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It
is quite rare to have consequtively catalogued numbers among Bach's
sacred cantatas to be of uniform good quality and/or appeal - which
is why collecting Hänssler's chronologically issued series may be
a hit-and-miss affair. But here in volume 21 we have a fortunate
trinity of favourite cantatas. All were written in the first half
of 1724 when Bach was in Leipzig, and each is blessed with appealing
music.
BWV
65 Sie werden aus Saba alle kommen ("They shall from
out Sheba all be coming" [sic] - huh? Hello, who be translating
these libretti thus?) is scored for solo bass and tenor with choir,
plus orchestra. The unknown librettist carefully sets his words
to the theme of gifts, rewards and offerings both physical and spiritual.
It
is interesting that Dr Bomba writes of the music's dance-like nature,
because - to nitpick a bit, Rilling takes the second movement chorale
in traditional fashion, organ-hymn-like. It struck me then how different
it is when Koopman's choir does create that dance momentum
(Erato 3984-25488-2, Vol.8). The latter takes only half the time
to finish the short chorale, but does it with a delightful Monteverdian
dance gait. The effect is completely fresh and alive.
But
this aside, Rilling's delivery of this cantata is superb - the spirit
of Bach is wholly achieved without - as he asserts - studious dedication
towards "Historically Informed Performance" (HIP). Both conductors
have finer basses than tenors, but overall each produces well-matched
performances, graceful and compelling.
The famous Easter cantata BWV 66 Efreut euch, ihr Herzen
("Rejoice, all ye spirits") begins with a chorus of uncommon 'controlled
brilliance', in expression and craftsmanship, fully one third the
cantata's length. Consisting of a bass-alto duet in the middle,
and using trumpet, oboes, violins and continuo, it is simply a most
human miracle that Bach has achieved - such living gorgeous music!
"Be joyful, ye hearts"!
Rilling
turns in strong performances full of committed singing and playing.
My reference recording is Herreweghe's on Harmonia Mundi (now available
at mid-price on their Bach Edition, HMX 2908070), which is of consistently
high quality and boasts that conductor's absolutely poetic way with
Bach's flow and line. On the whole this remains my preferred performance
- Rilling's reverent but flat-footed, legato-laced way with the
chorus and some of the orchestral tutti doesn't go well with me.
Nevertheless, I must highlight the reading of the tenor-alto duet
featuring Adalbert Kraus and Gabriele Schreckenbach, which, spurred
on by the energetic solo violin, is very impressive. Herreweghe's
version though, where all three soloists complement, rather than
compete with, each other, is more beautiful (Rilling's is more aggressive,
urgent).
Cantata
67 Halt im Gedächtnis Jesum Christ ("Hold in remembrance
Jesus Christ") was written one week after Cantata 66. I have one
recording by Fritz Werner from 1961 (Erato 4509 98525-2), one Koopman
from 1997 (Erato 3984 2314-2, Volume 7,
and this one from 1978. Much to my delight, all three are enjoyable.
Let us therefore skip the tedious comparisons and focus on the merits
of the CD in question here.
It
opens with a big chorus, complete with trumpet, flute, oboe d'amore
and a quartet of solo voices. Rilling's reading is grand and richly
toned, his choir negotiating the staccato passages with admirable
detail. The prominent solo trumpet, suitably obvious when using
a modern instrument as here, is much welcome. More joyous Bach comes
in the tenor aria, featuring the faithful Mr Kraus.
The
main course of the cantata is the bass aria with chorus, measuring
over one third of the entire work's duration. Walter Heldwein makes
good the opportunity with his simple and serenely solemn delivery
of his single line "Peace be unto you", as Vox Christi. I was also
much entertained by the performances of the bright orchestral contribution
and the vibrant SAT chorus. Incidently, in Koopman's version (Erato
3984-23141-2, Volume 7, the chorus
is taken by a trio of soloists - which makes an interesting alternative.
Finally, I should also mention alto Ann Murray's contribution here
in two recitatives (together less than 2 minutes) - as was in Volume
20, she's great.
A
very enjoyable release, backed as usual with Dr Bomba's illuminating
notes, with translations and vocal texts all neatly arranged.
CHIA
HAN-LEON
has MTV for breakfast, symphonies and concerti for lunch, violin
sonatas for tea, MTV for dinner and cantatas for supper.
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3.2.2000 © Chia Han-Leon
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