Bach Cantatas, Vol 23
More uneven than some past volumes but two especially fine performances
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Genre:
Vocal
Label: Soli Deo Gloria
Magazine Review Date: 8/2007
Media Format: CD or Download
Media Runtime: 111
Mastering:
Stereo
DDD
Catalogue Number: SDG131
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Tracks:
Composition | Artist Credit |
---|---|
Cantata No. 150, 'Nach dir, Herr, verlanget mich' |
Johann Sebastian Bach, Composer
Charles Daniels, Tenor Daniel Taylor, Alto English Baroque Orchestra Gillian Keith, Soprano Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Monteverdi Choir Stephen Varcoe, Bass |
Cantata No. 67, 'Halt im Gedächtnis Jesum Christ |
Johann Sebastian Bach, Composer
Charles Daniels, Tenor Daniel Taylor, Alto English Baroque Orchestra Gillian Keith, Soprano Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Monteverdi Choir Stephen Varcoe, Bass |
Cantata No. 42, 'Am Abend aber desselbigen Sabbats' |
Johann Sebastian Bach, Composer
Charles Daniels, Tenor Daniel Taylor, Alto English Baroque Orchestra Gillian Keith, Soprano Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Monteverdi Choir Stephen Varcoe, Bass |
Cantata No. 158, '(Der) Friede sei mit dir' |
Johann Sebastian Bach, Composer
Charles Daniels, Tenor Daniel Taylor, Alto English Baroque Orchestra Gillian Keith, Soprano Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Monteverdi Choir Stephen Varcoe, Bass |
Cantata No. 104, 'Du Hirte Israel, höre' |
Johann Sebastian Bach, Composer
English Baroque Orchestra Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Katharine Fuge, Soprano Monteverdi Choir Norbert Meyn, Tenor Stephen Varcoe, Bass William Towers, Alto |
Cantata No. 85, 'Ich bin ein guter Hirt' |
Johann Sebastian Bach, Composer
English Baroque Orchestra Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Katharine Fuge, Soprano Monteverdi Choir Norbert Meyn, Tenor Stephen Varcoe, Bass William Towers, Alto |
Cantata No. 112, '(Der) Herr ist mein getreuer Hir |
Johann Sebastian Bach, Composer
English Baroque Orchestra Johann Sebastian Bach, Composer John Eliot Gardiner, Conductor Katharine Fuge, Soprano Monteverdi Choir Norbert Meyn, Tenor Stephen Varcoe, Bass William Towers, Alto |
Author: Jonathan Freeman-Attwood
The seven cantatas here, nominally representing the works for the two Sundays after Easter, cover an unusual range from BWV150 (strongly argued to be Bach’s earliest cantata) to the dazzling maturity of three pastoral cantatas from three different cycles in Leipzig. As Gardiner reminds us in his entertaining diary, the Neue Kirche in Arnstadt is now named after its teenage protégé organist and it seems appropriate that the early cantata Nach dir, Herr, verlangen mich should appear at the very place in which it probably received its premiere. One observes the ostentation of youth where Bach rolls out his command of past and current musica lingua as an advertisement of his ability.
The performances from Arnstadt are generally fresh and satisfying, and in BWV150 there is a real sense of occasion. There are significant challenges in the burly orchestral concerto movement which opens Am Abend (BWV42) and its long meandering aria “Wo zwei und drei”, bravely negotiated by Daniel Taylor but which, for me, cries out for the embracing security of a fine mezzo or contralto. The bold Halt im Gedächtnis (BWV67) receives a committed reading but the extraordinarily dramatic scene with bass and chorus (where Christ brings peace and assurance to his ostracised disciples) fails to resonate with special moment.
The more durable performances come from Echternach in Luxembourg. Du Hirte Israel (BWV104) is a gloriously poised work, unassuming on the surface and yet requiring the judgement to “lift” each balletic movement without pushing the pace. Gardiner is only thwarted from hitting the spot by generally uneventful solo singing.
Ich bin ein guter Hirt (BWV85), on the other hand, conveys the delicate and subtle pastoral conceits of “Christ, the good shepherd” with endlessly alluring dialogues between on-form singers and instrumentalists, notably some disarmingly beautiful oboe playing, a performance of real distinction. The concise BWV112 (following Psalm 23 to the letter) glows with the same ardour. It is indeed the second disc which establishes the longer-term credentials in this richly endowed and unique series.
The performances from Arnstadt are generally fresh and satisfying, and in BWV150 there is a real sense of occasion. There are significant challenges in the burly orchestral concerto movement which opens Am Abend (BWV42) and its long meandering aria “Wo zwei und drei”, bravely negotiated by Daniel Taylor but which, for me, cries out for the embracing security of a fine mezzo or contralto. The bold Halt im Gedächtnis (BWV67) receives a committed reading but the extraordinarily dramatic scene with bass and chorus (where Christ brings peace and assurance to his ostracised disciples) fails to resonate with special moment.
The more durable performances come from Echternach in Luxembourg. Du Hirte Israel (BWV104) is a gloriously poised work, unassuming on the surface and yet requiring the judgement to “lift” each balletic movement without pushing the pace. Gardiner is only thwarted from hitting the spot by generally uneventful solo singing.
Ich bin ein guter Hirt (BWV85), on the other hand, conveys the delicate and subtle pastoral conceits of “Christ, the good shepherd” with endlessly alluring dialogues between on-form singers and instrumentalists, notably some disarmingly beautiful oboe playing, a performance of real distinction. The concise BWV112 (following Psalm 23 to the letter) glows with the same ardour. It is indeed the second disc which establishes the longer-term credentials in this richly endowed and unique series.
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