Bach cast a wide shadow over his musical sons. This disc from
Carus reveals the ways in which his actual and compositional offspring
absorbed, synthesised or otherwise engaged with his overarching
influence in the years after his death. There is a lineage at
work of course in these motets and part of the pleasure in this
release is to appreciate just how adeptly these seven composers
dealt with this profound heritage.
Johann Christoph
Friedrich was Bach’s fifth son. His motet Wachet auf, ruft
uns die Stimme was written c.1780 and is a vital, energetic
setting rich in contrapuntal and imitative writing. Its second
movement is especially fluid with fine lyric contrasts, and
the last section is a noble peroration which freely quotes
from Bach’s own setting of the same name (BWV 140). Certainly
J.C.F. Bach doesn’t stint the very considerable choral demands
and the motet as a whole is both an honouring of his father
and a strongly personalised example of his own writing.
Kirnberger’s small
motet An den Flüssen Babylons is expressive despite
its brevity and the fugal drama at its apex is reached by
urgent increase. Kirnberger took lessons from Bach in 1741
in composition and clavier playing and he was responsible
for assembling the “Amalien” Library which was a prime repository
for the nineteenth century Bach revival.
Johann Friedrich
Doles studied with Bach between 1739 and 1743, and inherited
Bach’s Leipzig position as Thomaskantor from 1756 to 1789.
His motet here is a transitional work, one that reflects influences
absorbed and new directions yet fully to be taken. It’s shaped
in a kind of bipartite way with a solo tenor plangently taking
what the notes fairly dub a kind of “lied” alongside a chorale
arrangement.
For all Doles’
compositionally transitional ethos it’s to C.P.E. Bach that
one turns to find a more fully absorbed realisation of his
father’s model. Bitten (Gott, deine Güte reicht so weit)
is a brief but polished setting, not as full of amplitude
as his almost exact contemporary Homilius but full of detail
and with an unrivalled (among his own generation of German
church composers) ear for word setting. Homilius’ own Die
Elenden sollen essen is only two and half minutes in length
but Carus has done a huge amount to restore this important
figure to our consciousness – though not yet definitively
shown to have been a student of Bach - and this small example
is indicative of his ability to generate considerable contrapuntal
weight in his settings.
The instrumentally
based introduction to Krebs’ Enforsche mich,
Gott, und erfahre mein Herz attests to the variety to
be found in these diverse motets. It’s a work that flows,
coils and undulates with tremendous assurance – no wonder
Bach took such an interest in Krebs – and ends with a decidedly
Bachian chorale. The final work in this inspiriting collection
is Altnickol’s Befiehl du deine Wege which takes Bach’s
own Jesu, meine Freude as a model. The fugal writing
is assured and the use of things such as choral recitative
striking. It’s a wide ranging setting and caps a thoroughly
successful disc, with performances evincing long understanding
and stylistic acumen, and as usual very well captured in the
Lukaskirche, Dresden. To further entice there are apparently
two world premiere recordings – the Doles and the splendid
Homilius.
Jonathan
Woolf