The four secular cantatas contained in this release reflect something of Bach’s diverse responsibilities as Leipzig’s Director Musices. Schwingt freudig euch empor (No. 36c), the earliest of five different versions, was performed in 1725 as a birthday tribute to a university academic whose identity has not been confirmed. The remaining three are dramma per musicae, of which the earliest is Vereinigte Zweitracht der wechselnden Saiten (No. 207); Bach produced this in celebration of the election of Dr Gottlieb Kortte to a university chair. That was in 1726. Three years later came an altogether more dramatically entertaining piece, Der Streit zwischen Phoebus und Pan (No. 201), probably sung at one of the Collegium Musicum student concerts of which Bach was for many years director. The latest of the works in this clutch is Schleicht, spielende Wellen (No. 206) which Bach wrote in 1734, but which had to wait another two years for its first performance. The occasion, this time, was the birthday in 1736 of Elector Friedrich Augustus the Second, when Bach once again called upon the services of his Collegium Musicum.
With Reinhard Goebel’s thrillingly dramatic performance of Es erhub sich ein Streit, by Bach’s forebear, Johann Christoph Bach, ringing in my ears (Archiv, 2/87 – nla), I approached his foray into the cantatas of JSB with eager anticipation. For the most part I have not been disappointed though I must declare, straightaway, that I find many of his tempos too fast. The aria allotted to the River Vistula in No. 206 is a robust A major polonaise, yet Goebel’s tempo, certainly invigorating, hardly allows for Bach’s wonderful rhythmic swagger to establish itself. Likewise, the opening chorus of No. 207, an arresting D major parody of the third movement of Brandenburg Concerto No. 1, is precipitously fast, preventing the voices of Ex Tempore from projecting the music as effectively as they might otherwise have done. I was startled, too, by the breathtaking tempo which Goebel sets for the lyrical 12/8 soprano aria in No. 36c; but such are the virtuosity of the obbligato viola d’amore playing and the elegance of the lightly articulated cello continuo that I am, to some extent at least, won over. A single remaining Goebelism struck me as something of a curiosity, and it is that he concludes a great many of the arias and choruses with a marked ritenuto. Since the gesture is so deliberate and clearly intended to be remarked upon, I can only assume that he has some particular point to bring across, but I am not at all sure what it is.
Having now dealt with quirks, curiosities and surprises – Goebel’s capacity to astonish is as great as any – I can confirm that most of this music-making is of a high order, stimulating, provocative, often satisfying and never, never dull. Goebel begins No. 207 with a brilliantly scored “Marche” which, though included in Bach’s score, nevertheless does not form an integral part of the cantata. In all likelihood it accompanied a procession into the hall or something of the kind, but it is much too good a piece to omit, and Goebel delivers the most weighty and ceremonial performance of it imaginable. This is a most propitious beginning to the proceedings.
The soloists are all accomplished singers yet they do not afford equal pleasure. Dorothea Roschmann provides the most satisfying performances. Her “Auch mit gedampften” (No. 36c) is delightful if, as I say, strikingly brisk. Axel Kohler is better known for his roles in Handel opera. He is a fine technician but I found his voice a little hard and penetrating in the present context. The remaining soloists are good without being in any way outstanding. That quality is reserved for the instrumentalists who, throughout this exacting repertoire, hardly put a finger wrong. By way of a bonne bouche Goebel offers a mischievous Quodlibet (BWV524), one of Bach’s very earliest known compositions dating from his time at Arnstadt (1703-07). This is great fun, doubtless full of double entendre and very entertainingly sung by four of Goebel’s soloists. A stimulating and lively release from an accomplished group of musicians. Well worth investigating.NA