Ich hatte viel Bekümmernis, BWV
21
Recorded in Ilsfeld, Germany, 1962
Meine Seel erhebt den Herren, BWV 10
Recorded: Concert Hall, Heilbronn, Germany,
1965
Schlage doch, gewünschte Stunde,
BWV 53/Anh.II 23
Recorded in Ilsfeld, Germany, June 1963
Herz und Mund und Tat und Leben, BWV
147
Recorded in Ilsfeld, Germany, June 1963
Herr, gehe nicht ins Gericht, BWV 105
Recorded in Ilsfeld, Germany, June 1963
Ich weiss, dass mein Erlöser lebt,
BWV 160/Anh.III 157
Recorded: Protestant Church, Weinsberg,
Germany, March 1957
Herr, deine Augen sehen nach dem Glauben!,
BWV 102
Recorded in Schwaigern, Germany, October
1972
Lobe den Herren, den mächtigen
König der Ehren, BWV 137
Recorded in Schwaigern, Germany, October
1972
Jesu, der du meine Seele, BWV 78
Recorded in Ilsfeld, Germany, October
and November 1972
Jauchzet Gott in allen Landen, BWV 51
Emiko Iiyama (soprano); Maurice André
(trumpet)
Recorded in Schwaigern, Germany, October
1972
Liebster Gott, wenn werd ich sterben?,
BWV 8
Recorded in Ilsfeld, Germany, autumn
1961
Herr Gott, dich loben alle wir, BWV
130
Recorded in Ilsfeld, Germany, autumn
1961
Nun ist das Heil und die Kraft, BWV
50
Recorded: Concert Hall, Heilbronn, Germany,
June 1964
Es erhub sich ein Streit, BWV
19
Recorded: Concert Hall, Heilbronn, Germany,
June 1964
Man singet Freuden vom Sieg, BWV 149
Recorded: Concert Hall, Heilbronn, Germany,
October 1964
Schmücke dich, o liebe Seele, BWV
180
Recorded in Schwaigern, Germany, February
1970
Ich will den Kreuzstab gerne tragen
BWV 56
Barry McDaniel (bass); Pierre Pierlot
(oboe)
Recorded: Concert Hall, Heilbronn, Germany,
November 1964
Was Gott tut, das ist wohlgetan, BWV
98
Recorded in Ilsfeld, Germany, June 1963
Ach wie flüchtig, ach wie nichtig,
BWV 26
Recorded in Ilsfeld, Germany, autumn
1961
Es reisset euch ein schrecklich Ende,
BWV 90
Recorded in Ilsfeld, Germany, June 1963
Wachet! betet! betet! wachtet!, BWV
70
Recorded in Schwaigern, Germany, February
1970
Wachet auf, ruft uns die Stimme, BWV
140
Recorded in Schwaigern, Germany, February
1970
Gott, der Herr, ist Sonn und Schild,
BWV 79
Recorded: Concert Hall, Heilbronn, Germany,
June 1964
Ein feste Burg ist unser Gott, BWV 80
Recorded in Ilsfeld, Germany, October
1959
Nach dir, Herr, verlanget mich, BWV
150
Recorded in Ilsfeld, Germany, 1966
Aus der Tiefe rufe ich, Herr, zu dir,
BWV 131
Recorded: Concert Hall, Heilbronn, Germany,
June 1964
Gottes Zeit ist der allerbeste Zeit,
BWV 106 (Actus tragicus)
Recorded: Concert Hall, Heilbronn, Germany,
June 1964
Preise Jerusalem, den Herrn, BWV 119
Recorded in Schwaigern, Germany, July
1965
Bekennen will ich seinen Namen, BWV
200
Barbara Scherler (alto)
Recorded in Ilsfeld, Germany, July 1966
Jauchzet Gott in allen Landen, BWV 51
Ingeborg Reichelt (soprano); Walter
Gleissle (trumpet)
Recorded: Protestant Church, Weinsberg,
Germany, March 1957
Wachet auf, ruft uns die Stimme, BWV
140
Recorded in Ilsfeld, Germany, October
1959
Ich bin ein guter Hirt, BWV 85
Recorded in Ilsfeld, Germany, October
1959
Du Hirte Israel, höre, BWV 104
A little while ago
I
reviewed the companion volume of
cantatas conducted by Fritz Werner .
I have since reviewed
a further box containing his recordings
of all Bach’s major choral works which
was Volume Three in this series. Much
of what I had to say there generally
about the merits - and the occasional
snags - of Werner’s approach to Bach
apply to this volume as well and for
the sake of brevity I’d like to refer
readers to those reviews. Not only is
Werner’s approach pretty consistent
- as you’d expect - but so is his line-up
of soloists. In fact only one singer
who appeared in Vol. 1, Marga Höffgen,
is absent from the roster of soloists
here.
Listening to and digesting
thirty well-filled CDs has been a lengthy,
if very stimulating process. During
my listening I came across an appraisal
of these sets by the critic and baroque
trumpeter, Jonathan Freeman–Atwood.
Writing of the contributions of Werner’s
two finest soloists, Agnes Giebel and
Helmut Krebs, he had this to say: "[Theirs]
are small voices but ones which bring
an unfailing nobility, poetry and genuine
rhetorical discernment with which to
illuminate Werner’s perceptive journey
into the kernel of a work. It’s an approach
to Bach performance which seems ever
rarer these days, largely because it
eschews all vanity." I have quoted
these wise words because they tell us
as much about Werner as about the two
fine singers in question. Another comment
by the same critic is equally pertinent.
"[Werner’s] rhythms are gently
sprung and his declamations disarmingly
direct but he also seeks an Elysian
sound for the sake of sheer beauty…"
I wholeheartedly endorse these comments.
It has to be said that Werner doesn’t
always attain the "Elysian sound"
for which he strives but when he doesn’t
that’s usually because his performers
can’t always meet fully those standards.
Most of the performances are very good
indeed, and some are even better than
that, but just occasionally one is reminded
of the great advances that have occurred
in recent years in the standards of
choral singing in particular.
This box contains 31
cantatas, including 15 for various Sundays
after Trinity. There are also no less
than three marking the feast of St,
Michael and two others celebrate Reformation
Day. Two of the cantatas, BWV 51 and
BWV 140, come in two separate performances.
A further three appear elsewhere in
the series: an additional performance
of BWV 147 is included in Volume Three
and second versions of BWV 85 and BWV
104 appear in Volume One. Three of the
works included, BWV 50, 53 and 200 are
single movements only. It should also
be noted that BWV 53, though long attributed
to Bach is now believed to be the work
of Melchior Hoffman (c 1678-1715). The
solo cantata, BWV 160, is now known
to be a composition by Telemann dating
from the 1720s. However, I agree with
the author of the liner note that Helmut
Krebs’ fine performance justifies its
inclusion here.
Let me first deal with
the cantatas that are duplicated. In
reviewing the 1957 account of BWV 147
Herz und Mund und Tat und Leben,
in Vol. Three I expressed reservations
both about aspects of the performance
and the recorded sound and I said I
hoped the reading in this volume would
be preferable. It is. In this 1963 traversal
the choir is captured in much better
sound. Their singing is also much more
vigorous and incisive than that of their
predecessors. In addition Maurice André
was on hand in 1963 to lead the trumpet
section with his silvery tone. The 1963
team of vocal soloists is preferable
to those heard in 1957. Agnes Giebel’s
polished singing is a delight, Krebs
is equally good and there are fine contributions
from Claudia Hellmann and Jacob Stämpfli.
I still find Werner’s treatment of the
famous chorale a touch ponderous but
all in all this later performance of
BWV 147 is incomparably better than
the earlier one.
In the other duplicated
works choice is not quite so clear-cut.
In Jauchzet Gott in allen
Landen, BWV 51 Emiko Iiyama
sings very well indeed in the 1972 performance
and she has the inestimable benefit
of Maurice André as her trumpeter.
Werner’s earlier account (1957), which
is also included in this box, had Ingeborg
Reichelt as the soloist. On balance
I prefer Reichelt’s singing but her
trumpeter isn’t in André’s league.
Furthermore the performance is slightly
hobbled by the recorded sound: we seem
to be hearing the performers from the
other end of a very long church nave.
This was one of a number of recordings
made in 1957 in the Protestant Church,
Weinsberg and at that time the engineers
clearly had not come to terms with the
very resonant acoustic of that venue;
later recordings from the same source
are better. Comparing the two readings
of this cantata one crucial difference
is Werner’s pacing of the work. In general
he was livelier in 1972 and this finally
tips the balance in favour of the later
recording, I think, though I am glad
to have the opportunity of hearing Reichelt
in the work too.
Wachet auf, ruft
uns die Stimme, BWV 140 also features
twice in this box, in recordings set
down in 1959 and 1970. The two performances
are pretty similar in terms of pacing.
The fine opening chorus is a bit staid
in Werner’s hands. On both occasions
I’d have expected a bit more urgency
in a movement, which, after all, is
about being watchful! As it is the choral
singing is just a bit too relaxed for
my taste. As you might expect the 1970
recorded sound is a shade clearer than
was the case in 1959. Despite this a
couple of things incline me to prefer
the earlier version. The duet ‘Wann
kömmst du mein Heil?’ features
a prominent violin obbligato and the
1959 performance is distinguished by
some rather special artistry from Reinhold
Barchet. In this self-same duet Ingeborg
Reichelt (1959) is splendid though her
partner, Franz Kelch, is not quite so
memorable. There’s a second duet for
soprano and bass in this cantata, ‘Mein
Freund ist mein!’ In both performances
the tempo is well nigh identical but
the 1970 traversal doesn’t captivate
quite as it should. In 1959 the performers
inject more spring into the music and
it makes a world of difference. Once
again we mainly have Reichelt to thank
for this since Kelch is a touch monochrome.
The other great difference is that in
1959 the irresistible, rippling oboe
obbligato is provided by the superb
Pierre Pierlot. Throughout all three
boxes every time Pierlot graces a performance
with his playing it makes a difference
and that is the case here, even if he
is recorded a little more backwardly
than was his colleague in 1970
Two cantatas for the
Second Sunday after Easter, Ich bin
ein guter Hirt, BWV 85 and Du
Hirte Israel, höre, BWV 104
appear both here and in Volume One.
The recording of BWV 85 in this box
dates from 1959, whereas the performance
in Volume One comes from 1970. Both
performances have their virtues. In
terms of the soloists I prefer Stämpfli
(1970) to Kelch (1959) in the bass aria.
The latter sounds more effortful and
Werner set a more easeful tempo in his
second version. Turning to the altos
I also prefer the 1970 version where
Barbara Schlerer’s tone is clearer than
that of Hertha Töpper (1959). With
the higher voices, however, matters
are reversed. Hedy Graf sings well in
1970 but Ingeborg Reichelt (1959) outshines
her. Given my admiration for Helmut
Krebs you might expect me to plump for
him in the 1959 reading. However, despite
his undoubted artistry I find the sweeter
tone of Kurt Huber (1970) even more
persuasive. So it’s swings and roundabouts
but either version will give listeners
much pleasure.
Choice is much easier
when it comes to BWV 104, where one
is comparing a 1957 account with one
from 1966. The recording in this box
(1957) is one of Werner’s earliest and
the sound itself vitiates much of the
pleasure to be had from the performance.
In the opening chorus the choir sounds
to be miles away from the microphones
and a sluggish tempo doesn’t help their
cause either. To my ears it also sounds
as if some of the singers don’t support
all the notes sufficiently and an element
of wavering in the tone results. Incredibly,
this one movement lasts a whole two
minutes longer in 1957 (8’18" against
6’18" in 1966) and the clock is
a good guide in this instance. The later
performance flows beautifully but I
discern little life in the earlier reading.
There are just two soloists in this
cantata, a tenor and a bass. Krebs is
the tenor in 1957. His light tone is
as clear as a bell and he sings with
his customary skill and intelligence
(though the accompaniment is rather
distantly heard). However, Huber (1966)
also turns in a lovely performance.
The 1966 bass, Stämpfli, is much
more characterful than Kelch (1957)
who, to be frank, sounds pretty monochrome
by comparison – and that’s not just
a question of the recorded sound, I
fear. So the bass aria plods in 1957
but in 1966 it’s lilting and easeful,
with both Stämpfli and Werner making
a much better job of it.
The remaining cantatas
in the box were only recorded once by
Werner. Among the highlights is his
1962 traversal of Ich hatte viel
Bekümmernis, BWV 21. This is
a fairly early cantata but it’s one
of Bach’s finest. The opening sinfonia
is slow and stately here, but it doesn’t
drag. Similarly the first chorus has
gravitas but Werner also gives it life.
The choir is unusually prominent in
this cantata and Werner’s singers do
well for him. The soloists also make
good contributions and overall this
is a fine performance
Herr, gehe nicht
ins Gericht, BWV 105 is a magnificent,
eloquent work, written for the ninth
Sunday after Trinity. The grave opening
chorus is lovingly shaped by Werner.
The soprano aria, ‘Wie zittern und wanken’
finds Agnes Giebel and oboist Pierre
Pierlot in superb form. Giebel’s singing
is gorgeously pure and this movement
is a highlight of the whole set
The performance of
Jesu, der du meine Seele, BWV
78, another Trinity cantata, also calls
for comment. It begins with a substantial
passacaglia chorus which Werner interprets
gravely and which his choir sing well.
Helmut Krebs, in one of his later appearances
in these recordings is in fine clear
voice in the aria ‘Das Blut, so meine
Schuld durchstreit.’ Most interesting
of all, however, is the aria ‘Wir eilen
mit schwanken, doch emsigen Schritten.’
This is a duet for soprano and alto
but here, uniquely in my experience,
Werner performs it using a small group
of singers from the choir. This works
extremely well He sets a splendidly
sprightly tempo and his singers impart
freshness and charm to the music. As
I say, I’ve never heard the movement
done this way (Richter, for instance,
in his 1961 reading, conventionally
uses a pair of soloists) but it’s a
delight.
I can’t overlook either
the reading of Gottes Zeit ist der
allerbeste Zeit, BWV 106 as it’s
one of my very favourite works by Bach.
Is there anything more serenely beautiful
in his entire output than the inspiration
of the short, aching sinfonia? Perhaps
it’s just a touch heavy here - in terms
of ethereal beauty Joshua Rifkin’s recording
remains my personal benchmark - but
the music still sounds lovely and under
Werner it unfolds with real feeling.
It sounds to me as if he opts for a
reduced choir and that’s a decision
I applaud since the work is so intimate
in scale and mood. The chorus sings
very well. The soloists all perform
sensitively and the whole performance
is a dignified, suitably restrained
and lovingly crafted reading of this
luminous cantata.
Mention must also be
made of Barry McDaniel’s splendid performance
of the solo cantata, Ich will den
Kreuzstab gerne tragen, BWV 56.
He offers a dignified and elevated account
of this moving cantata, as does Werner.
McDaniel’s tone is even and full throughout
the compass of his voice and he sings
with sensitivity and intelligence, making
the most of the words. In the great
aria ‘Endlich, endlich wird mein Joch’
he has the inestimable benefit of a
partnership with Pierre Pierlot. Pierlot’s
playing is sprightly and stylish while
McDaniel’s divisions are excellently
clean. The performance of this cantata
is one of the highlights of the collection.
Although Werner’s is
essentially a lyrical approach to Bach
he can be dramatic too. So, for example,
there’s real bite and commitment in
the opening chorus of the richly scored
cantata for St. Michael’s Day, Herr
Gott, dich loben alle wir, BWV 130.
The magnificent bass aria, ‘Der alte
Drache brennt vor Neid’, in which soloist
Jakob Stämpfli is accompanied by
timpani and no less than three trumpets,
is powerfully conveyed; Stämpfli
is in commanding form. The performance
of this cantata is a very distinguished
one, crowned by the majestic final chorale.
Another example of Werner in a similar
mood is the single movement Nun ist
das Heil und die Kraft, BWV 50.
It is uncertain for what occasion Bach
wrote this movement, which is almost
certainly a fragment of a cantata that
is otherwise lost, but it was probably
a Big Occasion for the very full scoring
suits such a purpose. The surviving
sturdy fugal chorus is well sung here
with the different strands of texture
emerging clearly. Werner projects the
piece with power and no little presence.
With so much glorious
music contained on these CDs and so
many fine performances too it’s all
but impossible in a review to do more
than give a flavour of what’s on offer
here. As I hope I’ve conveyed there’s
a great deal of distinguished, often
inspired solo singing. More often than
not the choir is also on good form.
The instrumental solos are never less
than superb and presiding over all with
wisdom and perspicacity is Fritz Werner.
The recorded sound is a bit more variable.
The very earliest recordings, those
made in the Protestant Church, Weinsberg
in early 1957, are not too successful
but before long the Erato engineers
(or improved technology) seem to have
tamed that venue and the later recordings
made there and elsewhere are much more
satisfactory. But in the last analysis
any limitations in the recorded sound
don’t detract too severely from the
merits of the music making.
As was the case with
the other two sets in this series, the
documentation consists of detailed track
listings (in which I noticed only a
few small errors), a good general essay
on Werner and Bach by Nicholas Anderson,
the moving spirit behind these reissues,
and brief notes on each cantata. This
documentation is provided in English,
French and German. Sadly no texts are
supplied.
Listening to and absorbing
30 CDs of Bach vocal music directed
by Fritz Werner has been a fascinating
experience, especially as many of the
performances were new to me. As I’ve
commented previously I do think it’s
unfair that Werner has been overshadowed
by such contemporary peers as Karl Richter
for he is without doubt a Bach interpreter
of real stature. To be sure the 30 CDs
are an uneven achievement, but this
is scarcely surprising since one is
assessing recordings made over a period
of some fifteen years. But there are
very few serious disappointments among
the performances and this wise, discerning
and humane Bach conductor has much to
teach us, even (perhaps especially)
in an age when we are so used to performances
of Bach in period style and by small
or smallish forces.
But the other thing
that listening to all these performances
has reinforced for me is how endlessly
inventive, how eloquent and how moving
is the music of Bach. I suspect that
Fritz Werner would regard that as the
best possible testament to his work.
I hope that in this
review, and the two previous ones, I’ve
conveyed my enthusiasm for these performances.
Their reissue, especially at such an
advantageous price, is a cause for rejoicing.
My strong advice to all lovers of Bach’s
vocal music is to snap up this box,
and its companions, while they remain
available. There are hours of enjoyment
and fulfilment to be had from listening
to these recordings and I recommend
this box and the other two with the
greatest possible enthusiasm.
John Quinn
Recorded: Protestant Church, Weinsberg,
Germany, March 1957 
