Bach Cantatas, Vol 23

More uneven than some past volumes but two especially fine performances

Record and Artist Details

Composer or Director: Johann Sebastian Bach

Genre:

Vocal

Label: Soli Deo Gloria

Media Format: CD or Download

Media Runtime: 111

Mastering:

Stereo
DDD

Catalogue Number: SDG131

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
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.

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