This distinguished
series continues to evolve. In this volume Masaaki Suzuki explores
more of the cantatas of Bach’s first Leipzig Jahrgang.
BWV 2, Ach Gott,
vom Himmel sieh darein is a cantata for the second Sunday
after Trinity and was first heard in Leipzig on 18 June 1724,
just one week after the congregation had experienced the mighty
O Ewigkeit, du Donnerwort, BWV 20. Cantata No. 2 is based
on a Lutheran hymn which itself is derived from Psalm 12, a
lament for man’s shunning of God. The opening chorus and the
chorale with which the cantata closes are enriched by the addition
of a cornetto and three trombones, expertly played by members
of Concerto Palatino on this occasion. The chorus is rather
an elaborate one and the twelve singers of Bach Collegium Japan,
including the four soloists, make a splendid job of it.
Gerd Türk does the
recitative that follows with just the right amount of dramatic
feeling. Given that this is a fairly penitential cantata the
alto aria, ‘Tilg, o Gott, wie Lehren’, with its splendid violin
obbligato, sounds surprisingly jaunty. The singer, Pascal Bertin,
is someone I haven’t heard before but I enjoyed his lively performance.
The cantata also contains an important tenor aria and Türk gives
an excellent account of it.
The following Sunday
the Leipzig citizens heard another new cantata, Ach Herr,
mich armen Sünder, BWV 135. It’s a sobering
reflection on Bach’s industry and inspiration to note that the
feast of St. John fell on the preceding day and for this occasion
too Bach provided a new cantata, Christ unser Herr zum Jordan
kam, BWV 7. Pressed for time he may have been in terms both
of composing all this music and rehearsing it into the bargain,
but there’s no suggestion of routine or the second rate about
BWV 135 – or BWV 7, for that matter.
BWV 135 is also
based on a Lutheran hymn related to a psalm; in this case Psalm
6. It opens with a powerful chorus and the author of the excellent
liner notes points out how skilfully Bach varies his instrumental
and choral textures in this movement. Once again the chorus
is underpinned by a trombone, to good effect. Bach must have
had a very accomplished solo tenor at his disposal at this time
for this cantata, like BWV 2, contains a taxing aria for that
voice. The aria, ‘Tröste mir, Jesu, mein Gemüte’, is a wonderful
invention, greatly enhanced by a seemingly endless rippling
accompaniment from a pair of oboes. Gerd Türk does it splendidly,
using his plangent tone intelligently and the instrumental accompaniment
is excellent, as is the case throughout this whole CD. There’s
an important alto recitative, to which Pascal Bertin brings
an appropriate degree of pathos and the emphatic bass aria,
‘Weicht, all ihr Übeltäter’ is taken in his stride by that most
experienced and reliable of Bach singers, Peter Kooij.
There’s one more
Trinity cantata on the disc, Aus tiefer not schrei ich zu
dir, BWV 38, which is for the 21st Sunday after
Trinity. It’s similar to its Trinity companions on this disc
in that it too is based on a Lutheran hymn that paraphrases
a psalm, in this case Psalm 130. As is the case with BWV 2,
the hymn in question is actually by Luther himself. Another
similarity with BWV 2 is that the opening chorus includes parts
for the cornetto and trio of trombones. It’s an imposing number,
begging divine mercy and so picking up the theme of the gospel
for the day in which a nobleman pleads with Jesus to heal his
sick son. Yet again we find a taxing tenor aria at the heart
of one of these 1724 cantatas. ‘Ich höre mitten in den Leiden’
bristles with difficulties but Gerd Türk is equal to all its
challenges. The other three vocal soloists blend together very
well indeed in the terzetto, ‘Wenn meine Trübsal als mit Ketten’.
I admired their skill in singing as a team so that each one
of Bach’s contrapuntal lines is in perfect balance and thereby
registers clearly and naturally.
The remaining cantata
offered here is for Epiphany. Ach Gott, wie manches Herzeleid,
BWV 3 was first heard on the Second Sunday after Epiphany, 14
January 1725. It’s believed that the same librettist provided
all the texts for Bach’s first series of Leipzig cantatas but
the supply of texts seems to have dried up in early 1725, possibly
due to the death of the author, meaning that Bach was unable
to complete the Jahrgang. In fact BWV 3 was one of the
last cantatas in this series; only a further six were to follow
in this particular cycle.
The gospel for the
Second Sunday after Epiphany tells the story of the marriage
feast at Cana. Surprisingly, however, the cantata text does
not pick up on that theme at all. Rather the cantata opens with
a chorus that is penitential in tone. There then follows a section
combining recitative, for each of the four vocal soloists in
turn, and lines of chorale. Towards the end of this number the
bass soloist shifts the mood of the whole piece from penitence
to the prospect of redemption through Christ. This new emphasis
is continued in the aria ‘Empfind ich Höllenangst und Pein’,
splendidly sung by Peter Kooij. This aria displays Bach’s wonderful
ability to illustrate and illuminate a word or thought through
purely musical means. In particular, every time the soloist
sings the word ‘Freudenhimmel’ (‘heaven of joy’) the word is
set to an extended, joyful flourish. Among other things to savour
in the performance of this cantata is the delectable combination
of soprano Dorothee Mields with Pascal Bertin in their duet,
‘Wenn Sorgen auf mich dringen’.
This CD offers us
some more examples of the inexhaustible riches contained in
Bach’s sacred cantatas. It also maintains the very high standards
that I’ve noted in those preceding volumes in Suzuki’s cycle
that have come my way. The playing and singing is unfailingly
expert and Suzuki’s choice of tempi and his balancing of his
forces seems to me to be well nigh flawless. It is clear that
the performances are under the direction of someone who has
not only a deep knowledge of the music but also an equally deep
love for it. I should also report that the recorded sound is
excellent – I listened in conventional CD format – reporting
a clear, truthful and natural sound picture. Finally, the documentation
is exemplary.
Those collecting
this impressive cycle can rest assured that this is another
fine addition to the series. If you haven’t sampled Suzuki’s
Bach yet then I’d heartily recommend this CD as an opportunity
to rectify that omission.
John Quinn
see also Review
by David J Barker
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in this series
Dorothee Mields (soprano);
Pascal Bertin (counter-tenor); Gerd Türk (tenor); Peter Kooij (bass)
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