Johann Sebastian BACH (1685-1750) Weihnachts-Oratorium Christmas Oratorio, BWV248 Dorothea Röschmann soprano Andreas Scholl alto Werner Güra tenor Klaus Häger bass

RIAS-Kammerchor
Akademie für Alte Musik Berlin (Berlin Academy of Ancient Music)
directed by René Jacobs
performing on period instruments

Includes full libretto in German, English and French.
This review is kindly sponsored by HMV Singapore. Reissued Sep 1999 (original cover below).

HARMONIA MUNDI Bach Edition HMX 2901630.31
2 discs [2h 32:23] mid-price

by Ng Yeuk Fan

Bach was most industrious in the church. He wrote hundreds and hundreds of cantatas. Half of these are feared lost! (Only as a matter of speaking; 40% is closer to the actual figure). Of the remaining two hundred or so, none have received as much attention as say his keyboard works or his concertos. Despite this, revivals are slowly gaining ground and more performances of his church works are taking place nowadays. This is not to mention the various efforts to document his entire surviving cantatas on record. In one breath, I can think of the Koopman Edition (still in progress; volumes 4, 5, 6 and 7 are reviewed here), Leonhardt Edition (completed) and the Rilling Edition (in progress of being reissued). So, why am I going on and on about cantatas when I really should be talking about the Christmas Oratorio? Let me explain.

The cantata originated in Italy, its style having developed from the early opera and the oratorio. It was later adopted in 17th century Germany and was co-opted into the more elaborate church services of the Protestant Church, where it became a vehicle of telling biblical stories to worshippers. This dramatic vein was eventually modified and a free-er structure, based on newly written libretti rather than quotations from the old testament - to the point that it was basically a coherent set of interplaying arias, choruses and recitatives based on a sacred subject matter.

The oratorio on the other hand was much closer to the opera - being with a distinct story/narrative - than the cantata, the latter which is usually a sacred setting with voice parts taking characters. (The most important difference between the oratorio and the opera is that the former is unstaged). Bach composed three important oratorios - the Christmas, Ascension and Easter Oratorios. (The Passions - St. Matthew’s, St. John’s, St. Mark and St. Luke are technically also oratorios going by a mischievious name) Here - another foul is played on music historians - and which brings me to my point - the Christmas "Oratorio", is really a collection of six cantatas!

The truth is that it is coherently based on the Christmas story and was designed for performance on the first three days of Christmas, New Year’s Day, the following Sunday and Epiphany. So, it was never meant to be performed in one sitting - as it is often performed today. When one looks at the division into Part 1 and Part 2 etc., the design of the individual climaxes for New Year and Christmas - one realises the immaculate conception of the structure of these coherent set of cantatas/oratorio - whatever. Bach frequently pushed the limits of whatever genre he worked in and this is due to his greatness working within his fervent faith in tradition. Together with the Passions and the B minor Mass, the Christmas Oratorio makes up the most important (and to me also most the fascinating) of Bach’s sacred output.

The spate of remarkably finely reproduced Bach on authentic instruments is on the rise. Nowadays one is spoilt for choice in record stores - Herreweghe, Christie, Jacobs, Suzuki...just to mention a few of the hottest names, is the norm gracing academically accurately productions of Bach's music. Though this might be due to the imminent arrival of the great Bach's 250th anniversary in the year 2000; the fact that they all record for smaller independent companies suggests that they are in fact labours of love rather than purely commercial productions. In truth, the giants have not been able to hold a candle to the collective efforts of these recording academics in researching and producing fine Bach - I take my hat off to you people. (writer takes a bow ... to show deep reverential respect...[Editor follows suit])

Equally significant is the number of very superb Bach soloists that, despite their obvious skill and unsurpassed technique, remain relatively unknown. The smaller budgets and modest means of independents render them unable to make super stars (think Alagna and Gheorghiu to imagine indecent publicity budgets $$$ !!!) out of vocal artists such as Andreas Scholl and the very excellent Werner Güra. The recent loss of Andreas Scholl to Decca is such an example. Now Scholl must be feeling like a star - I don't feel the same way about his two latest releases with Decca. Harmonia Mundi has been consistent in producing recordings of exceptional standards and this recording is another reflection of their high artistic aims and astute attention to detail. Certainly a production of rare distinction!

René Jacobs can be a tad conservative, taking tempos a little on the slow side in some of the choral segments - such as CD1 Track 5 "Wie soll ich empfagen", this loses the sweeping, overwhelming and deeply inspiring character which drives much of Gardiner's reading of Bach chorales - but for most of the time, Jacobs is remarkably discerning, directing with clear direction which translates into a deeply transparent playing by the Akademie für Alte Musik Berlin (Berlin Academy of Ancient Music), filled with wondrous insight that can tempt even the most familiar experts into acquiring yet another set of these cantatas. Hear the amazing arpeggio support from the Akademie in CD1 Track 18 in the bass recitative - I didn't even know they were there before! The Akademie clearly has got some of the best authentic music experts around, and without a doubt, some of the very best string players around - such wonderfully beautiful legato lines from the strings throughout.

The RIAS-Kammerchor is generally good. Sometimes uneven but never messy or jarring, they are a good match to the superb lineup of soloists. They produce many remarkable gems under the direction of René Jacobs in this recording - hear samples CD1 Track 21 "Ehre sei Gott" and the choral CD1 Track 28 "Dies hat er alles uns getan" . I haven't heard a better CD2 Track 11 "Ehre sei dir, Gott, gesungen". Such virtuosity!

Andreas Scholl, the most famous in the cast, is characteristically superb. I have not heard a countertenor with a more evenly rich voice. This alone is no mean achievement and explains his current fame. Yet there is some hint of expressive numbness in this production recorded in 1997 and I am reminded in preference of the technically less secure, self-taught Alfred Deller but whose inimitable interpretive spirit could lend weight to any role he chose to play. Nevertheless, having heard Scholl in his recent release of Orfeo and Eurydice, I am convinced that this bluntness is but a phase. Yes, the already good has just gotten better!

Both Dorothea Röschmann and Klaus Häger are on the dramatic side and would be most impressive on an operatic stage. They are both really excellent singers with beautiful voices. Hear them in the duet CD1 Track29 "Herr, dein Mitleid, dein Erbarmen". Here they become disturbing as both can become too formidable for Bach. Here, Häger's large voice coupled with its inevitable harshness is on the jarring side and therefore not ideal. Otherwise, and leaving out the famous aria "Großer Herr und starker König" where he is also too harsh, he is really quite excellent. Sample his best in his many recitatives, especially CD2 Track 6 "Immanuel, O süßer" and his aria "Erleucht auch meine finstre Sinnen", CD2 Track 15.

Ms Röschmann has a beautiful soprano voice - clearly Baroque but yet coming across with a certain darkness. This alone is quite unique and individual listeners will have to decide if they like this voice for themselves. Listening to her Aria "Flößt, mein Heiland" CD2 Track7, I am entirely convinced that I like this voice when not rendered disproportionately dramatic. In addition, she applies a very interesting interpretative insight to Bach and makes me examine her role again. This will clearly be her strongest claim to success - her intelligent reading of roles. Hear her dramaticity in the recitative "Du Falscher" and the accompanying aria "Nur ein Wink von seinen Händen" CD2 Track 24 & 25 to understand what I mean.

Werner Güra (left) - if nothing else - must surely be a good enough reason to buy this recording. Before this, I didn't think it was possible to better Anthony Rolfe Johnson in this role. Güra's technique is beyond doubt. His role as the Evangelist is played with insight, words are inflected with great care and wisdom - his recitatives are full of such examples - try CD1 track 2; coupled with his warm and reassuring tone - I am tempted to brand him as flawless! Hear samples of his sheer virtuosity in "Froh Hirten, eilt, ach eilet", where his endless lung power is matched by the Akademie's flute soloist; and his aria "Ich will nur dir zu Ehren leben" CD2 Track 9. Such a wonderful voice to listen to. I have quite simply fallen in love with it. More! More of Mr Güra , I say!

It is no wonder then that this production has already won several awards for remarkable achievement - it has my total, unreserved recommendation!

250 Years of J.S.Bach 1750 ~ 2000 There Is No Turning Bach™.

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It took Ng Yeuk Fan wishes that his wishes for last Christmas would come true….

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