Cantata BWV 205, described by Bach as a “Dramma per musica”, i.e. virtually an opera, was dedicated to August Müller, a lecturer in botany at the University of Leipzig, and performed in August 1725 in honour of his name-day. Bach, who was on excellent terms with the teaching staff of the University, produced a highly dramatic work with distinctly operatic details which made the celebrated Dr. Müller the butt ofa fraternal joke in the manner of a large-scale student rag. One gets the impression that the good betanist may have been given to outbursts of temper, that he may have had a slight speech defect and that he was capable of joining his friends and students in laughing at his own idiosyncrasies. In the “Chorus of Winds” Bach’s orchestra, employing a unique range of instruments for that period, describes dramatically how the storm, imprisoned in a cave, attempts to escape. Scales rushing up and down in scissor-like movement depict “destroying”, drum rolls and crashing brass “breaking asunder” and “shattering”. The captive winds seem to trigger off a veritable earthquake. - (The phrasing of the orchestral writing in this chorus and indeed in all the instrumental parts of the cantata was filled in according to the rules then prevailing.)
A furious recitativo accompagnato in operatic style then depicts Aeolus as a raging giant who delights in destroying everything from delicate flowers to mighty cedars. - The botanist`s carefully tended garden is ruined. Aria No. 3 is a grandiose laugh of derision.
Now three gentler characters attempt, one after the other, to restrain the contemptuous giant: first of all sweetly wafting Zephyr, seemingly somewhat intimidated by Aeolus’ aria which ends on an abrupt chord on the bass instruments. In Aria No. 5, accompanied by the gentlest instruments then available (using, in this recording, an organ for reasons of tonal symbolism) he depicts the pleasures of summer shades in the soft breeze. - Aeolus’ reaction is one of slight irritation, particularly as Pomona and Pallas now also bring their spellbinding charms to bear. - Aeolus does not reply to Pomona’s entreaties, but the text of the next recitative indicates that he has turned her down with a violent gesture of refusal. - Pallas is delighted at Pomona`s snub ; the two ladies compete for Aeolus’ favours much like the three goddesses for Paris. Pallas’ aria is accompanied by an ingratiating violin with a range extending far beyond that usually found in Bach’s works. She pleads with Aeolus to refrain from raging and to give gentle Zephyr‘s breezes pride of place during the festivities, but her request is also met by a stern gesture of refusal. Then she plays her trump card, invoking August Müller himself. His name is treated with playful irony (Müller was, alter all, the most common surname of the day and a large numher of Saxon boys were christened August because this was the most popular name among the kings of`Saxony.) - Aeolus concedes defeat. In an aria with unparalleled scoring (using trumpets and horns together and dispensing with strings altogether were both unbelievably daring at that time) the winds are driven back. - The three victors triumph in a trio recitative and then address the object of the festivities. Pomona`s fruit and Zephyr’s lisping breath, both of which the botanist already possesses, are proffered to everyone‘s joy and delight. - The final chorus announced by the exultant Pallas is a Rondeau-Bourrée. scored as though it were intended to celebrate a royal accession. The use of trumpets and timpani was, after all, the preserve of the spiritual and secular authorities. The orchestration and the text ("Vivat August") may have been a somewhat exaggerated panoply for the little academic. The disregard for the ban on trumpets and the occasion - since the king’s name-day was celebrated throughout the country on the same day - may well have had an ulterior motive.