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Johann Sebastian BACH (1685 - 1750): "Cantatas BWV 78, 96, 100, 122, 127, 130, 180"
Hannah Morrison, sopranoa;
Marion Eckstein, contraltob;
Daniel Behlec, Georg Poplutzd, tenor;
Tobias Berndte, Daniel Ochoaf, bass
Chorus Musicus Köln; Das Neue Orchester
Dir: Christoph Spering
rec: Oct 26 - Nov 2, 2021, Cologne-Mühlheim, Herz-Jesu-Kirche
deutsche harmonia mundi - 19658710832 (© 2022) (2.08'59")
Liner-notes: E/D; lyrics - translations: E
Cover, track-list & booklet
Scores
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Das neugeborne Kindelein (BWV 122)abde;
Herr Christ, der ein'ge Gottessohn (BWV 96)abcf;
Herr Gott, dich loben alle wir (BWV 130)abcf;
Herr Jesu Christ, wahr' Mensch und Gott (BWV 127)acf
Jesu, der du meine Seele (BWV 78)abde;
Schmücke dich, o liebe Seele (BWV 180)abce;
Was Gott tut, das ist wohlgetan (BWV 100)abce
[CMK] Merle Bader, Julia Hagenmüller, Theresa Klose, Sabine Laubach, Katharina Woesner, sopranocontralto;
Adam Schilling, Álvaro Tinjacá-Bedoya, alto;
Jakob Buch, Konrad Buers, Wilhelm Gries, Vincent Kepser, Bruno Michalke, tenor;
Andrey Akhmetov, Karsten Lehl, Andreas Post, Felix Rathgeber, Raphael Ries, bass
[DNO] Katja Beisch, recorder;
Wolfgang Dey, recorder, flauto piccolo, oboe;
Michael Niesemann, recorder, oboe;
Annie Laflamme, transverse flute;
Tatjana Zimre, oboe;
Alexander Golde, bassoon;
Andrew Hale, Tilman Scharf, horn;
Ute Hartwich, Justin Bland, Daniel Bietenhader, trumpet;
Raphael Vang, trombone;
Almut Frenzel, Christof Boerner, Zsuzsanna Czentnár, Salma Sadek, Petar Mancev, Christian Friedrich, Mark Schimmelmann, violin;
Christian Goosses, Martin Schneider, Michaela Thielen, viola;
Sergey Malov, viola da spalla;
Hannah Freienstein, cello;
Timo Hoppe, double bass;
Aviad Stier, harpsichord;
Andreas Gilger, organ;
Friedhelm May, timpani
When Christoph Spering started to record cantatas by Johann Sebastian Bach, there was no suggestion that it was the start of a project concerning the complete cantata output. So far, seven volumes have been released. The set of discs to be reviewed here is the eighth, and two further volumes have already been released (which I hope to review later). This may well be an indication that Bach's complete cantatas will be recorded by Spering after all.
His interpretations have several things in common, and it seems useful to mention them here. Spering is convinced that Bach used more than one singer per part, referring - as usual - to the Kurtzer; iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music. However, this is up to different interpretations, and Spering's conclusions are not conclusive. The debate may - and should - go on. In addition to the organ, Spering makes a (sparing) use of the harpsichord, which seems plausible. About the organ, the liner-notes say: "Our own instrument is more or less the same size as the Brustwerk that Bach had at his disposal in Leipzig, with
a Principal 4' as its foundation stop." There is no further specification of the instrument; it seems unlikely that is is comparable with Bach's organ in the Thomaskirche. In the secco recitatives, "we have chosen to perform the bass notes in the secco recitatives in any given cantata either consistently short or consistently long." Again, this is part of a debate among performers; the former option is the most common one. In that respect Spering offers an alternative. "The present recording also seeks to establish the logical tempi that Bach himself intended. In our attempt to produce convincing tempo relations between the choruses and arias of any given cantata, we have ultimately based our arguments on the medieval theory about tempo." This is a can of worms, which is impossible to discuss as part of a review like this. Lastly, the chorales: "It seems to me to make perfect sense to perform the simple four-part cantional chorales in an undramatic way unrelated to any biblical narrative." This results in a rather slow tempo, and each line is followed by a fermata. This is an issue I strongly disagree with. I am not repeat it in the discussion of individual cantatas.
All the cantatas in the present recording, except one, are from the chorale cantata cycle 1724/25.
Jesu, der du meine Seele (BWV 78) was performed on 10 September 1724, the 14th Sunday after Trinity. It is scored for four voices, transverse flute, two oboes, strings and basso continuo. The Gospel of the day was from Luke 17, which includes the story of the healing of the ten lepers. This episode is not treated as such in the libretto: leprosy is used metaphorically for mankind's sins, from which it can only be healed through Jesus's death. That is expressed in the hymn, which is the core of this cantata. The horn participates only in the opening chorus, playing colla voce with the soprano, and in the closing chorale. The whole piece is based on a passacaglia. The duet of soprano and alto is about the eagerness of the faithful to go to Jesus for help. Notable is the violone which is added to the basso continuo, and the imitation between the two voices. The fast tempo in this performance emphasizes the urgency of the text. The tenor recitative includes some wide leaps, and in the ensuing aria the tenor is accompanied by a transverse flute. Next the bass sings an recitative with string accompaniment, which includes contrasting tempo indications. In his aria, the first oboe has an obbligato part. The performance leaves little to be desired. Hannah Morrison and Marion Eckstein are a good match, but the balance is not entirely satisfying, as the former is a bit too dominant. Georg Poplutz and Tobias Berndt are excellent in their contributions.
Herr Jesu Christ, wahr' Mensch und Gott (BWV 127) is intended for Sunday Quiquagesima (or Estomihi), the Sunday before Lent; in 1725 that was on 11 February. The Gospel of the day was again from Luke, this time from chapter 18, where Jesus and his disciples go to Jerusalem, and Jesus is healing a blind man in the process. Again, the physical problem is used as a metaphor for the sinful state of mankind, in combination with the upcoming Passion of Jesus, which leads to salvation. The cantata is based on a funeral hymn by Paul Eber (1562). This is an appropriate choice, given the death of Jesus that is near. In the opening chorale Bach incorporates the German Agnus Dei, Christe, du Lamm Gottes. In addition, the instruments play repeated notes - a figure that returns later, and depicts death-bells. These are specifically mentioned in the soprano aria, 'Die Seele ruht in Jesu Händen'. The soprano is accompanied by two recorders - which often participate in funeral music, such as the Actus tragicus - and an oboe. Next follows a solo for bass, which switches between accompanied recitative and aria, in which the text of the hymn is quoted literally several times. In this piece the strings are joined by a trumpet, depicting the opening words, "When one day the trumpets sound". The soprano aria is brilliantly sung by Hannah Morrison, and Daniel Ochoa has the right voice for the bass solo, which he sings with the power that it needs. In the recitative Daniel Behle refrains from illustrating the word "Seufzen".
For the 18th Sunday after Trinity 1724 (8 October) Bach composed Herr Christ, der einge Gottessohn (BWV 96). The Gospel of the day is from Matthew 22; the libretto refers to the second element in this passage, where Jesus questions the Pharisees over the Christ, who is called both David's son and David's Lord. The first stanza of the hymn (Elisabeth Creutziger, 1524) fits this element: "Lord Christ, the only Son of God, of the Father in eternity, originating from his heart, as it is written". David is mentioned in the first recitative: "A chosen womb bears the great Son of God, whom David already in spirit honoured as his Lord". In the opening chorus Christ is called "morning star", and this explains the use of a piccolo (a sopranino recorder in F), which later returns in the tenor aria 'Ach, ziehe die Seele mit Seilen der Liebe'. That is to say, that is the scoring in the original version. Later Bach replaced the piccolo by a violino piccolo, but then abandoned the revision. Christoph Spering decided to play this part on the violin, "as Bach conceived it, even though he never heard it in this form." That seems a questionable decision. Daniel Behle delivers a good performance, thanks to excellent articulation and a differentiated use of dynamics. Notable in the opening chorus is that the chorale melody is in the alto part, as so often supported by a horn. In a later revival, probably in 1747, Bach replaced the horn by a trombone, as is the case here. The bass aria, 'Bald zur Rechten, bald zur Linken', is a fine example of text illustration. "Now to the right, now to the left my straying steps turn". The opposition between left and right is illustrated by a juxtaposition of strings and two oboes, and between rising and descending figures. In the second section - which has no dacapo - the instruments again illustrate the text - "walk with me, my Saviour, let me not sink into danger" - with short notes. The vocal part includes a descending figure on the words "sink into danger". Daniel Ochoa hits the nail on the head here.
On 29 September 1724 the Feast of the Archangel Michael was celebrated, also known as Michaelmas. For this day Bach composed his cantata Herr Gott, dich loben alle wir (BWV 130), based on the hymn by Paul Eber (1554), which is a paraphrase of the Latin hymn Dicimus grates tibi by Philippus Melanchthon (1539). One may expect that Michael's fight with the dragon would be the main subject of this cantata; that was the Epistle of the day (Revelation 12). However, although there are references to it - rather indirect, in the bass aria ("The old dragon burns with envy") - it is rather the Gospel of the day which has inspired the unknown author of the libretto. It is taken from Matthew 18, where Jesus says that the Kingdom of Heaven belongs to the children, and their angels look upon the countenance of God. It is the protection of the faithful by angels which is the tenor of this work. The cantata opens with a chorus on the first stanza of the hymn: "Lord God, we all praise you and should fittingly thank you for your creation of the resplendent angels, that hover around you, around your throne." The orchestra includes parts for three trumpets, timpani and two oboes. The trumpets and timpani return in the bass aria, which has a belligerent character. It is a brilliant piece, effectively and impressively performed by Daniel Ochoa and the brass. In the ensuing recitative for soprano and tenor, the Old Testament prophet Daniel is mentioned as someone who was protected by the angels when he was in the lion's den. It is followed by an aria for tenor, with a technically brilliant obbligato part for transverse flute, which asks the "prince of the cherubim" to carry the faithful into heaven "on Elijah's chariot". The cantata closes with the last two stanzas of the hymn. The liner-notes say: "For the final chorale, Bach once again calls on all of his instrumental resources. He initially planned to include two of Eber's strophes here but ultimately decided to limit himself to the penultimate one." This explains that the last stanza is omitted. I would like to know what the source is for this decision, as in the book on Bach's cantatas by Alfred Dürr this issue is not mentioned.
The hymn Was Gott tut, das ist wohlgetan (Samuel Rodigast, 1675) has given three cantatas their titles. For the 15th Sunday after Trinity (17 September 1724) Bach composed the cantata catalogued as BWV 99. Two years later (10 November 1726, 21st Sunday after Trinity) a cantata with the same title was performed (BWV 98). One would expect Spering to perform the former, as it is part of the chorale cantata cycle which is the subject of this recording. However, he decided to perform BWV 100 instead. Although the title is again derived from the hymn, the cantata is different from the chorale cantatas in several respects. The latter are intended for a particular Sunday of the ecclesiastical year. BWV 100 is written for an unknown occasion; it is assumed that it was intended for a wedding (the booklet wrongly mentions the 15th Sunday after Trinity). It dates from around 1734, and was revived twice (c1737 and c1742). The hymn is treated differently here: whereas in the chorale cantatas from 1724/25 the first and last stanza are included unchanged, and the inner stanzas are reworked to recitatives and arias, here all the stanzas are kept intact. They are set as arias; recitatives are entirely omitted. Bach ignores the chorale melody, but keeps the characteristic rising fourth, with which it begins. Obviously the arias don't have a dacapo. The fact that the opening chorus and the closing chorale are not original, but are taken from previously-written works, seem to confirm that this cantata was intended for a special occasion. The former is identical with the opening chorus of BWV 99, whereas the latter is the chorale which ends both parts of the cantata Die Elenden sollen essen (BWV 75), the first cantata Bach performed in Leipzig (30 May 1723, the first Sunday after Trinity). Lastly, the instrumental scoring points in the direction of a festive occasion: transverse flute, oboe d'amore, two horns and timpani with the usual strings and basso continuo. In the opening chorus the soprano sings the chorale melody. Notable are the prominent roles of horns, flute and oboe d'amore, almost in the way of a concerto for multiple instruments. The second stanza is set as a duet for alto and tenor with basso continuo. The third stanza is an aria for soprano with an obbligato part for the transverse flute. Next is an aria for bass and strings on the text of the fourth hymn stanza. Dürr, in his book on Bach's cantatas, points out the dance-like character of this aria, with its syncopations and its key of G major. According to Johann Mattheson this key could express "gay effects". The next stanza speaks about the sorrows of mankind, but also the comfort of God's reign; the key is E minor, "pensive, profound", according to Mattheson. The entire ensemble participates in the closing chorale. The four soloists deliver fine performances and do full justice to the character of their respective arias. The joy of the opening chorus and the closing chorale comes off perfectly, and there are nice contributions from the wind players.
In contrast to the abundance of the previous cantata, Schmücke dich, o liebe Seele (BWV 180) has a rather intimate character, which is in line with the nature and content of the hymn, a communion hymn by Johann Franck (1649). The choice of this hymn for the 20th Sunday after Trinity (22 October 1724) fits the Gospel of the day, which is from Matthew 22, where Jesus compares the kingdom of God with a wedding feast. The instrumental scoring emphasizes the intimacy of the bond between Christ and the faithful, which is expressed in the Lord's Supper: two recorders, transverse flute, tenor oboe (taille), cello piccolo, strings and basso continuo. It is notable that in this cantata not only the outer stanzas have been kept unchanged, but also the fourth, which closes the soprano recitative: even the melody is clearly recognizable, although Bach does not use it literally. In the opening chorus the instrumental parts are largely independent from the chorale melody, which is in the upper part. It is followed by an aria for tenor with a demanding obbligato part for the transverse flute. The tenor part is also technically challenging, especially because of its abundant coloratura. The text is about the Saviour's knocking at the heart of the believer; this is depicted by short notes in all parts at various moments. Daniel Behle is impressive in this aria, as is Annie Laflamme on the transverse flute. Next is the soprano recitative just mentioned, which is notable for its obbligato part for cello piccolo (viola da spalla). Then follows an accompanied recitative for alto; the accompaniment is not by strings, as is mostly the case, but by the two recorders. They also participate in the ensuing aria for soprano, alongside the tenor oboe; it has a joyful character, inspired by the text: "Sun of life, light of the senses, Lord, you who are my all!" Hannah Morrison's performance fully explores the joy in this aria. After a short recitative for bass, the cantata closes with the last stanza of the hymn.
Traditionally Christmas and New Year are closely connected, not only chronologically, but also thematically. New Year's Day is not only the beginning of a year, but also an allegory of the new time that started with the birth of Christ. That is expressed in the first stanza of Das neugeborne Kindelein (BWV 122), which is the core of Bach's cantata for the Sunday after Christmas, performed on 31 December 1724. The hymn (Cyriakus Schneegaß, 1597) consists of just four stanzas of four lines each, which explains that this cantata is rather short. In the opening chorus, in which the hymn melody is in the upper part, the orchestra consists of two oboes, one tenor oboe (taille) and strings. In many Christmas pieces the reason of Jesus's coming is mentioned: the fall of mankind in Paradise. Here the aria for bass with basso continuo refers to it; hence the marked chromaticism. It is closely connected to the ensuing accompanied recitative for soprano, in which the vocal part opens with the same motif as the bass part in the preceding aria. However, the message is the opposite of the aria's: "The angels, who formerly shrank away from you, as from the damned, now fill the air in the lofty choir to rejoice over your salvation". The soprano is accompanied by angelic instruments: three recorders. It is in the key of G minor - a key of "uncommon grace and complaisance" (Mattheson). Next is an aria in the form of a trio for soprano, alto and tenor. It is, as so often in Bach's cantatas, a combination of a madrigalian text (sung by soprano and tenor with basso continuo) and a literal quotation of the hymn (sung by the alto, with two violins and viola playing colla voce). After a short recitative for bass, the cantata ends with the fourth and last stanza of the hymn. Hannah Morrison and Tobias Berndt are the main performers here, and their performances are again excellent.
As one may have noticed, some of the choices of Christoph Spering are debatable, but overall his recordings of Bach's cantatas which have been released so far, are an interesting and musically often convincing contribution to the large discography of Bach cantatas. Looking back at the previous recordings, I am happy to say that the standard has increased with each volume. I was rather critical about the first instalments, especially because of the contributions of the soloists. In this case I am quite happy with the solo contributions, which has hardly any weakness. I did not like Daniel Ochoa, and I still am not a great admirer of his voice, but he has undoubtedly grown into Bach's idiom, and I enjoyed his performances. Tobias Berndt is also not my favourite voice, but he also does well here, better than I have heard him on previous occasions. Hannah Morrison is excellent, as I expected; she has a beautiful voice, and here immaculate diction and articulation are instrumental in her treatment of the text. I have not heard Marion Eckstein very often; I like what I have heard, and she seems well versed in this repertoire. Georg Poplutz is always a joy to listen to, and he delivers fine contributions here once again. Daniel Behle is not a singer I often encounter in baroque music, but here he generally convinces me as a good Bach interpreter. Choir and orchestra leave nothing to be desired; the contributions of the players of the obbligato parts are impressive.
Johan van Veen (© 2024)
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Daniel Behle
Tobias Berndt
Marion Eckstein
Hannah Morrison
Daniel Ochoa
Georg Poplutz
Yeree Suh
Chorus Musicus Köln & Das Neue Orchester