Composer: Johann Sebastian Bach
Works: Cantata No. 179, “Siehe zu, dass deine Gottesfurcht,” BWV 179; Cantata No. 199, “Mein Herze schwimmt im Blut,” BWV 199; Cantata No. 113, “Herr Jesu Christ, du höchstes Gut,” BWV 113
Performers: Magdalena Kozená (soprano), William Towers (alto), Mark Padmore (tenor), Stephan Loges (bass), Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner
Recording: Recorded in 2000 at St. David’s Cathedral, Dyfed, Wales
Label: BBC OPUS ARTE OA 0816D
Johann Sebastian Bach’s cantatas, composed primarily for Lutheran church services, occupy a central position in the canon of Western classical music. These works encapsulate the theological fervor, musical ingenuity, and profound emotional depth of the Baroque era. This particular DVD, featuring three cantatas performed under the direction of John Eliot Gardiner during his ambitious Bach Cantata Pilgrimage, provides a remarkable glimpse into the interpretative possibilities of Bach’s oeuvre. The performances recorded at St. David’s Cathedral not only highlight Gardiner’s commitment to historically informed performance but also explore the emotional landscape of Bach’s sacred music.
The high point of this recording is undoubtedly Cantata BWV 199, “Mein Herze schwimmt im Blut.” In this work, Magdalena Kozená’s portrayal of the soprano part is nothing short of transcendent. Her voice, characterized by both power and delicacy, captures the essence of despair and yearning embedded in the music. The aria “Stumme Seufzer, stille Klagen,” featuring an obbligato oboe played impeccably by Marcel Ponceele, stands out as a masterclass in emotional delivery. Kozená’s ability to infuse each note with palpable feeling, using dynamic shading and subtle phrasing, conveys the text’s desperate plea with heartbreaking clarity. This performance can be favorably compared to other notable interpretations, such as those by Anne Sofie von Otter, yet Kozená’s unique blend of intensity and lyricism presents a compelling case for her supremacy in this repertoire.
The interpretative decisions made by Gardiner and his forces reflect a deep understanding of the historical context of these works. Bach’s cantatas, often steeped in Lutheran theology, demand not only technical precision but also a profound connection to their spiritual essence. The Monteverdi Choir provides a robust yet supple foundation, supporting the soloists with a blend of clarity and warmth. The ensemble’s use of baroque instruments enhances the original timbral qualities envisioned by Bach, allowing for a more authentic sonic experience. Furthermore, the careful balance between the choir and orchestra ensures that the intricate counterpoint, a hallmark of Bach’s style, is both articulated and expressive.
The recording quality is commendable, capturing the vibrant acoustics of St. David’s Cathedral while allowing for the nuances of each voice and instrument to shine through. The engineering successfully balances the ensemble’s dynamics, ensuring that soloists are neither overwhelmed by the orchestra nor lost in the choral texture. This clarity is essential for appreciating the intricate interplay of voices and instruments that characterizes Bach’s writing.
Gardiner’s decision to document this pilgrimage is itself a testament to the enduring power of Bach’s cantatas, and the accompanying documentary provides valuable insight into the challenges and triumphs of the project. Witnessing the growth of the ensemble across various performances underscores the transformative nature of this music and the profound commitment of its interpreters.
This DVD is not merely a recording but an experience that offers deep engagement with Bach’s sacred music. Kozená’s performance, particularly in BWV 199, coupled with the dedication of Gardiner and his musicians, presents a compelling argument for the continuing relevance and beauty of Bach’s cantatas. This release stands as a significant contribution to the ever-expanding discourse surrounding Bach’s work, affirming its place in the canon of classical music and the hearts of its interpreters and listeners alike.
