Recorded in 1994 for Erato, this pair of cantatas reappears on
Challenge Classics, the label that has taken over Ton Koopman’s
Bach cantatas project. The performances have a typical sensitivity,
with female solo voices rather than male, and a mixed choral complement
to match. The pitch is a semitone above modern pitch, and the
instrumental playing wonderfully stylish under Koopman’s ever-alert
direction.
These two cantatas date from earlier in
Bach’s career. BWV 106, known as ‘Actus Tragicus’, was composed
at Mulhausen in 1707, for a funeral or memorial service, and
stands among the first manifestations of Bach’s greatness. The
instrumentation is unique: two recorders, two violas da gamba
and continuo, a combination appropriate to a funeral service.
The initial sinfonia, with its prominent recorders, sets the
tone, and here Koopman’s tempo is perfectly judged to create
the context for the whole work. The sequence of vocal movements
– arias, choruses and chorale – covers the usual range, and
there are some fine examples of cantus firmus, a role
well suited to the recorders, so beautifully balanced in this
performance.
The recorded perspective allows details
to make their mark, while also bringing due attention to the
nuances of the vocal line. While this is an early work, by Bach’s
standards, it is by no means immature, and the extra degree
of insight brought by experienced singers really tells. For
this reason Koopman’s well considered performance can gain recommendation
above that of Nikolaus Harnoncourt (Teldec 4509 91760-2), whose
boys’ voices are no match for Barbara Schlick and Kai Wessel.
BWV 21, Ich hatte viel Bekumneris,
was written at Weimar around 1713, soon after Bach’s appointment
there. This is a substantial work in its every respect, and
it is a reflection of the impact that catchy names can make
in the world of music that the ‘Actus Tragicus’, less than half
its scale and scope, gets the major billing on the CD cover,
and in large capital letters, moreover. In truth BWV 21 is the
main attraction, excellent though BWV 106 may be.
The complex history of BWV 21 confirms that
it held a special place for Bach. Having originally composed
the music for Weimar, he next used it in 1720 for a performance
in the Jacobikirche at Hamburg, on which occasion he had travelled
from Cothen, where he was then employed. It is rumoured that
he may have been searching for a new appointment, while it is
also possible that the music may have been performed at Cothen
too. The last documented performance
of the cantata took place soon after Bach arrived at Leipzig,
in 1723. This was on 13 June, the third Sunday after Trinity.
This was evidently a special occasion, since he added cornett
and trombone parts to the choral ninth movement.
In whichever version, the cantata
traverses a wide musical and expressive range, including four
soloists and featuring some dramatic exchanges between the singers
representing Jesus (bass) and the Soul (soprano). Bach may not
have written operas but he undoubtedly knew how to create a
musical drama. Such description is not inappropriate to this
performance, but there are others that offer and equally fine
or even more dramatic experience for the listener. The Bach
Collegium Stuttgart, directed by Helmuth Rilling, for instance
(Hänssler 94028), has particularly fine contributions from Arleen
Auger and Wolfgang Schöne.
Ton Koopman is a notable Bach
interpreter and these performances are well judged and sensitively
drawn. The musicological decisions are always appropriate, such
as tempi and the numbers of performances employed. It is not
necessarily a first choice in either work, but at the same time
this disc will not disappoint and will offer enduring rewards.
Terry Barfoot
Barbara
Schlick (soprano); Kai Wessel (alto); Guy de May (tenor); Klaus
Mertens (bass)
