RECORDING OF THE MONTH
Johann Sebastian BACH (1685-1750)
Cantatas - Vol. 46
Herr, Deine Augen sehen nach dem Glauben, BWV 102 (1726) [20:45]
Es ist dir gesagt, Mensch, was gut ist, BWV 45 (1726) [17:32]
Wer Dank opfert, der preiset mich, BWV 17 (1726) [15:09]
Es erhub sich ein Streit, BWV 19 (1726) [17:57]
Erschrecke doch (alternative version of tenor aria from BWV 102) [4:37]
Hana Blažíková (soprano), Robin Blaze (counter-tenor), Gerd Türk (tenor),
Peter Kooij (bass)
Bach Collegium Japan / Masaaki Suzuki
rec. September/October 2009, Kobe Shoin Women's University Chapel, Japan
BIS BIS-SACD-1851 [76:24]
These four cantatas, originally performed in August and September 1726, bear
a structural and thematic similarity. All are essentially two-part works,
reflecting Old Testament (Part 1) and New Testament (Part 2) sections, although
this separation of the text is not made explicit in BWV 19. Each also shares
a fiercely dramatic large-scale introductory chorus of quite amazing complexity,
which must have severely tested the musicians available to Bach. Despite some
personnel changes over the years, Suzuki’s forces are steeped in Bach’s music
to the extent that they rise effortlessly to the considerable challenges that
this music places on them. At times, however, the acoustics of the Kobe Shoin
Chapel – perfect for smaller scale movements – are not sufficiently spacious
to capture the thunderous drama of these opening movements.
The first work (BWV 102) was first performed on the 10th Sunday
after Trinity (25th August), and is concerned with the perceived
stagnation of Jerusalem. In the opening chorus Suzuki’s forces weave a rich
texture, with careful regard to the staccato rhythms of the second section
and fugal structure of the third. The only element lacking is a touch of the
abrasiveness and drama surely required to underscore the message. A bass recitative
is followed by a gentle and perfectly paced alto aria (Blaze) underpinned
by solo oboe and continuo. This movement was reworked for subsequent use in
the F major missa (BWV 233) but I feel it leaves the deepest impression
in its original setting here. Peter Kooij, always dependable, presents a dramatic
arioso (movement 4) supported by full string orchestra, rounding off the first
Part. Part 2 consists of just three movements: a tenor aria supported by supple
and playful strings, recitative and a beautiful chorale setting.
BWV 45 has had a chequered history in the literature, with some writers bemoaning
a “coldness” and lack of quality. However, I challenge any listener to agree
with such comments after listening to this performance. In Suzuki’s hands
the music glows and is never less than highly involving – to the extent that
I rate it as one of Bach’s finest cantatas. The opening choral fugue has a
dense compositional texture, but comes across with a pleasing lightness of
touch. The musicianship here is superb, with momentum sustained and a perfect
balance between control and expressive freedom. Following a tenor recitative
there is a run of three outstanding arias. In the first (mv. 3) Türk’s voice
is strongly projected against a richly satisfying strings and continuo accompaniment.
Part 2 (mv. 4) begins with Kooij in one of his finest performances - termed
‘arioso’ but closer to aria than recitative. While nearly always impressive,
I have rarely heard him as thoroughly engaged with the music – and the musicians
respond to his sense of purpose with a delightful, buoyant performance. The
final aria is surely one of Bach’s most charming creations. Against Blaze’s
plaintive vocal lines, a solo flute weaves a light and thoroughly enchanting
dance. A straightforward recitative and chorale round off the work.
Listeners might be familiar with the first movement of BWV 17, which Bach
later reshaped for the Gloria section of his G major Missa. The opening choral
fugue is less engaging than the other introductory movements on this disc,
but the cantata includes two exceptional arias. Czech soloist Hana Blažíková’s
emerging command of this repertoire is showcased in movement 3, a delightful
performance accompanied by two solo violin parts. The tenor aria (movement
5) is equally involving, with Gerd Türk’s compelling message of thanks underpinned
by a lovely string section. Indeed, the strings deserve special mention for
their virtually flawless work throughout this disc. Following a bass recitative
a simple but warmly presented chorale setting brings proceedings to a close.
Among the most dramatic of all Bach’s works, the opening chorus of BWV 19
is inspired by the battle between St Michael and Satan, and the triumph of
good over evil. It is a major task to conjure up the necessary sense of drama
and attack to ears more accustomed to modern instruments than period ones,
but Suzuki’s forces are fantastic. However, I do feel that the overall impact
is restricted somewhat by the intimate acoustics of the Kobe Shoin Chapel.
Blažíková is in fine form in the third aria, although the piece itself is
perhaps relatively lacking in interest. Türk turns in another fine performance
in the tenor aria, a technically demanding movement where the voice is exposed
by a skeletal strings and solo trumpet accompaniment. The full orchestra returns
for an assured final chorale. Overall, this is a superb rendition of an outstanding
cantata.
Suzuki is now on the home straight in his traversal of Bach’s cantatas, but
is still improving. Of the 46 discs released so far, this is perhaps the most
impressive of them all.
Peter Bright
Now on the home straight this is perhaps the finest of all Suzuki’s recordings
of Bach’s cantatas released so far.
Bach Collegium Japan themed review page
Masterwork Index: Bach cantatas