Composer: Johann Sebastian Bach
Works: Christmas Oratorio, BWV 248
Performers: Arleen Auger (soprano), Julia Hamari (contralto), Peter Schreier (tenor), Wolfgang Schöne (bass), Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart/Helmuth Rilling
Recording: April/July 1984, Gedächtniskirche, Stuttgart
Label: Hänssler Classic
The Christmas Oratorio stands as a monumental testament to Johann Sebastian Bach’s genius, embodying a fusion of theological depth and musical transcendence. Composed for the liturgical celebrations of Christmas in 1734, this work, with its vibrant choruses, reflective arias, and intricate instrumental passages, provides listeners with an immersive experience of the Nativity narrative. Helmuth Rilling, a prominent figure in the interpretation of Bach’s choral works, brings his extensive experience to this recording, which was laid down in the mid-1980s, a period marked by a burgeoning interest in historically informed performances.
Rilling’s interpretation is characterized by a clean and transparent orchestral texture that allows the intricate counterpoint of Bach’s writing to shine through. The Gächinger Kantorei Stuttgart, under his direction, demonstrates a commendable clarity in ensemble singing. However, as the listener navigates through the vibrant choruses—such as the exuberant “Jauchzet, frohlocket”—one may discern a somewhat mechanistic approach to rhythmic articulation. While the individual notes are articulated with precision, the overall effect can sometimes lack the organic flow that one might expect from this festive music. The meticulously maintained forward motion often gives way to a literal, note-by-note execution that risks overshadowing Bach’s emotive intentions.
The soloists present a mixed bag of interpretations. Peter Schreier’s performance as the Evangelist showcases his remarkable ability to convey narrative urgency and expressive nuance. His voice rings with clarity and ease, particularly in the high tessitura of his recitatives, where he masterfully shapes each phrase with an engaging lyrical line. Julia Hamari’s contributions are marked by a generous tone, yet her interpretations occasionally succumb to a choppy phrasing, particularly in her second aria, “Schlafe, mein Liebster.” Rilling’s accompaniment here, while sensitive, sometimes feels too rigid, detracting from the potential warmth of the music.
Arleen Auger, despite her relatively limited role in this oratorio, makes a significant impact in her aria “Nur ein Wink von seinen Händen.” Her execution of the staccato passages is commendable, but the contrast between the intended tempo marking and the actual pacing in Rilling’s direction raises questions about interpretive fidelity. Wolfgang Schöne offers a solid performance, though his straightforward delivery in the recitative “Immanuel, o süsses Wort” tends to emphasize the mechanical over the lyrical, a choice that may resonate differently with various listeners.
Recording quality merits attention, as the sound engineering captures the clarity of the performance effectively. The acoustics of the Gedächtniskirche lend a warmth that complements the instrumentation, allowing the rich colors of the orchestra to emerge distinctly. However, despite the commendable clarity, one yearns for a greater sense of dynamism in the orchestral and choral interplay—a quality that is often a hallmark of more recent interpretations employing period instruments.
Comparatively, Rilling’s approach, while technically proficient, may not resonate as deeply as those of conductors who embrace a more fluid interpretation of Bach’s legato lines. While acknowledging the historical context of his recording—where modern instruments and techniques were still prevalent—it is important to consider how contemporary performances might achieve greater emotional resonance by embracing a more humanistic interpretation of Bach’s choral writing.
An assessment of this recording reveals a performance that is intellectually sound but emotionally restrained. Rilling’s vast experience in Bach interpretation brings forth a clean and vital execution, yet the overall impact can feel somewhat underwhelming in its ability to convey the oratorio’s spiritual and celebratory essence. While this recording remains a valuable document of Bach’s choral oeuvre, it invites listeners to explore further interpretations that might offer a more nuanced portrayal of this sublime music.