Stumme Seufzer, Stille Klagen

Remorse & redemption in German Baroque

Buxtehude | Telemann | J.S.Bach


Label: Passacaille

Griet De Geyter, soprano


& il Gardellino Baroque Ensemble


Marcel Ponseele, Lidewei De Sterck, hobo

Joanna Huszcza, Michiyo Kondo, violen

Ingrid Bourgeois, altviool

Mieneke van der Velden, gamba

Ira Givol, cello/cello piccolo

Margreet Bongers, fagot

Frank Coppieters, Peter Rikkers, violone

Leo van Doeselaer, orgel

Tonmeister: Jean-Daniel Noir

Text CD-booklet: Alex Potter

CD - programme


Stille Klagen

Remorse & Redemption in German Baroque


Sonata for violin, viola da gamba &basso continuo in a minor  | BuxWV 254

O dulcis Jesu | BuxWV 83

J.S. BACH  -  Fantasia super Jesu, meine Freude - BWV 713 (organ solo)  

G.Ph. TELEMANN - Ach Herr, strafe mich nicht | TWV 7:2  *CD première


J.S. BACH  - Jesu, meine Freude - BWV 1105 (organ solo)  


J.S. BACH | Mein Herze schwimmt im Blut | BWV 199


Text & interpretation

D.BUXTEHUDE (1637-1707) – O dulcis Jesu – BuxWV 83

The lyrics to this song are one of many variations on the "Jubilus Bernhardi" attributed to Bernard of Clairvaux: Jesu dulcis memoria. This hymn does what it says: it takes the reader / singer / worshiper from the sweet memory of Jesus to the physical experience of his presence. This sequence was very popular in Roman and Lutheran circles (Schütz also made some settings of it). This motet most likely sounded in worship during Communion. Another possible placement of this music is in the "Abendmusiken" that Buxtehude organized in Lübeck as a kind of spiritual concert, separate from worship, often on a large scale, but with a varied program.

G.Ph.TELEMANN (1681-1767) – Ach Herr, strafe mich nicht (psalm 6) – TWV 7:2
Psalm 6 is the first of the 7 Penal Psalms. Traditionally, these are linked to the periods of "fasting". The story goes (but Telemann liked a strong story / legend) that he had this Psalm with him as a young student when he arrived in Leipzig and that a friend had found the setting in his luggage and had it performed in the Thomaskerk without Telemann's knowledge. It made such an impression - still according to legend - that the mayor of Leipzig commissioned him to provide music every 14 days in the Thomas and Nikolai churches. To the annoyance of Johann Kuhnau, music director and cantor of the Thomasschool.
In this psalm text David laments his precarious situation in which he finds himself. He sees this as a punishment from God for (not specifically mentioned) sins and asks for forgiveness. The Psalm takes a turn here when it becomes clear that God has forgiven him and will even assist him in fighting his enemies and opponents.

J.S.BACH (1685-1750) - Mein Herze schwimmt im Blut – BWV 199
Cantate BWV 199 is one of the relatively new treasures of Johann Sebastian Bach. The manuscript was only discovered in 1911, which explains the special BWV number since the old Bachgesellschaft dissolved itself in 1900 after she had listed and numbered 198 works by J.S.Bach. Bach's signature is under a first performance in 1713 when he worked at the Weimar Court, making Bach's first solo cantata. This cantata will later undergo several revisions and re-executions that are better documented. We opt for the later Leipzig version from 1723 with cello piccolo.
For this 'Cantata a Voce Sola', Bach searched for the text in the collection of lace texts by Darmstadter Hof librarian Georg Christian Lehms (1684 - 1717), published in 1711. This text for the eleventh Sunday after Trinity (Trinity Day) was relatively unrelated to the Sunday gospel reading, Luke 18: 9-14, the parable of the smug Pharisee and the penitent tax collector. This cantata could certainly have served for a more general occasion. BWV 199 is a perfect example of the way in which biblical texts and images were used in Bach's time to evoke "soul states". Associative, but not arbitrary. Strange to us (baroque), but very common and recognizable for the people.
The soprano fulfills her frequently occurring role of gläubige Seele; she regrets her mistakes and finally finds forgiveness of her sins with God. Other cantates usually deal with theological and dogmatic truths of faith, here we find a cantata that reveals the emotional stages of an inner development.


20-24.01.2020 - Recording in Hilversum 

28.02.2020 - Launch Crowdfunding campaign KKBB 

29.02.2020 - 20% of the goal is reached after 20hours! 

27.03.2020 - due to the pandemic, the crowdfunding is prolongued with 30 days.

21.04.2020 - today we reached 79% of our goal!

   ... 7 more days to go ...

28.04.2020 - 00:00 - END of the crowdfunding campaign - 104% REACHED!

21.08.2020 - present sent to all contributers: the brand new ringtone "Ah suscipe me"

Thank you so much to all 85 backers!

Reviews from earlier cd's & Bach concerts

Leonora Duarte is included in New Grove, but I assume that hardly anyone has ever
heard of her. Thanks to Thomas Baeté and his ensemble Transports Publics she is now more than just a name. With her as the central figure, a most interesting part of musical life in the southern Netherlands from the mid-17th century is brought to life. And this disc also contributes to our knowledge of the fate of Jewish people at a time of religious upheaval. The performances are outstanding: Olalla Alemán and Griet De Geyter have very fine voices, which are excellently suited to this kind of repertoire and which match perfectly in the pieces they sing together. The players make a convincing case for Leonora's consort music. It is nice that her fantasias are available on disc now.

Johan van Veen, voor Musicweb international

Cd The Duarte circle

© 2019

Photo © Ola Renska