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Volume
Five is the second and final instalment in Koopman’s survey of the
secular cantatas Bach composed in Leipzig. Volumes 6
to 20 will cover the surviving 180 sacred cantatas of the same period.
Apologies to the reader for another long review (but this is four
CDs). Because our, er, education systems are so lacking, collectors
(including myself) are unfamiliar with most of these 200+ marvellous
cantatas. So I think an introduction, based on my impressions and
biases of course, will be helpful. Otherwise it's like asking you
to buy a good house/car without looking at it first. Helps me appreciate
the music too.
On
performance: my biggest impression came from the Amsterdam Baroque
Chorus, whose contributions in this series remains one of its biggest
assets. As in other volumes, this choir sings with spirit and musicality.
They are matched beautifully by the superb orchestra (which I have
endlessly praised).
No
serious complaints regarding the soloists, vocal and instrumental.
The vocal presence of Larsson, Prégardien and Mertens is comforting
- and I was not disappointed. My only concern when I bought this
set was (again) for the alto Elisabeth von Magnus, but she's okay
if you get use to her slightly wobbly voice, which seems to be firming
up.
The
biggest drawback is that this is a 4-CD full-price set. Even though
the average timing for each CD works out to a good 60 minutes, it
still blows one heck of a Panama Canal through the pocket. But I
felt pleased supporting this magnificent project.
For
those of you who already know the music, you can skip the rest of
this review (though there are more performance comments below).
For the rest: smack your lips, rub your hands and on to the music!
AS
I have suggested of Volume 4, the
secular cantatas are among the most "fun" of all of Bach's large-scale
works, with colourful scoring, rich melodies and much festive splendour.
Volume 5 begins immediately in this vein, starting with the hugely
enjoyable Cantata BWV 207a, Auf, schmetternde Töne der muntern
Trompeten ("Come, blithesome trumpets' blare"), first performed
on 3 August 1735 for the nameday of the elector of Saxony and King
of Poland, August III.
After
the booming introduction of drums, the orchestra strides in with
a festive march, the Amsterdam Baroque Orchestra coloured with brilliant
trumpets, flutes, oboes, and harpsichord. Matching this is the jaw-dropping
and absolutely splendid "choralization" of the third movement Allegro
from Brandenburg Concerto No.1, with trumpets and timpani thrown
in for good measure. This chorus is pure fun! Just look at the libretto:
Come,
blithesome trumpets' blare,
You thundering drums, ring forth!
Enchanting strings, delight the ear,
Seek out the sweetest sound that flutes can make
And fill with lovely strains
Our sweet and verdant linden trees
And our happy choir of the Muses.
With words like this, how could any Baroque composer resist putting
in his best? The text is a mixture of shameless praise for "Augustus"
and pastoral imagery. Highlights include a delightful duet for bass
and soprano, "Mich kann die Süße Ruhe laben" ("Sweet rest can comfort
me") on disc 1: track 6, which is followed by the Trio II
from Brandenburg Concerto No.1, here effectively rescored for trumpets,
oboes, bassoon, strings and - listen for Koopman's (right) very
fun harpsichord! The cantata ends with another grand chorus, closing
with the festive march heard in the beginning.
BWV
206, Schleicht, spielende Wellen, und murmelt gelinde
("Glide, playful waves, and murmur softly") marked August III's
birthday in 1733. The text personifies the four principal rivers
of Saxony, Poland and the Habsburg empire: the Pleißee (soprano),
Danube (alto), Elbe (tenor), and the Bistula (bass). They, of course,
heap more honeyed praise for the King - how he listened to this
cantata and not cover his face in embarrassment I don't know. I
would have crept behind my chair and stayed there till the concert
ended.
Not
surprisingly, gallons of water imagery fill the cantata, the arias
nicely distributed among the rivers. The soprano aria is distinguished
by the cheerful airs of the baroque flutes. The opening and closing
choruses include that favourite sound of mine - baroque trumpets
and timpani - and are sumptiously grand. In a masterstroke, Bach
directs the solo soprano and alto to sing a duet in the centre of
the final chorus.
Coupled
with each of these nameday cantatas is a wedding cantata. The identities
of the couples for whom these were written are unknown. Both works
are scored for solo soprano accompanied by oboe and strings, with
a flute thrown in BWV 210. BWV 202, Weichet nur, betrübte Schatten
("Be gone, dull shadows"), begins in an apprehensive mood. The solo
soprano bids winter begone as she welcomes "Flora's joys" into the
world. Lisa Larsson is the solo voice throughout this 20-minute
work. Thankfully so - just listen to her girlish joy in the famous
aria "Sich üben im Lieben" ("To cultivate Love" 1:19), accompanied
by oboe, cello and harpsichord.
Larsson
bursts immediately into song in Cantata BWV 210, O holder
Tag, erwünschte Zeit. Almost 33-minutes in length, it is
in fact quite a moody work, with much music that sounds melancholic
and serious, if noble. There is a beautiful recitative which preceeds
the final aria. Here the solemn atmosphere lifts and the blessings
of the couple are sung. Beautiful flute-playing from the ABO.
THE
SECULAR CANTATAS include several named, dramatic works. One
such is BWV 213 Laßt uns sorgen, laßt uns wachen,
a.k.a. "Hercules At the Crossroads". This is a 46-minute
drama per musica which sits alone on disc 4. After a heavenly
opening chorus, the cantata depicts Kevin Sorbo - I mean Herc -
seeking the "right path in life". The allegorical figures of Pleasure
(soprano) and Virtue (tenor) make their individual cases before
him. No prizes for guessing who Herc chooses - Xena? Alexandra Tydings?
No, no, nothing so um... "uninteresting" as compared to Virtue.
Virtue is what he nobly chooses... Actually, Larsson makes a pretty
good case for Aphrodite with her lovely aria "Sleep, my beloved,
and take your rest" [4:3].
Once
Herc's moral calibre is settled, he is of course compared to Prince
Friedrich Christian, whose birthday this cantata celebrates. Catch
the "echo" aria - a Baroque speciality - "Faithful echo of these
regions" [4:5]. By the way, Herc's role is sung by alto Elisabeth
von Magnus. There is an alternative version with countertenor on
Philips (442 779-2), but that countertenor happens to be fairly
unpalatable. This Erato performance is far superior and much more
engaging. For a superb countertenor, look no further than Andreas
Scholl on the Jacobs/Harmonia Mundi
set.
The
rustic and mirthful "Peasant Cantata", BWV 212 Mer
hahn en neue Oberkeet, begins disc 3. The opening Sinfonia
includes dances "alla rustica", quickly setting the merry mood of
this "cantata burlesque". Indeed, merriment fills this cantata,
poking fun at "Mr. Tax Collector". It's all a bit of a joke, of
course, as the dedicatee of the work was a tax collector himself
before becoming director of the Königliche Kammermusik in Dresden.
The colourful scoring includes lute and horn, and Bach also quotes
snatches of popular songs of the day. The performers obviously enjoy
this work, in particular the bass Klaus Mertens, whose characterization
of the words and music must be singled out. Before the characters
retreat to the tavern, the soprano sings:
Let
everyone know
That the time has come
To drink our fill.
Let those who are thirsty, wave.
And if their right hand is too weak,
Then let them have recourse
To their left hand!
...
And this is just one of the many little things in this cantata which
makes me smile.
After
this little play, the Amsterdam Baroque launches into one of Bach’s
mightiest choruses, "Zerreißet, zersprenget, zertrümmert die
Gruft" ("Destroy, break asunder, shatter the tomb") from Cantata
BWV 205. This 40-minute outdoor cantata, called "Aoelus Pacified"
(or "satisfied"), is scored for a full complement of woodwind, brass,
strings and timpani, plus a continuo lute.
Compared
to René Jacobs’ "Aoelus Pacified" on Harmonia Mundi (HMC 901544/5),
Koopman's is more rounded and musically appealing. He allows you
to savour every musical phrase and dynamic whereas Jacobs tends
to rush at hectic "motor" tempi, which is quite furious and exciting,
or annoyingly rushed, depending on your tastes. But I do find my
feet tapping to both renditions. Opening chorus: Koopman 6'23",
Jacobs 5'33".
The story goes like this: Aeolus, Big Boss of the Winds, is gloating
at the violent power of his winds (hmm). Zephyrus (God of Breezes
- see left), Pomona (Goddess of Fruit) and Pallas (Goddess of Wisdom)
all try to pacify Mr. Hot Air. They fail until Pallas asks Aeolus
not to disrupt the ongoing festivites. The master of the winds asks
with contempt why he should yield, and she mentions the name of
Dr. August Friedrich Müller, PhD (Philosophy), of the University
of Leipzig - to which Aeolus finally agrees. Now we know who this
cantata was written for!
Left:
Detail of Zephyr from "The Birth of Venus" (c.1485), by Sandro
Botticelli
The
varied use of instrumental accompaniment is fascinating, and for
me the best moments include the huge choruses which frame the cantata.
Together, they constitute a quarter of the music, and are impressive
for their word painting: the buffeting winds of rushing woodwind
scales, the tearing trumpets, blustering horns and the thundering
boom of timpani; all which are converted to festive celebration
at the end. Unusually, Aeolus himself commands the entire orchestra,
brass and drums all, in a big aria where he - Mertens in stately
voice - directs the winds to draw back. Great stuff!
My
best compliment to these musicians is that I am envious of the fun
they are having.
CHIA
HAN-LEON
thinks Gabriel is much more interesting to watch than Xena. Wonder
how they keep all that make-up fresh?
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164:
17.5.1998 © Chia Han-Leon
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