Bach Cantatas, BWV 35/169/170
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Finlandia
Magazine Review Date: 4/1999
Media Format: CD or Download
Media Runtime: 71
Mastering:
DDD
Catalogue Number: 3984-25325-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Cantata No. 35, 'Geist und Seele wird verwirret' |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Juha Kangas, Conductor Monica Groop, Mezzo soprano Ostrobothnian Chamber Orchestra |
| Cantata No. 169, 'Gott soll allein mein Herze habe |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Juha Kangas, Conductor Monica Groop, Mezzo soprano Ostrobothnian Chamber Orchestra |
| Cantata No. 170, 'Vergnügte Ruh', beliebte Seele |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Juha Kangas, Conductor Monica Groop, Mezzo soprano Ostrobothnian Chamber Orchestra |
Author: Jonathan Freeman-Attwood
Of Bach’s four solo alto cantatas, Monica Groop foregoes only the early Widerstehe doch der Sunde (No. 54), a work which alongside the ubiquitous Vergnugte Ruh’ (included on all the leading currently available recitals) captures most expressively the restful and contemplative nature of the alto register in Bach’s, and a fine singer’s hands. Groop is an accomplished mezzo, technically resourceful and well projected, though for all her consistency of tone, the famous opening ‘slumber aria’ of No. 170 is decidedly short on warmth of sentiment and rhetorical engagement. That said, it is preferable to the indulgent broodings of Nathalie Stutzmann who, despite a supremely well-controlled instrument, rarely penetrates Bach’s emotional climate or attempts to harness herself to the beautifully poised Hanover Band. Groop benefits from an equally sympathetic accompaniment by the modern-instrument Ostrobothnian Chamber Orchestra from Finland, its director, Juha Kangas, seeming less torn than Roy Goodman between appropriate stylistic decorum and the individual vocal agenda. All three works here are served by a sensitive choice of tempos, and an agreeably alert orchestra, the brilliant solo organ sinfonias of both No. 169 and No. 35 as testament, though in the former Hakan Wikman is overwhelmed by the supercharged articulation of the strings. I was introduced to the latter work by the Finnish contralto, Birgit Finnila who, with organist Marie-Claire Alain (Erato – nla), appeared to encircle each strain with a peerlessly loving embrace, not least the stunning aria, ‘Stirb in mir’. Groop’s account of this piece is as assured, if less richly coloured.
In summary, despite the impressive vocal pedigree in No. 35 in particular, these performances rarely display the light and shade, and distinctive musical personality of two pre-eminent countertenors in their respective times, Alfred Deller and Andreas Scholl. Not wishing to sound chauvinistic – and actually I am in the minority in thinking that Scholl’s recent recital is just a shade disappointing – these are the market leaders. Certainly, the Deller from 1954 is worth its weight in gold. '
In summary, despite the impressive vocal pedigree in No. 35 in particular, these performances rarely display the light and shade, and distinctive musical personality of two pre-eminent countertenors in their respective times, Alfred Deller and Andreas Scholl. Not wishing to sound chauvinistic – and actually I am in the minority in thinking that Scholl’s recent recital is just a shade disappointing – these are the market leaders. Certainly, the Deller from 1954 is worth its weight in gold. '
Bach Cantatas, BWV 35/169/170
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