Early music specialist Christophe Coin, working with his period
instrument band,
and Naïve have reissued three discs of Bach
Cantatas in which the
piccolo cello plays a prominent role. These were previously on Auvidis-Astrée:
E 8544; E 8555 and E 8897. Each here receives a make-over being repackaged in
a new card sleeve. The discs form part of Naïve’s
Voix Baroque series:
E 8911 (E 8544); E 8918 (E 8555) and E 8926 (E 8897).
The ten cantatas feature the playing of Christophe Coin on the piccolo cello
- an instrument that experienced minor popularity in the early eighteenth century
but which is now obsolete. There’s a degree of mystery here. The dimensions
of the instrument are uncertain. It is generally thought to have been similar
to a small cello with five strings or maybe a traditional-sized cello with an
additional string. I have seen it put forward that the piccolo cello was actually
a large viola played on the shoulder. The booklet notes confidently state that
Christophe Coin is playing a piccolo cello with an attribution to Amsterdam maker
Pieter Rombouts (c. 1700). I am puzzled how Coin can be so sure that he is playing
a piccolo cello, if as it seems, no one really knows for certain what the instrument
was actually like.
I was interested to discover that these recordings were made at the little Church
of Ponitz, in Thüringia, an area of Germany with extensive associations
with the Bach dynasty. Coin explains in the notes that Ponitz was selected primarily
for its Gottfried Silbermann (ignore the typo in the booklets) organ, completed
in 1737. Using the restricted space of the choir gallery - see photograph with
E 8918 - Coin has arranged his chorus and orchestra players around the great
organ which serves as part of the basso continuo. Coin explains: “
The
result may seem more ‘dense’, and sometimes more ‘blurred’ than
usual, but it conveys quite faithfully the atmosphere and sound a member of the
congregation would have experienced sitting down below in that small nave, lit
by a warm autumnal light”. Typically Coin’s luxuriant
basso
continuo section also comprises a cello, bassoon and double-bass. Willem
Jansen the organist is most splendid throughout and deserves particular praise.
Details of the organ are given on:
www.silbermannorgel-ponitz.de/
We are told in the excellent booklet essays that eight of the cantatas: BWV 6,
41, 85, 115, 163, 168, 175 and 180 that feature the piccolo cello belong to Bach’s
second annual cycle composed during the liturgical year of 1724/25 for the Thomaskirche
in Leipzig. A ninth, BWV 49 with a significant part for the piccolo cello was
composed later in 1726 and a tenth, composed much earlier, in 1714, is thought
to have used the instrument. It seems unlikely that Bach would write this number
of sacred cantatas during this period around 1725 without having a particular
exponent in mind and available.
The disc Näive E 8911 (E 8544) accommodates four sacred cantatas none of
which commence with the customary choral movement. Cantata
Ich bin ein guter
Hirt (
I am the Good Shepherd), BWV 85 is in six movements and is intended
for
Misericordias Domini (the second Sunday after Easter). It was first
heard in 1725. All four soloists are deployed with a four-part chorus that appears
in the very short last movement chorale. Bach chose to use a pair of oboes and
a piccolo cello in addition to the strings and
basso continuo.
First performed in 1725 the cantata
Sie werden euch in den Bann tun (
They
shall anathematise you), BWV 183 was designed for
Exaudi, the Sunday
after Ascension (sixth Sunday after Easter). In five movements, it requires the
services of four soloists and again a chorus for the final chorale. The instrumentation
consists of strings, pairs of
oboe d'amore and
oboe da caccia,
a cello piccolo and
basso continuo.
Composed in 1714, from Bach’s days at Weimar his early cantata
Mein
Herze schwimmt im Blut (
My heart is bathed in blood), BWV 199 was
used for the Eleventh Sunday after Trinity. No chorus is employed at any point
in the eight movement score. There is only a demanding part for the soprano voice
who also sings the chorale. The instrumentation is for oboe, strings, piccolo
cello and
basso continuo.
In seven movements, the cantata
Er rufet seinen Schafen mit Namen (
He
calleth His own sheep by name), BWV 175 for Whit Tuesday (the third day of
the feast of Pentecost) was composed in 1725. The strings and
basso continuo are
augmented by three recorders, a pair of trumpets and a piccolo cello. There are
arias for alto, tenor and bass with a closing chorale for four part choir.
On Näive E 8918 (E 8855) there are three sacred cantatas. The first is
Jesu,
nun sei gepreiset (
Jesus, now be praised), BWV 41. Bach wrote the
six movement score in 1725 to celebrate New Year's Day (Circumcision of Christ,
Feast of the Holy Name of Jesus). The composer wrote parts for all four soloists
and a four-part chorus. There is a rich and varied instrumentation: a piccolo
cello in a concerted part, three trumpets, three oboes, strings,
basso continuo with
the addition of timpani. Of the two chorales the uplifting and sparkling first
chorus with its trumpet fanfare lasts over eight minutes.
The six-movement chorale cantata
Bleib bei uns, denn es will Abend werden (
Abide
with us, for it is toward evening), BWV 6 was written and first performed
in 1725 for Easter Monday. Bach’s instrumentation is for a piccolo cello
in a concerted part, a pair of oboes, an
oboe da caccia, strings and
basso
continuo. All four soloists are required and a four-part chorus that is used
in the opening and closing chorales.
From 1725 Bach wrote his short cantata
Also hat Gott die Welt geliebt (
For
God so loved the world), BWV 68 for Whit Monday (the second day of the feast
of Pentecost). This short cantata is cast in five movements and begins and ends
with a chorale for chorus. Bach uses just the soprano and the bass as soloists
with a four-part chorus. The instrumentation calls for a cornet and three trombones,
a pair of oboes, a tenor oboe, a cello piccolo, strings and
basso continuo.
The soprano aria uses an adaptation of the famous melody (
Sheep may safely
graze) from the secular cantata, BWV 208 known as the ‘
The Hunt’.
The final disc Näive E 8926 (E 8897) also contains three sacred cantatas.
The release is headed by the cantata
Schmücke dich,
O liebe Seele (
Adorn
yourself, O loving soul, with gladness), BWV 180. First heard in 1724, the
seven movement score was intended for the Twentieth Sunday After Trinity. It
seems that this was Bach’s first cantata to employ a piccolo cello. The
cantata requires four vocal soloists and a four-part chorus with the instrumentation
of two recorders, a flute, oboe,
oboe da caccia, strings and
basso
continuo.
Bach wrote his chorale cantata
Ich geh und suche mit Erlangen (
I go
and seek with longing), BWV 49 for the Twentieth Sunday After Trinity and
it was first performed in 1726. The six movement score is Bach’s last cantata
to include a part for piccolo cello. Commencing and concluding with a chorale
the soprano and bass are the only two vocal soloists as the score does not require
a chorus. The instrumentation has parts for piccolo cello,
oboe d’amore,
strings and
basso continuo with a splendid concerted role for the organ.
Maybe this significant organ part was intended for Bach’s eldest son Wilhelm
Friedemann as part of his apprenticeship. Another notable feature is the
Sinfonia movement
which opens the score.
The final work on the disc is the six-movement chorale cantata
Mache dich,
mein Geist, bereit (
Prepare yourself, O my soul), BWV 115 from 1724
and intended for the 22nd
Sunday after Trinity. Here we have four
vocal soloists, a four-part chorus, with a flute, piccolo cello,
oboe d’amore,
horn, strings and
basso continuo.
The star performer of the set is counter-tenor Andreas Scholl who sings the alto
part impeccably. His is a controlled delivery that is smooth and fluid and is
enhanced by a most attractive timbre. Although setting a remarkable standard
throughout I especially enjoyed Scholl in the aria
Komm, leite mich (
Come,
lead me) from BWV 175 where his exceptional voice is reverential and persuasive,
perfectly intertwined with the pastoral strains of the recorder group. Another
highlight is Scholl’s aria
Hochgelobter Gottessohn (
O highly
praised Son of God) from BWV 6. This is marvellously sung with an impressive
evenness and clarity of expression. His agreeable tone is here at its most refined.
I love the way the
oboe de caccia weaves its way in and out of the alto
vocal line.
German-born soprano Barbara Schlick sings the challenging array of arias with
a plentiful supply of energy and devotion. However, a highlight of the disc is
Schlick’s
da capo aria
Stumme Seufzer,
stille Klagen (
O
hushed sighs, silent grieving) from the cantata BWV 199. Accompanied by a
delightful rustic oboe and
basso continuo Schlick is in angelic voice,
chaste and exuding sincerity. From the same cantata in her chorale aria
Ich,
dein betrübtes Kind (
I, your grieving child) Schlick is serene,
unforced and gloriously expressive. The appealing piccolo cello is featured here
together with the
basso continuo. On occasions Schlick’s voice can
be a touch shrill and when under pressure there is a tendency to reach up to
grab the notes. In the aria
Laß uns,
o höchster Gott (
Grant
us, O almighty God) from BWV 41 the soprano voice is somewhat swamped by
the weight of the instrumental forces.
Prégardien, the German lyric tenor, is secure and confident with an appealing
timbre. Of note are his excellent arias
Ich fürchte nicht des Todes Schrecken (
I
do not fear the horrors of death) from BWV 183 and
Ermuntre dich: dein
Heiland klopft (
Arise! Your savour knocks) from BWV 180, complete
with its prominent flute part evoking birdsong. From the cantata BWV 41 I was
struck by the fine piccolo cello playing throughout the aria
Woferne du den
edlen Frieden (
As you give noble peace) together with the reverence
of Prégardien’s clear and meaningful diction. The tenor feels markedly
comfortable with the score’s
tessitura.
German bass Gotthold Schwarz gives assured and well focused interpretations.
He moderates any exaggerated expression to deliver the words with significant
intimacy whilst managing to communicate a deep reverence. I particularly enjoyed
the persuasive Schwarz in the aria
Du bist geboren mir zugute (
You
were born to bring me bliss) from BWV 68 where bucolic character is furnished
by three oboes. In the bass arioso
Ich bin ein guter Hirt (
I am the
good shepherd) from BWV 85 I was struck by Schwarz’s dark-hued timbre
in a solid performance that communicates considerable piety.
Both of the two choral groups that have been used on this set: the Chœur
de Chambre Accentus and the Leipziger Concerto Vocale have been ably drilled
by their respective chorus-masters Laurence Equilbey and Gotthold Schwarz. The
period instrument Ensemble Baroque de Limoges directed by their founder Christophe
Coin provide consistently fine and coherent playing aptly conveying the necessary
dignity and finesse. There are however one or two uncomfortable moments especially
in the bass aria
Öffnet euch, ihr beiden Ohren (
O, both my ears,
open wide) of BWV 175 where the trumpets are rough and unsteady making an
excruciating sound. I realise that authentic brass instruments provide significant
challenges for players. However, recorded over a year later a vast improvement
is noticeable as the three trumpets are outstanding in the glorious and uplifting
opening movement chorale
Jesu,
nun sei gepreiset (
Jesus, now
be praised) of BWV 41.
As the piccolo cello soloist the supremely talented Christophe Coin plays with
authority displaying exceptional control of phrasing and dynamics. Convincing
examples of the merit of the piccolo cello are found in the soprano aria
Woferne
du den edlen Frieden (
As you give noble peace) from BWV 41 and the
chorale
Ich, dein betrübtes Kind (
I, your grieving child)
from BWV 199. It would be remiss not to mention Willem Jansen’s top-drawer
work at the Silbermann organ. I particularly enjoyed the sparkling and ardently
played organ in the
Sinfonia that opens cantata BWV 49.
The accompanying notes and essay in the booklets are both interesting and highly
informative. For those of us not so sharp-eyed a magnifying glass may be needed
to read the small print. There are a few mistakes in the notes but nothing too
off-putting. For example the liner-notes to E 8918 (Astrée E 8555) states
that cantata BWV 41 has three trombones which should be three trumpets and the
cardboard sleeve lists the three cantatas in the incorrect order of play.
The confined space of the Church of Ponitz necessitates dividing the players
and even some of the chorus either side of the organ and this actually creates
a presumably unintended stereo effect. The sonic definition could perhaps have
benefited from a touch more sharpness as the quality was slightly cloudy at times
especially with at
forte in the full choral and orchestral passages. Sometimes
certain instruments such as the cornet, the horn and some vocal soloists were
almost drowned out. Notwithstanding, there is nothing here to put off any prospective
purchaser. Of the three discs the earliest to be recorded Näive E 8926 (Astrée
E 8897) has the superior sonics being crystal clear and satisfyingly balanced.
This is a fascinating and often enthralling set.
Michael Cookson
see also review of E8918 by Brian Wilson
Andreas Scholl (alto);
Barbara Schlick (soprano); Christoph Prégardien
(tenor); Gotthold Schwarz (bass) 
