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Bach
composed and performed the four cantatas featured on this disc,
along with five others, between December 31, 1724 and February 2,
1725. These dates fall at the midst of the chorale cantata cycle,
with its numerous holidays and Sundays, and Bach was at the peak
of his cantata composing skills at this time, turning out one gem
after another despite the heavy work load and the continual rush
to complete them.
Likewise,
these performances, played on modern instruments but with chamber-sized
forces and Baroque performance practices, consistently show Helmut
Rilling (right) at his best. Tempos are fleet but not without sensitivity
to text or music. For anyone even remotely interested in Bach's
music or wanting a different twist on holiday music, this disc is
definitely worth a listen.
The
only potential challenge is the sound, which, though generally good
in this series, can occasionally prove inconsistent. Though allowances
still have to be made for instrumental/vocal imbalances and sometimes-intrusive
harpsichord work, the recording glitches are fewer on this disc
than in Volume 38  and
the ear adjusts readily. For both the high level of Bach's inspiration
in this music and the equally high level of general performance,
this disc is highly recommended.
 BWV
122 Das neugeborne Kinderlein ("The newly born,
the tiny child") has an especially seraphic opening, with unison
strings introducing the choir and beautiful part writing for the
singers mirroring the words "The newly born, the tiny child,
/ The darling, little Jesus-child, / Doth once again the year renew
/ For this the chosen Christmas throng." This is indeed music
of renewal, and Rilling's chorus and orchestra give it a full measure
of freshness and warmth.
After
that opening, the sternness of the aria "O mortals, ye each
day transgressing / Ye ought the angels' gladness share" that
follows is quite a surprise. Bass Niklaus Tuller's voice is lighter
than his compatriots on the last few discs, but he is in firm command
of the music here and sings with a good deal of style. However,
even with a good recording balance, I honestly wish the instruments
were not given such prominence here, especially the harpsichord.
He fares somewhat better in his recitative "This is a day the
Lord himself hath made," and sings even more pleasantly.
With
soprano Helen Donath we have the opposite problem to Tuller's -
the harpsichord in her recitative is not as distracting, but there
is an edginess to her voice that makes listening a challenge. The
trio with choir that follows has a similar problem - the solo voices
are miked so closely that they do not blend, but grate instead.
Altogether, this is another performance that has wonderful contributions
from all concerned except for the recording engineers.
BWV
123 Liebster Immanuel, Herzog der Frommen ("Dearest
Emanuel, Lord of the faithful") opens with a bucolic scene
framed by the instruments, appropriate when you remember the story
of Christ being born in a stable and his being called the Lamb of
God. The choir here is imploring, their words a prayer of invitation:
"Thou Savior of my soul, come, come now soon!" Though
the tone is more urgent than in BWV 122, the music is no less compelling.
The
recitative that follows acts as a balm as alto Helen Watts sings
"Now heaven's sweet delight … / To joyfulness doth Jesus
pow'r transport," and this mood is heightened with Adalbert
Kraus's aria. Both these singers handle their parts well but are
overshadowed by bass Philippe Hunterlocher in his recitative and
aria, singing with strength, full tone and considerable sensitivity
to the text. Altogether, the vocal talent in this cantata is exceptional,
and although the instruments remain intrusive, there is none of
the harshness that plagued some of the singing in BWV 122.
BWV
124 Meinen Jesum lab ich nicht ("This my Jesus I'll
not leave") contains lyrics more florid in imagery than has
usually been the case in these cantatas, more in keeping with poetry
than for a devotional text. Normally such a transcript could prove
a challenge to set, especially on as a tight a timeline as Bach
had to write this piece. Nonetheless, he rises to the occasion,
highlighting the text effectively through both vocal and instrumental
means.
The
opening chorale, again a pastoral setting, takes on the added characteristics
of a processional. Bach's choral writing carries an excellent sense
of lightness and fluidity perfectly matched by Rilling's singers.
Bach focuses special attention on the line "bound / Limpet-like
to him forever" with a series of string trills that contrast
to the previously smoothly flowing accompaniment. Throughout this
movement, Bach underlines musically this idea of reconciliation
which Christ represents, allowing the oboe to come in before the
strings and play solo as though "separated" from the rest
of the procedings before being recaptured by the theme.
 Tenor
Aldo Baldin's voice is not as pleasant as Kraus's, but he handles
the music expertly and brings considerable bounce and conviction
to his aria "And when the cruel stroke of death." Bach
wrote a great deal of musical imagery into this number - the "galloping"
figures in the strings symbolizing the horseman of Death riding
out to strike his intended, and a considerable number of tritone
intervals, the "diabolus" in music, in the bass. It surely
frightened listeners in Bach's day, and it is still extremely potent.
Bass
Wolfgang Schöne sings as solidly as ever in his recitative,
as does Helen Watts in her duet "Withdraw thyself quickly,
my heart, from the world" with Arlene Augér. Augér's
voice, beautiful but light as it is, is not picked up as well by
the engineers and sometimes becomes overwhelmed by Watts and the
instrumentalists. When her voice does come through, however, Augér
blends well with Watts and her bell-like timbre adds considerably
to this number.
BWV
125 Mit Fried und Freud ich fahr dahin ("In peace
and joy do I depart") begins with probably the most beautiful
and moving chorale on this disc. Again pastoral, but calm and melancholy,
it depicts old Simeon, who, having seen the Christ child, can now
leave this world in peace. The instrumental work, with the flute
leading the oboe and strings, is considerable. It is among the most
complex and delicate concertante work Bach has supplied so far and
sets the scene perfectly.
The flute and oboe, this time playing in duet, also take a large
role in setting the scene for the alto's aria that follows. Marga
Hoeffgen's diction is muddy, however, and her voice too rich and
plumy for comfort. Schone, who has been consistently excellent through
this series, fares considerably better, with he and tenor Kurt Equiluz
adding a delicious sense of wonder and joy as they sing "A
great mysterious light hath filled / The orb of all the earth now.
/ There echoes strongly on and on / A word of promise most desired:
/ In faith shall all be blessed."
JONATHAN
YUNGKANS felt pretty blessed himself after hearing this disc.
815:
2.11.2000 ©Jonathan Yungkans
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