As with many of the Suzuki/BCJ cantata volumes, the most impressive
work is presented first. BWV 68, first performed on 21 May 1725,
opens with a richly orchestrated choral movement, based on a melody
by Gottfried Vopelius (1682). The spacious sound of the Kobe
Shoin Chapel fits this expansive music perfectly. Under Suzuki’s
direction, the music positively swings and the mood is of affirmation,
despite the minor key in which it was written. The following
aria was borrowed from the Hunting Cantata (BWV208), and is played
at brisk pace, graced by wonderfully supple violoncello piccolo
part (the invention of which is credited to Bach). Note that
Suzuki has decided to use a violoncello da spalla (or ‘shoulder
cello’) in its place, and provides convincing evidence for his
decision in the production notes. Its famous melody, more complex
and ornamental than in its original form, is beautifully expressed
by Carolyn Sampson. The positive mood is maintained in the following
bass recitative and aria. The concluding chorus takes the form
of a complex and demanding double fugue in which the words of
warning (against a brilliant backdrop of cornet and trombones)
are hammered home: “He that believeth on him is not condemned;
but he that believeth not is condemned already”. This is a wonderful
cantata, and I have not heard it bettered.
First performed
22 May 1725, BWV 175 starts off with a short recitative followed
by a pastoral alto aria, marked by swirling recorder parts which
signify the steady movement of sheep towards greener pastures.
The sense of pining finally gives way to anticipation for the
imminent arrival of the true shepherd in a tenor aria (borrowed
from an early Köthen cantata (BWV 173a), ably sung by Gert Türk
and supported once more by the tremendous musicianship of Dmitry
Badiarov on violoncello da spalla. The declamatory bass
aria (movement 6) and concluding chorale (also based on an earlier
work, BWV 59) rounds off what might be considered a ‘patchwork’
cantata, and one that does not quite hang together as a unified
work. Nevertheless, the forces show it off in its best possible
light.
BWV 28 (first performed
on December 30, 1725) reflects on the end of the current year
and looks forward to the new year. The first movement is an
energetic soprano aria, praising God for a prosperous year,
but there is a certain rigidity in the playing here, and I would
have welcomed more relaxed orchestral support for Carolyn Sampson’s
expressive delivery. The vocal parts in the following chorale
are very well captured but the movement is again marred, this
time by the rather muted brass section (cornet and three trombones),
which by doubling the vocal parts evokes the character of a
motet. The penultimate movement, a short duet for alto and tenor,
is quite lovely – and it is a joy to hear Robin Blaze and Gerd
Türk play off each other, before uniting in simultaneous declamation.
The work is rounded off with a simple choral wish for a peaceful
new year.
A key movement in
BWV 183 (13 May, 1725) is the tenor aria. Bach presents a stark,
spacious musical context for the text which reassures those
suffering terror and persecution for following God’s command
that they will ultimately receive their heavenly reward. Suzuki
directs this aria at a slow tempo, and although the foreboding
nature of the message comes through very successfully, I was
left wondering whether it was perhaps too languorous. However,
the soprano aria is utterly gorgeous, due in no small measure
to Carolyn Sampson’s astonishingly clean yet expressive delivery.
Indeed she seems to draw the orchestra to new heights, and the
punchy strings and fluid oboe da caccia ring brilliantly
true.
BWV 85 once again
returns to the theme of Christ as the good shepherd protecting
the sheep. The first movement, a bass aria, is a rather serious
affair notable primarily for the lovely oboe line. Blaze sings
well throughout this volume, but he is especially impressive
in the second movement of this cantata with a relaxed performance
perfectly suited to the simple message. Carolyn Sampson once
again draws us in to this work in the centrepiece chorale (movement
3), her voice gelling perfectly with the dancing oboe lines.
Pastoral tones dominate the tenor aria (movement 5), with Türk’s
line supported by a rich undulating rhythm of strings and continuo.
The work ends with straightforward chorale.
Overall, when measured
against the immensely impressive standard set by Suzuki and
BCJ, this is a slightly disappointing volume. However, this
is due as much to the relatively uneven quality of the cantatas
as the performances themselves. There are delightful individual
movements, and the entire opening cantata is particularly memorable.
I am deeply impressed with Carolyn Sampson’s contributions,
and I am convinced there are very few (if any) sopranos able
to challenge her in the Baroque repertoire at present. Dmitry
Badiarov also deserves special mention for his exceptional playing
throughout four of the cantatas on this disc.
Peter Bright
Carolyn Sampson
(soprano), Robin Blaze (counter-tenor), Gerd Türk (tenor), Peter
Kooij (bass) 
[72:42]
