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Johann Sebastian
BACH (1685-1750)
The Bach Cantata Pilgrimage - Volume 13
Cantatas for the First Sunday in Advent
Nun komm, der Heiden Heiland I, BWV 61 (1714) [15:06]
Nun komm, der Heiden Heiland II, BWV 62 (1724) [19:33]
Schwingt freudig euch empor, BWV 36 (1731) [30:26]
Joanne Lunn (soprano); William
Towers (alto); Jan Kobow (tenor); Dietrich Henschel
(bass)
The Monteverdi Choir; English Baroque Soloists/Sir John Eliot Gardiner.
rec. St. Maria im Kapitol, Köln, 3 December 2000
Cantatas for the Fourth Sunday in Advent
Wachet! betet! betet! wachet!, BWV 70 (1723) [22.59]
(For the Twenty-sixth Sunday after Trinity)
Bereitet die Wege, bereitet die Bahn!, BWV 132 (1715) [17:40]
Herz und Mund und Tat und Leben, BWV 147 (1723) [28:07]
(For the Visitation of the Blessed Virgin Mary)
Brigitte Geller (soprano); Michael Chance (alto); Jan Kobow (tenor); Dietrich
Henschel (bass)/ The Monteverdi Choir/English Baroque Soloists/Sir John Eliot
Gardiner.
rec. Michaeliskirche, Lüneburg, 13 December 2000
German texts and English translations included.
SOLI DEO GLORIA SDG162 [65:19
+ 69:03] |
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The two concerts perpetuated on these CDs represented the final
European stops on the Bach Cantata Pilgrimage. After these,
all that remained was the celebration of Christmas and New
Year, for which the Pilgrims crossed the Atlantic to New York.
(Vol.
14, Vol.
15, Vol.
16).
Liturgical observance in Leipzig forbade the use of figural
music during services after the First Sunday of Advent until
Christmas so, since many of his pre-Leipzig cantatas have not
survived, we have very little liturgical music by Bach for
the Advent season but what we have is of high quality. Sir
John made studio recordings of the three cantatas for Advent
Sunday as long ago as 1992 (DG Archive 437 372-2, later 463
588-2) but I’d say that collectors who already have that
disc should acquire the new version also even if, like me,
they don’t discard the studio versions, which still have
a great deal to offer.
Luther’s great hymn, ‘Nun komm, der Heiden Heiland’,
a German reworking of the medieval Advent hymn ‘Veni
redemptor gentium’ is at the heart of all three of these
cantatas. However, in BWV 61, a Weimar cantata from
1714, only the opening chorus uses lines from that hymn. In
that first movement Bach inventively combines the old hymn
chant onto the form of a French Overture with a light, fugal
central episode. The performance here is strong and imposing.
Tenor Jan Kobow sings well in the aria ‘Komm, Jesu, komm
zu deiner Kirche’ but for some reason that I can’t
quite pin down I prefer the sound of Anthony Rolfe Johnson
in Gardiner’s 1992 recording. On that occasion Gardiner’s
tempo was marginally faster too and I think that speed is preferable.
That aria is followed by a short bass recitativo, which Alfred
Dürr refers to as “the true high point of the work”.
The way in which Dietrich Henschel veils his tone imparts a
fine sense of anticipation and mystery. In the earlier studio
version Olaf Bär goes for the same effect but, well though
he does it, I think Henschel is even more successful. The following
soprano aria, ‘Öffne dich, mein ganzes Herze’ is
sung meltingly by Joanne Lunn.
BWV 62 is a Leipzig cantata, dating from 1724. Unlike
BWV 61, Bach takes his entire text from Luther’s hymn.
The opening chorus is a muscular composition, in which the
Saviour is urgently beseeched to come. There follows a substantial
tenor aria, ‘Bewundert, o Menschen, dies grosse Geheimnis’,
aptly described by Dürr as “joyfully soaring”.
I like Kobow in this movement and his breath control in Bach’s
long phrases is admirable. However, Rolfe Johnson also excels
in the 1992 recording and conveys, perhaps, in his tone a greater
sense of wonder and eagerness. I think he’s helped also
by the fact that in 1992 Gardiner paced the music just a fraction
more swiftly. The other aria in this cantata is for the bass.
It’s described by Gardiner as having a “pompous,
combative character” and he speculates that it may have
been a dry run for the ‘Grosser Herr’ aria in Part
I of Christmas Oratorio. The aria in BWV 62 is not as
memorable as that one but Dietrich Henschel projects it strongly.
BWV 36 achieved its final form in Leipzig in 1731 as
an Advent cantata. However, as Dürr points out, its first
movement and arias went through at least three prior incarnations
in secular cantatas from1725 onwards. In 1731 Bach reworked
the material into a substantial two-part cantata, divided into
two parts. Unusually - perhaps uniquely - among the cantatas
it contains no recitatives. Instead the arias are punctuated
by chorale movements in various guises.
Gardiner describes the opening chorus as “ a spiritual
madrigal - capricious, light textured and deeply satisfying
once all its virtuosic technical demands have been met.” Needless
to say, the Monteverdi Choir meet all those technical demands
- of which there sound to be quite a number - and deliver a
deft yet emphatic account of this fine movement. The third
movement is a lovely, light tenor aria in which a favourite
idea of the soul as the bride and Christ as the bridegroom
is addressed. Kobow’s singing is appealing and the oboe
d’amore obbligato complements his voice delightfully.
However, the real delight of the cantata lies in the soprano
aria ‘Auch mit gedämpften, schwachen Stimmen’.
Gardiner refers to this as “a berceuse of pure
enchantment” and the performance by Joanne Lunn completely
justifies that judgement. Her singing is touching and radiant
and she’s partnered most delightfully by the muted violin
obbligato of Maya Homburger. This delectable performances lasts
for 9:32 and it’s not a second too long. I suspect that
for many in the audience at Köln this may have been, as
it was for me, the highlight of the whole concert.
Leaving behind them the restored Romanesque church in Köln
the Pilgrims moved on to the Michaeliskirche in Luneburg, a
church that traces its origins back to the late fourteenth
century. This was to be their last stop at a church with a
direct association with Bach. Here the fifteen-year-old Bach
sang as a member of the church’s ‘Mattins Choir’ and
the performers used as a changing room the choir room, where,
presumably, Bach prepared for services.
BWV 70 was designated for the Twenty-sixth Sunday after
Trinity in Leipzig, where it was first heard in 1723. However,
it more than qualifies for a place in this programme since
it was originally composed in 1716, during Bach’s Weimar
years, for the Second Sunday in Advent - in Weimar, unlike
in Leipzig, cantatas were allowed in church services throughout
Advent. Since the scriptural messages of the two Sundays were
not dissimilar the cantata text sufficed for both. However,
for Leipzig Bach added recitatives and a chorale. The cantata
opens with an exciting, anticipatory chorus and Bach includes
a trumpet in the orchestra to impart a sense of occasion. The
Monteverdi Choir gives a superb account of it. A forceful bass
recitativo emerges without a pause from the chorus. After such
an electrifying start the more easeful alto aria, sung with
poise by Michael Chance, comes as something of a relief. I
enjoyed the soprano aria, ‘Lasst der Spötter Zungen
schmähen’, which is a forthright piece, well dispatched
by Brigitte Geller. Also worthy of note is the tenor aria, ‘Hebt
euer Haupt empor’, a confidence-inspiring piece. Jan
Kobow’s singing is perfectly attuned to the mood of this
fine, striding aria.
After this aria come two strongly contrasted movements for
the bass soloist. Dietrich Henschel is bitingly dramatic in
the apocalyptic recitativo, which comes first, but then he
relaxes beautifully for what Dürr rightly calls the “otherworldly,
transfigured” aria, ‘Seligster Erquickungstag’,
which contains a short vigorous central section between two
marvellously lyrical sections. The juxtaposition of these two
movements is something of a coup by Bach, one which
Henschel and Gardiner bring off splendidly.
BWV 132, another Weimar piece, dating from 1715, is,
I suppose, the only truly Advent piece here in the sense that
it has come down to us in its original form as an Advent cantata.
Its most remarkable movement is the first one, an enchanting
but hugely demanding soprano aria. Brigitte Geller and the
excellent oboist - Michael Niesemann, I presume - negotiate
it with freshness and great skill. Kobow and Henschel both
sing their solos well and Michael Chance injects drama and
tonal variety into his recitativo before giving an elegant
and expressive account of the aria ‘Christi Glieder,
ach bedenket’. Incidentally no chorale survives for this
cantata so Gardiner tacks on the chorale from another cantata,
BWV 164.
To conclude, we hear one of Bach’s most popular cantatas, BWV
147.This is another Weimar Advent cantata - for the Fourth
Sunday - originally composed in 1716. Bach was unable to use
it in Leipzig for the same liturgy so he adapted it in 1723
for the Feast of the Visitation (2 July). In so doing he added
three recitatives and, crucially, he dropped the original chorale
and replaced it with a new one, which he also inserted part
way through what had now become a two-part work So, perhaps
the most celebrated part of the cantata was the fruit of its
Leipzig revision.
It’s a work Gardiner has recorded before. He set down
a studio version for DG in March 1990 (431 809-2, later 463
587-2). That earlier performance has many virtues but there
is a snag in that it was recorded - along with BWV 140 - in
a church in Shaftesbury, Dorset, and for some reason the microphones
were placed at a distance from the performers, giving the recording
a rather recessed sound.
In both recordings Gardiner and his choir impart an irrepressible
energy to the opening chorus, which Bach decorated with a glorious
slivery trumpet part. The new Pilgrimage account is tremendously
vital though the earlier performance was taken at a pace that’s
the tiniest fraction steadier; that aids articulation without
compromising energy.
Jan Kobow sings the following tenor recitative, ‘Gebenedeiter
Mund!’ well enough. But turn to Anthony Rolfe Johnson
in the earlier recording and you hear something rather special.
The thoughtfulness and sweetness of tone that he deploys is
quite disarming. Dare one say he brings a touch of fantasy
to the movement, which Kobow, for all his virtues, doesn’t
attempt. Also, in this movement the distancing of the DG recording
is rather beneficial for once. Later on in the cantata comes
the aria ‘Hilf, Jesu, hilf, dass ich auch dich bekenne’.
Kobow sings it well but Rolfe Johnson makes much more of the
words and, in addition, in this music I prefer his more plangent
tone.
Michael Chance is common to both recordings and he sings very
well on both occasions. In the aria ‘Schäme dich,
o Seele, nicht’ the very slightly steadier speed that
Gardiner adopts in 2000 is preferable, I think, and Chance
benefits also from being more immediately recorded this time
round. When it comes to the bass numbers Dietrich Henschel
has far more vocal presence and character than Stephen Varcoe
displayed in 1992. He has more vocal amplitude as well, especially
in the lower register of the voice, and that’s particularly
welcome in the big aria ‘Ich will von Jesu Wundern singen’ -
where he’s partnered splendidly by trumpeter Gabriele
Cassone. Gardiner’s Pilgrimage soprano also has the edge
over her earlier rival. The soprano aria, ‘Bereite dir,
Jesu, noch itzo die Bahn’, is a beguiling piece, decorated
with a lovely violin obbligato. The Pilgrimage team - Brigitte
Geller and violinist Maya Homburger - give a winning account
of it. Ruth Holton sings well for Gardiner in 1992 but, by
comparison with Miss Geller’s fuller tones, her voice
sounds rather small and piping and she’s another singer
who doesn’t benefit from the recessed DG recording.
The famous chorale illustrates the care with which this 2000
performance has been approached. It would be easy to sing it
in the same fashion twice - and I’m sure we’ve
all heard instances of that. But Gardiner appreciates that
the two stanzas of words have a different import. So, first
time round the singing is reasonably forthright, though very
cultured. At the end of the cantata, however, the first four
lines are sung in a gentle, trusting way. For the fifth and
sixth lines the singing becomes much more affirmative before
the last two lines are delivered in a similar fashion to the
first four. It’s a small point, perhaps, but a telling
one. It goes without saying that both times the chorale appears
it’s sung with fine expression. I think that this new
version of the cantata eclipses Gardiner’s earlier recording
but I shan’t be discarding my copy, if only for the singing
of Anthony Rolfe Johnson.
So, with Advent worthily celebrated in two German cities, the
Pilgrims crossed the Atlantic for their own journey’s
end in New York. Where we, who are collecting the CDs as they
appear, will next encounter them remains to be seen. However,
this latest instalment, which as usual contains excellent documentation
and benefits from very good engineering, is another fine addition
to Gardiner’s excellent cantata cycle on disc.
John Quinn
Bach Cantata Pilgrimage review page
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