Welcome to A Moment of Bach, where we sometimes zoom in so close that our targeted moment consists of only one note! But Bach leaves us no choice but to pick this moment from BWV 4, where the music screeches to a halt, almost cartoonishly fast. One thing's for sure: when ever the word "nichts" comes up, Bach can't resist giving us some interesting text-painting.

Performance of BWV 4 by Netherlands Bach Society, conducted by Rene Jacobs

Here is, almost certainly, Bach's last composition for voices.

"Et incarnatus est" is the short choral movement in the Mass in B minor which precedes and sets up the central "Crucifixus." Being not quite yet Christ's death, the "Et incarnatus est" depicts the sighing descent of Christ being made man. A mournful coincidence: this music also imminently preceded Bach's death. He likely finished it in 1750, the year of his death, to complete the compilation of the masterfully crafted and structured Mass in B Minor.

Christian focuses on one of the single most haunting and uncommon chords: the augmented sixth chord, which in Baroque music is found only in the most sorrowful moments.

**Music theory note!** When we discuss the other augmented sixth chord example from "O Schmerz" in the St. Matthew Passion, this chord has that augmented sixth interval inverted, so while the effect is similar, this interval becomes a diminished 10th (from B in the bass to D flat in the tenor)!

"Et incarnatus est" choral movement from the Credo section of Bach's Mass in B minor BWV 232, as performed by the Netherlands Bach Society

Today: we talk about Nokia ringtones, how Bach is the best at bass; Bach's French wordplay, and "Bach can be played at any tempo".

Performance of "Badinerie" by the Netherlands Bach Society

This week's moment of Bach is a blissful ascending sequence in the fast final fugue movement of this keyboard toccata, which reminds us of the audacious repeating steps up and up (and down and down) of Monteverdi's "Si ch'io vorei morire."

Does this fugue opening sound familiar? Its subject is ALMOST another much more famous one. The fugue's ending is no less spectacular.

Fugue from Toccata in E minor BWV 917 as performed by Bart Jacobs for the Netherlands Bach Society

Si ch'io vorrei morire (Claudio Monteverdi): translation

"Complex" is Bach's default setting.

On this 300th anniversary of the Easter Oratorio, which was premiered in Leipzig on Easter Sunday 1725, we talk about duet recitatives, recorders and bassoons (shout out to Benny Aghassi), and Bach's marvelous trumpet writing.

See the performance of the Easter Oratorio here, by the Netherlands Bach Society, conducted by Jos van Veldhoven

After witnessing Christ's death, we experience a frozen scene -- an aria -- which is a space for reflection that Bach so often gives us in his cantatas and passions. But this time we also experience some harsh tonal whiplash as first we hear Christ's head falling in death, then a dancing, hopeful aria. This aria with interspersed chorale is filled with questions, and the positivity of one final answer.

Bach produces an innovative and complex "theological counterpoint" of the bass aria's poetry with the simultaneous chorale text. The answer is a confident affirmative; the bass holds a moment and then nods "ja." And so, our question "can I inherit the kingdom of heaven? Is this the redemption of the world?" is answered: as Christ lowered his head in death, he silently bowed his head "yes."

Aria "Mein teurer heiland" with chorale "Jesu, der du warest tot" as performed by Drew Santini and the Netherlands bach Society

"It is finished." This falling melody, sung by Christ at the moment of His death, is followed by the pivotal alto aria "Es ist vollbracht". We explore the musical texture, the dramatic contrasts, the foreshadowing of the "vivace" middle section, and the way that silence can speak louder than words or music. We also uncover a truth about the word "finished" in this biblical passage.

"Es ist vollbracht" as performed by Marine Fribourg (alto), Meineke van der Velden (viola da gamba solo) for the Netherlands Bach Society

Link to the devotional book Alex mentioned at the end of the episode. Thank you to listener and friend Marcia Biang for this book recommendation!

Why, at number 25 of 30 variations mostly in sunny G major, is here one of the most profoundly sad things he ever wrote? This one gets at something deep. He certainly knew suffering; was it his personal experience? Bach's full range of expressions is at play in the Goldberg Variations, here including sorrow.

Dubbed the "Black Pearl" by keyboardist Wanda Landowska, the long and wandering variation retains its structure, yet takes us to such lonely and desolate places.

The Goldberg Variations (var. 25) as played by Jean Rondeau for the Netherlands Bach Society