Johann Sebastian BACH (1685-1750)
Cantatas - Vol. 44
Wir müssen durch viel Trübsal in das Reich Gottes eingehen
(BWV 146) [37:35]
Siehe, ich will viel Fischer aussenden (BWV 88) [17:23]
Gott fähret auf mit Jauchzen (BWV 43) [19:47]
Rachel Nicholls (soprano), Robin Blaze (alto), Gerd Türk (tenor), Peter
Kooy (bass)
Bach Collegium Japan/Masaaki Suzuki
rec. September 2008, Kobe Shoin Women's University Chapel, Japan DDD
BIS BIS-SACD-1791 [75:48]
Masaaki Suzuki takes his time in his project of recording all cantatas by
Johann Sebastian Bach. It started in 1995, and with this disc about three-quarters
of Bach's sacred cantatas have been covered.
"Cantatas from Leipzig 1726", the reverse of the tray says. But that isn't
quite correct as Cantata 146 could have been written some years later. Some
scholars suggest 1727 or 1728 as the year of composition. It was written for
Sunday Jubilate, the third Sunday after Easter. It is inspired by the reading
of that Sunday, John 16, 16-23. Here Jesus announces his ascension, and says
that his disciples shall be sorrowful, "but your sorrow shall be turned into
joy". This contrast is worked out in the various recitatives and arias of
the cantata. It begins with two movements which are arrangements of a lost
violin concerto which is only known in a later arrangement for harpsichord
and strings: the Concerto BWV 1052. The Sinfonia is for organ solo with two
oboes, taille, strings and bc. The slow movement of the same concerto has
turned into the chorus 'Wir müssen durch viel Trübsal in das Reich
Gottes eingehen' (We must through much tribulation enter into the kingdom
of God), a quotation from Acts 14, vs 22. The strong dissonances are an eloquent
expression of the content of this phrase. The element of sorrow is then depicted
by an accompanied recitative and an aria. The latter is in two sections, the
second of which represents the change of mood: "And yet my heart's sorrow
will grow into glory for me upon the day of the heavenly harvest". This accounts
for this aria departing from dacapo structure as it wouldn't be logical to
return to the sorrow of the first section. The instrumental scoring is remarkable
with transverse flute and two oboi d'amore. The next recitative continues
the thought of sorrow turning into joy, and this leads to a joyful duet for
tenor and bass with the character of a passepied. The closing chorale has
come down to us without a text. Several suggestions have been made. Here the
proposal of the German scholar Martin Petzoldt has been followed: the opening
stanza of 'Freu dich sehr, o meine Seele'. Textwise that seems convincing;
musically less so: this chorale was originally set to another melody, and
it seems to me that the accents in text and music don't quite match.
Only a couple of weeks later Ascension Day is celebrated. What is more logical
than Cantata 146 being followed by Cantata 43, written for Ascension Day 1726?
This was probably originally planned, as in the liner-notes this cantata is
analysed immediately after Cantata 146. On the disc it comes third, which
is quite odd. This cantata is in two sections, to be performed before and
after the sermon. It begins with a dictum, a quotation from the Bible.
It is from Psalm 47, traditionally considered a prefiguration of the ascension
of Jesus, interpreted as his accession to the throne, at the right hand of
his Father. With this his work as Saviour is completed, as is expressed by
the soprano aria which closes the first section: "My Jesus has now completed
his saviour's work". The structure of this cantata is notable: the opening
chorus is followed by a recitative and aria for tenor and a recitative for
soprano. Then follow six stanzas from a poem in form of recitatives and arias.
Bach has used here a text from a collection of librettos by an anonymous author,
published in Meiningen in 1704. Texts from this collection had also been used
by Bach's cousin Johann Ludwig, who was Kapellmeister in Meiningen
since 1706. During 1726 Bach copied and performed 18 of Johann Ludwig's cantatas.
This source explains the absence of any dacapo arias: these were very uncommon
around 1700.
The soprano recitative is another quotation from the Bible, here vs 19 from
Mark 16: "So then, after the Lord had spoken unto them, he was received up
into heaven, and sat on the right hand of God". The ascension and its effects
are then reflected upon from the viewpoint of the faithful. They end with
an expression of the expectation of eternal life. The cantata closes with
two stanzas from a chorale, and here Bach also turns to the past. It is a
setting by Christoph Peter (1626-1689), who from 1655 until his death was
Kantor in Guben. Bach made only minor alterations in this setting.
Remarkable as far as the scoring is concerned is the bass aria 'Er ist's,
der ganz allein', with trumpet and basso continuo. The natural trumpet - without
fingerholes - was one of the most complicated instruments to play. Therefore
it comes as no surprise that Bach indicated the violin as an alternative.
Here we hear the trumpet, with finger-holes - a common practice these days,
unfortunately.
The libretto of Cantata 88 is taken from the same source, and was also used
by Johann Ludwig Bach. It was composed for the 5th Sunday after Trinity, and
first performed on 21 July 1726. The text is closely related to the Gospel
reading of that Sunday, Luke 5, vs 1-11. It is about the fishing expedition
of Peter, who is then called by Jesus to become his disciple. He tells him:
"Fear not; from henceforth thou shalt catch men". The cantata is again in
two sections, and begins with another quotation from the Old Testament: "Behold,
I will send for many fishers, saith the Lord, and they shall fish them; and
after will I send for many hunters, and they shall hunt them from every mountain
and from every hill, and out of all the holes of the rocks". These verses
refer to God collecting his people from the Babylonian exile which is compared
here to Jesus catching the people who have turned away from him and are spiritually
scattered. The opening movement is a forceful and penetrating depiction of
the text. Bach has divided the biblical quotation in a fishing and a hunting
scene for bass solo. In the first part the strings with added oboes represent
the waves of the sea whereas in the second half the horns enter in a vivid
representation of a hunt. Notable is the tenor aria which begins with the
voice rather with an instrumental ritornello. This can be explained by the
fact that the preceding recitative ends with a question: "Will he (...) abandon
us to our enemies' cunning and rancour?' The aria immediately provides the
answer: "No, no!" The second section begins with the verse from Luke 5 quoted
above. It is followed by a lively duet for soprano and alto, and after a soprano
recitative the cantata ends with a chorale.
The volumes of the ongoing series of recordings of Bach's cantatas by the
Bach Collegium Japan are usually received with almost unanimous enthusiasm.
And indeed they are impressive in various respects. Masaaki Suzuki can count
on his singers in the solo parts. They are all excellent and have a good understanding
of the style and the content of Bach's cantatas. They also participate in
the tutti sections, bringing the total of 12. This small size and the transparency
of sound guarantees that the text of the tutti is clearly understandable.
The playing of the ensemble is impeccable and the obbligato parts are well
executed.
That said, I don't join the chorus of staunch admirers of Suzuki's approach.
It is just too smooth, too nice, too polished. I sorely miss the sharp edges.
The texts of many cantatas contain passages which are not meant to go down
that well with the audience. That doesn't come off sharply enough in Suzuki's
performances. The pictorial elements in Bach's music are also not fully explored.
The opening of the Cantata 88 is a good example: the depicting of the waves
in the strings in the first section isn't eloquent enough, and the horns in
the second part don't have enough presence. The impression of smoothness is
also created by the too small dynamic accents. That is the case in the hunting
scene from Cantata 88, but also in the opening Sinfonia from Cantata 146.
This should have had stronger dynamic accents, and a better exposition of
the rhythm. Some tempi should have been swifter, in particular the duet 'Wie
will ich mich freuen' from the same cantata. On the whole Cantata 43 comes
off best, although Gerd Türk's low notes are too weak in his aria 'Ja
tausend mal tausend begleiten den Wagen'.
Even so, there is much to enjoy here. Most singers are well-known quantities
and are regulars in Suzuki's recordings. Robin Blaze, Gerd Türk and Peter
Kooy all bring fine performances of their solo parts. I can't remember whether
I have heard Rachel Nicholls before, but certainly not in Bach. I am delighted
to say that her contributions are very good. Her pronunciation and diction
are immaculate, and she communicates the content of her recitatives and arias
very well.
Admirers of the project of the Bach Collegium Japan will not be disappointed
about this volume. They won't - and shouldn't - hesitate to purchase this
disc. I suspect most of them already have. It seems unlikely that these performances
will make sceptics change their mind, though.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Reviews of the Bach cantata project on BIS
Masterwork Index: Bach's
cantatas
Admirers of Bach Collegium Japan's Bach cantata project will not hesitate
to add this disc to their collection, but sceptics won't change their mind.