Composer: Johann Sebastian Bach
Works: Cantata BWV 8: Liebster Gott, wann werd ich sterben; Cantata BWV 78: Jesu, der du meine Seele; Cantata BWV 91, Gelobet seist du, Jesu Christ; Cantata BWV 99, Was Gott tut, das ist wohlgetan; Cantata BWV 107, Was willst du dich betrüben; Cantata BWV 111, Was mein Gott will, das g’scheh allzeit; Cantata BWV 114, Ach, lieben Christen, seid getrost; Cantata BWV 116, Du Friedefürst, Herr Jesus Christ; Cantata BWV 121, Christum wir sollen loben schon; Cantata BWV 124, Meniem Jesum lass ich nicht; Cantata BWV 135, Ach Herr, mich armen Sünder
Performers: Lisa Larsson, Sibylla Rubens (sopranos); Annette Markert (contralto); Christoph Prégardien (tenor); Klaus Mertens (bass); Amsterdam Baroque Orchestra and Choir
Recording: March 2000, Waalse Kerk, Amsterdam
Label: ERATO 8573 85842-2 [3CDs: 65.51, 62.12, 73.10]
The cantatas of Johann Sebastian Bach represent an unparalleled fusion of theological depth and musical innovation, each work a testament to the composer’s profound understanding of sacred text and musical form. Volume 12 of Ton Koopman’s ongoing survey of Bach’s complete cantatas distills this essence through a selection of eleven compositions from the Leipzig period (1724-1725), where Bach not only engaged with but also transcended the constraints of chorale-based structures. This era is marked by a heightened integration of text and music, resulting in cantatas that resonate with both emotional and intellectual vigor.
Koopman’s interpretation is marked by a careful calibration of tempo and dynamics, allowing the music to breathe while preserving momentum. The opening chorus of Cantata BWV 99, “Was Gott tut, das ist wohlgetan,” serves as a prime illustration of this balance. Here, Koopman’s deft handling of the lively rhythms showcases the intricate interplay between strings, woodwinds, and voices, with each line emerging clearly yet cohesively. The clarity of the orchestration is particularly commendable, ensuring that the listener can appreciate Bach’s contrapuntal mastery without becoming overwhelmed by texture.
The choice of soloists contributes significantly to the overall effect of the performances. Christoph Prégardien’s tenor voice stands out, displaying a lyrical quality that enhances the emotional weight of Cantata BWV 107, “Was willst du dich betrüben.” While his interpretation may lack some of the dramatic intensity found in Philippe Herreweghe’s rendition, Prégardien captures the essence of Bach’s poignant lyricism with a nuanced approach. Klaus Mertens’ bass is rich and resonant, particularly effective in Cantatas BWV 8 and BWV 78, where he articulates the gravitas of the texts with commendable authority. However, the soprano contributions of Larsson and Rubens, while technically proficient, occasionally lack the expressive depth that one might expect in such emotionally charged settings.
The engineering of this recording deserves special mention. The acoustic of the Waalse Kerk is beautifully captured, creating an intimate yet expansive soundscape that complements the ensemble’s performance. The natural reverberation enhances the choral and instrumental textures, allowing for a rich tapestry of sound that is both clear and resonant. The accompanying booklet is thorough, providing insightful commentary and full texts with translations, thereby enriching the listening experience.
While Koopman’s interpretations may not always delve into the extremes of emotional expression that other conductors, such as Helmuth Rilling, might advocate, there is a consistent integrity to his artistic choices. The performances possess a level of musicality and clarity that invites repeated listening, revealing new layers of complexity with each encounter. The ability to present Bach’s music with such thoughtful restraint and precision positions this set as a valuable addition to any collection.
Engaging with this volume is akin to embarking on a journey through Bach’s profound spiritual landscape, where each cantata stands as a unique reflection on faith, existence, and the human condition. The artistry of Koopman and his ensemble ultimately invites us to appreciate these works anew, suggesting that even within the familiar, there exists an ever-deepening well of discovery.
