Alain Organ Works, Volume 2
View record and artist detailsRecord and Artist Details
Label: Gallo
Magazine Review Date: 7/1998
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: CD851
Author: Nicholas Anderson
Bach Collegium Japan’s hitherto excellent series of Bach’s sacred cantatas continues with performances of Ich hatte viel Bekummernis, and Der Himmel lacht! die Erde jubilieret. Both are Weimar compositions, dating from c1713 and 1715, respectively, and both were later sung at Leipzig. Where No. 21 is concerned, the performance history is complex since Bach, who clearly and understandably set great store by this extended and profoundly expressive piece, made no fewer than four versions of it. Following what was probably its second Weimar performance, in 1714, Bach produced a new version which he used as a test-piece in Hamburg’s Jacobikirche, when applying for an organist’s post there in 1720. It is this version, for soprano and bass soloists only, in which the parts are transposed from C minor to D minor that forms the basis of the present recording.
The differences between the various versions of No. 21 are considerable, affecting both the solo vocal ranges and, to a lesser extent, instrumentation. Like Ton Koopman, in his recent recording of the piece, Masaaki Suzuki offers listeners an opportunity, by way of an appendix, of hearing Bach’s alternative thoughts on certain sections of the cantata. But Suzuki, in this respect, at least, is more thoroughgoing than Koopman since he not only provides three variant movements as opposed to Koopman’s single one, but also promises us the Leipzig version, much the most satisfying of them, later on in the series.
As before, I find myself much taken with these meticulously prepared and affectingly declaimed performances. Listen, for instance, to the beautifully articulated and delicately placed bassoon quavers in the poignant opening Sinfonia of No. 21. This is most sensitively done and an auspicious beginning to the work. String playing is not always quite as clean as it has been in earlier issues but the instrumental expertise is, nevertheless, impressive. The solo line-up is strong, with Monika Frimmer sustaining several demanding soprano arias with eloquence and tonal warmth. Her “Letzte Stunde, brich herein” (No. 31) is lyrically sung, if a shade on the brisk side – I prefer Koopman’s tempo here – but in the virtuoso “Erfreue dich, Seele” (No. 21) she cannot conceal moments of unease. Gerd Turk and Peter Kooy are secure and expressive and, by and large, I like the singing of the 18-voice choir of women’s and mens’ voices, though tenors sound strained in the first chorus of No. 21.
As matters stand at present, this would be my preferred choice of an early version of No. 21. It has greater textural clarity than Koopman’s recording and Frimmer, notwithstanding minor reservations, sounds more comfortable than Barbara Schlick in the other. Where the Leipzig version of Ich hatte viel Bekummernis is concerned, Philippe Herreweghe’s recording is perhaps the most satisfying, though if theatrical gestures and a large choir are to your taste then Karl Richter’s intense view of this wonderful piece (part of a six-CD set) may unleash any latent feeling for drama.'
The differences between the various versions of No. 21 are considerable, affecting both the solo vocal ranges and, to a lesser extent, instrumentation. Like Ton Koopman, in his recent recording of the piece, Masaaki Suzuki offers listeners an opportunity, by way of an appendix, of hearing Bach’s alternative thoughts on certain sections of the cantata. But Suzuki, in this respect, at least, is more thoroughgoing than Koopman since he not only provides three variant movements as opposed to Koopman’s single one, but also promises us the Leipzig version, much the most satisfying of them, later on in the series.
As before, I find myself much taken with these meticulously prepared and affectingly declaimed performances. Listen, for instance, to the beautifully articulated and delicately placed bassoon quavers in the poignant opening Sinfonia of No. 21. This is most sensitively done and an auspicious beginning to the work. String playing is not always quite as clean as it has been in earlier issues but the instrumental expertise is, nevertheless, impressive. The solo line-up is strong, with Monika Frimmer sustaining several demanding soprano arias with eloquence and tonal warmth. Her “Letzte Stunde, brich herein” (No. 31) is lyrically sung, if a shade on the brisk side – I prefer Koopman’s tempo here – but in the virtuoso “Erfreue dich, Seele” (No. 21) she cannot conceal moments of unease. Gerd Turk and Peter Kooy are secure and expressive and, by and large, I like the singing of the 18-voice choir of women’s and mens’ voices, though tenors sound strained in the first chorus of No. 21.
As matters stand at present, this would be my preferred choice of an early version of No. 21. It has greater textural clarity than Koopman’s recording and Frimmer, notwithstanding minor reservations, sounds more comfortable than Barbara Schlick in the other. Where the Leipzig version of Ich hatte viel Bekummernis is concerned, Philippe Herreweghe’s recording is perhaps the most satisfying, though if theatrical gestures and a large choir are to your taste then Karl Richter’s intense view of this wonderful piece (part of a six-CD set) may unleash any latent feeling for drama.'
Alain Organ Works, Volume 2
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