THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA
KRZYSZTOF GARSTKA HARPSICHORD, CONDUCTOR
Duration: approx. 1h
