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The
opening track - the gigantic chorus of Cantata BWV 205, Zerreißet,
zersprenget, zertrümmert die Gruf - is staggering. Its propulsive
momentum blows Koopman's version away.
The beauty of the OAE's tone is also equiped with the fury of Jacob's
Akademie für Alte Musik (but the latter has the most unappealing
tone). In other words, Leonhardt's group has the best of both worlds!
Listen to the heady turbulence and cannon-shots from the trumpets,
the blustering blare of horns, the tornadoes driven up by the strings
- in the midst of all these, even the woodwind rush above the orchestra
clearly and excitedly. The choir positively sings for their life!
Philips' recording - often very inconsistent - captures every performer
to perfection. You can feel Gustav Leonhardt's conducting - listen
to the dynamic shifts, or the drops of volume with the sudden feeling
of anticipation. Throughout, not a single ounce of energy lost or
wasted. If you thought Bach was capable of wondrous music of whirlwind
energy - well, here it is!
The
soloists all prove themselves fine performers, starting with the
bass David Thomas as Aeolus. In a voice full of arrogance he portrays
the God of the Winds with stately drama. He laughs heartily in "Wie
will ich lustig lachen", practically salivates at the approach
of the goddesses Pomona and Pallas, irritated at being asked to
yield to a "woman's whim" and seems truly awed by the name of August.
In the orchestral aria "Zurücke, zurücke", Koopman has the
wilder and more exciting version, but the Philips account shares
Erato's wider body of sound.
What
a delight it is to hear René Jacobs singing the role he will conduct
later (on Harmonia Mundi - click here for
review). Indeed, as a countertenor he is also one of Andreas
Scholl's teachers - a student who eventually surpassed him. Jacobs
voice is brighter, of the eerier "Oberon"
variety. Scholl's is darker and much more beautiful to my ears.
Jacobs is himself a fine and secure countertenor soloist, and compliments
the soprano colourfully.
In
the soprano role of Pallas, Goddess of Flowers, van der Sluis for
Leonhardt has the most attractive and youthful voice of the three
versions. Kammerloher on Harmonia Mundi is heavier and operatic,
while Grimm on the Erato is relatively dull.
Tenor
Christoph Prégardien gets to play games with all three conductors.
In his Zephyr aria, it's just a little nervous and hasty with Jacobs
(3'47"), quite lilting and impassioned with Leonhardt (4'03") and
langourous - plus a little dramatic - with Koopman (4'52"). Think
I'll go with Leonhardt for this one.
The disc continues with another festive Cantata BWV 214 Tönet,
Ihr Pauken! Erschallet, Trompeten!, later used in the first
of the cantatas forming the Christmas Oratorio. The cantata
was written in honour of the birthday of the Queen of Poland Maria
Josepha.
The
massive opening choral movement nearly stops the choir from breathing
for eight minutes. Also available on Volume
4 of Koopman's cantata cycle, Leonhardt (left) provides another
full-blooded account here. However, Koopman's reading, though it
is more relaxed, comes across as more musical and may I add, "queenly".
The Amsterdam choir is tonally superior to the OAE choir, but both
conductors are served by expert orchestras. Anyway, I think some
readers may still prefer the more forceful Leonhardt account.
One
of the most gorgeous gems in the Philips disc is on track 18: van
der Sluis' very appealing account of the aria "Blast die wohlgegriffnen
Flöten". As the words suggest, "Blow the well played flutes", her
girlishly pretty voice is accompanied to aural delight by the OAE
flutists and cello (pizzicato) continuo. Koopman takes the aria
quicker, and his soprano Els Bongers sings in a more commanding
tone. It isn't as attractive, though it does fit the libretto better
("Ring out with your clash of weapons!" goes one line).
Jacobs
takes the alto role for Leonhardt, while von Magnus serves Koopman.
Both have their merits, though von Magnus is sometimes wobbly. Thomas
(and Mertens for Koopman) gives a noble account of "Kron und Preis"
("Crown and Prize") accompanied by a great trumpeteer. (I beg your
pardon - it is likely to be the same trumpeteer - Stephen Keavy.
Period instrument players are famous for simultaneously playing
for half a dozen period orchestras at any time.)
The
OAE employs the traditional continuo, and so sadly lacks the added
colour of the lute available in the other two versions. Not a big
matter though. A set of good notes is provided in this Philips production
(one of an irregular series featuring these musicians). This CD
makes a good companion to the performances by Jacobs and Koopman.
If you don't intend to invest in the multi-CD sets, try this one
for a one-disc appetizer!
CHIA
HAN-LEON
takes immense pride in having once peeled an orange, by hand, in
one single 4-foot-long strip.
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13.10.1998 © Chia Han-Leon
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