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Johann Sebastian
BACH (1685-1750)
Cantatas Volume 9: Lund/Leipzig
CD 1
For the Seventeenth Sunday after Trinity
BWV 148 - Bringet dem Herrn Ehre seines Namens [16:13]
BWV 114 - Ach, lieben Christen, seid getrost [24:12]
BWV 47 - Wer sich selbst erhöhet, der soll erniedriget werden [21:47]
BWV 226 - Motet: Der Geist hilft unser Schwachheit auf [7:47]
rec. live, Bach Cantata Pilgrimage, 14 October 2000, Allhelgonakyrkan, Lund,
Denmark
CD 2
For the Eighteenth Sunday after Trinity
BWV 96 - Herr Christ, der ein’ge Gottessohn [19:22]
BWV 169 - Gott soll allein mein Herze haben [23:39]
BWV 116 - Du Friedefürst, Herr Jesu Christ [15:29]
BWV 668 - Chorale: Vor deinen Thron tret’ ich hiermit [9:29]
rec. live, Bach Cantata Pilgrimage, 22 October 2000, Thomaskirche, Leipzig, Germany
Katharine Fuge (soprano), Frances
Bourne (alto), Robin Tyson (alto) Charles
Humphries (alto), Mark Padmore (tenor) Stephen Loges (bass), Nathalie Stutzmann
(alto), Christoph Genz (tenor), Gotthold Schwarz (bass); Monteverdi
Choir; English Baroque Soloists/John Eliot Gardiner
SOLI DEO GLORIA SDG159 [70:22 + 68:19] |
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Being the longest in the church year, the season of Trinity
covers a vast range of human emotions and devotional themes.
The huge number of Biblical texts that
it provided gave Bach a chance to showcase the diversity of his talents, shown
in this set of post-Trinity cantatas covering loss, shame, joy, pride, humility
and much else in between.
The Lund disc begins with a gloriously upbeat performance of Bringet dem Herrn
Ehre seines Namens, a cantata all about the joy of worshipping God. The bouncy
excitement of the opening chorus, complete with trumpets (but not drums), reflects
the congregation’s enthusiasm for worship, while the two main arias concern
rushing towards the house of God. The instrumental obbligatos - a wistful, somewhat
withdrawn violin to accompany the tenor, a fruity trio of oboes for the alto
- add a fantastic level of colour to the vocal line. Frances Bourne’s alto
isn’t anything special, but Mark Padmore’s tenor is light and supple
in the way he sustains the long lines. The playing of the English Baroque Soloists
and the singing of the Monteverdi Choir, needless to say, is flawlessly responsive
throughout.
The opening chorus of Ach, lieben Christen, seid getrost sounds surprisingly
French, almost Handelian, in style, its vigorous contours representing the rigours
of chastisement which the sinful believer has brought upon himself. Gardiner
points the shape of this chorus so that the rather slight consolation offered
in the concluding part of the music stands in marked contrast to the trials of
the first, while he spins out a seemingly endless musical line for the following
tenor aria, accompanied by a desolate but hypnotic flute obbligato. For this
wonderful piece Padmore pales his voice down to a virtual shade to represent
the misery of the soul in this vale of sorrow. Throughout this cantata Bach’s
writing shows the possibility of consolation in the midst of trouble and the
duality of his writing is matched by endlessly subtle playing from the instrumentalists,
though Charles Humphries’ alto solo is less compelling than it might be.
BWV 47 has the weakest text (“Mankind is filth, stench, ash and earth!”)
but Bach transcends it with some remarkable writing, nowhere more so than in
the opening chorus which is brilliantly structured to represent the debasement
that comes with pride and the exaltation that follows humility. Katharine Fuge’s
clear, unaffected soprano is perfect for her aria concerning the virtues of humility,
though she hardens her tone remarkably for the aria’s savage central section
concerning God’s hatred for the arrogant. Stephan Loges’ bass sounds
authoritative yet approachable and his arias about humility are lent conviction
by the golden tone of his voice. The concluding performance of the motet Der
Geist hilft unser Schwachheit auf is vigorous and instrumentally conceived,
but the performance broadens out for the balm of the closing a cappella chorale
setting.
The second disc was recorded in the Thomaskirche itself where Bach laboured for
the last 27 years of his life. Even by Bach’s standards, the opening chorus
of BWV 96 is extraordinarily beautiful: there is a compulsive lilt to the music
which conveys the feeling of a journey, perhaps the Magi following the “Morgenstern” of
the text, and the orchestral textures are enriched by a sopranino recorder which
manages to be persistent without ever being cheeky. The sopraninist proves herself
equally adept at the transverse flute to accompany the tenor aria, before the
bass aria, heavily influenced by the grand French style, provides excellent musical
illustration of the soul’s steps wandering to the left and the right before
Jesus’ guidance sets him (temporarily, in this case) back on the right
path. This cantata is a real winner.
The sheer ebullience of the opening Sinfonia of Gott soll allein mein
Herze haben really lifts the listener’s spirit. Every instrumental
texture shines through in the excellent recording with a touch of prominence
given to the organ part, entirely appropriately as this movement probably began
life as a (now lost) concerto. However the instrumental playing is the best thing
about this cantata: I wasn’t impressed by Natalie Stutzmann’s singing.
To my ears she often sounded overly strident and steely rather than warm and
inviting. In fact I was convinced that it was being sung by an over-parted counter-tenor
until I looked at the CD booklet. This is the disc’s only major disappointment,
redeemed somewhat by the chorus’ beautiful singing of the final chorale.
I found Stutzmann altogether more convincing in the alto aria of BWV 116 where
her hard-edged expression is ideally suited to the expressing the soul’s
terror at appearing before the judgement seat. She is accompanied here by a marvellously
expressive oboe d’amore, plangent and tortuous, raising this aria to, in
fact, a duet. Bach also gives us a remarkable vocal trio, a rarity in his cantatas,
whereby the soprano, tenor and bass acknowledge their guilt as one and beg for
forgiveness. The upbeat spirit of the opening chorus and final chorale go only
a small way towards alleviating the penitential angst that sits at the heart
of this work.
Making the most of their location, the final “Deathbed Chorale” (BWV
668) was sung right next to Bach’s own grave, a lovely touch which adds
palpable poignancy to the performance. The choir sang a cappella, standing in
a horseshoe around the grave which is set in the church’s choir, but the
microphone settings from the rest of the concert were not changed so that the
sound comes from a distance, sounding recessed and much more reverberant. I found
it tremendously effective, and the piece itself is tremendously beautiful, dictated
by Bach on his own deathbed, so tradition says, in preparation for his own final
journey before the throne of God. It’s a fitting culmination of the disc.
Alto issues aside, then, this is a very satisfying release. The thing that really
sets Gardiner’s Bach cycle apart from its rivals is that, to my mind, he
gets to the heart of the music’s spirituality much more profoundly
than others, and this volume does it every bit as successfully as its companions.
Simon Thompson
see also review by John Quinn
Bach Cantata Pilgrimage review page
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