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This
is a very lively performance of Cantata BWV62 Nun komm, der
Heiden Heiland ("Now come the gentiles' Saviour"), beginning
with a confident reading of the opening chorus, with the Gächinger
Kantorei choir in detailed sound, words audible, with fine orchestral
colour and weight, and solemnity in the final chorale. There is
a lovely and sunny rendition of the tenor aria by Aldo Baldin, in
comfortable pace and princely voice. The rich orchestra and harpsichord
continuo add tremendously, while the acoustics of the venue provides
a beautiful reverb.
Bass
Philippe Huttenlocher contributes heroically, "laughing" his running
notes urging the hero to victorious battle. Even the brief soprano-alto
recitative is lovely. Rilling's vision of the work is wholly unified
and springing with disciplined energy. In contrast, my other version
of this cantata - with Herreweghe conducting the Collegium Vocale
- is articulate and reverent, but sounds much less involved.
For
Cantatas 63 and 64, I turn to Koopmans' Erato cycle for comparison.
In the popular Cantata 63 Christen, ätzet diesen Tag
("Christians, etch ye now this day"), the two outer choruses are
of key interest. With a combined timing of about 12-13 minutes,
they command nearly half the duration of the work. Rilling's group
takes the first chorus at a straight and blocky pace, which simply
does not compare to Koopman's vibrant reading with his punchy trumpet
and propellant timpani. By injecting a little of bounce and dance,
the latter immediately brings the music to life (Erato 0630-14336-2,
Vol.3).
Nevertheless, I quite admire the stately account of the final chorus
for Rilling. In general though, Rilling's choir is no match for
the beautiful sound of the Amsterdam choir (but perhaps it is just
Hänssler's 1971 recording). The main gem of Rilling's reading is
the enjoyable reading of the alto-tenor duet.
I
am definitely not particularly enamoured of the performances of
the sop-bass duet on Hänssler, as all three soloists (the third
being the solo oboe) sound completely detached from each other,
as if minding their own businesses. They sound truly like three
soloists, rather than a trio.
It
is interesting also to bring up the matter of pitch. Rilling's musicians
are at modern pitch, whereas Koopman is doing (I assume about) A=415,
as is normal for the HIP school. It is fairly obvious to this reviwer's
ears that some of the high notes in Rilling's soloists sound very
strained. I refer again to the aforementioned duet, where even the
great Arleen Augér can be heard ringing some uncomfortably high
notes. On Koopman's set, the lower pitch makes everything much more
melifluous and pleasing, above all graceful.
In
BWV64 Sehet, welch eine Liebe hat uns der Vater erzeiget
("Mark ye how great a Love that the Father hath shown us"), Koopman's
opening chorus is springy and infectious, the runs like a spiralling
wheel full of energy. In contrast, Rilling's reading is about drama
- it is more drawn out, legato and impassioned. Here straightaway
you can see how two different - but both valid - ways of interpreting
Bach can live together. Cantata 64 is unusual in having four movements
for choir, including three chorales. The readings of the Gächinger
Kantorei choir are straightforward, church-like affairs.
The bulk of the cantata goes to the solo soprano and alto, each
with one big aria. Madame Augér sings with great purity and beauty
in her number, accompanied faithfully by the tightly formationed
string orchestra. Her partner in the alto aria is another famous
singer of the time, Ann Murray. Here she too easily displays why,
with her strength-filled, well-sculpted vocals, which is matched
admirably by the smooth, creamy oboe solo.
All
in all then, a mixed bag.
CHIA
HAN-LEON
is not rich, he just opens the cans one by one. The rest wait in
the upper cabinet.
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7.2.2000 © Chia Han-Leon
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