Composer: Johann Sebastian Bach
Works: Cantata No. 40, “Darzu ist erschienen der Sohn Gottes”, BWV 40; Cantata No. 60, “O Ewigkeit, du Donnerwort”, BWV 60; Cantata No. 70, “Wachet! betet! betet! wachet!”, BWV 70; Cantata No. 90, “Es reißet euch ein schrecklich Ende”, BWV 90
Performers: Yukari Nonoshita, soprano; Robin Blaze, countertenor; Gerd Türk, tenor; Peter Kooij, bass; Bach Collegium Japan, Masaaki Suzuki
Recording: September 2000, Kobe Shoin Women’s University, Japan
Label: BIS
Johann Sebastian Bach’s sacred cantatas, composed during his tenure in Leipzig, serve as monumental reflections of the theological and musical complexities of the early 18th century. Volume 15 of Masaaki Suzuki’s ongoing survey of these works presents four cantatas from late 1723, a period ripe with Bach’s rich exploration of text and musical form. Each piece encapsulates profound theological interrogations while simultaneously showcasing Bach’s unparalleled mastery of counterpoint and orchestration.
Suzuki’s interpretation is marked by an intentional restraint that emphasizes nuanced detail. The small chorus, comprising twelve singers (three per vocal part), allows for an exquisite transparency that often eludes larger ensembles. This approach facilitates a refined interplay between voices and instruments, particularly evident in the opening aria of BWV 60. Here, the orchestral forces underscore the vocal lines without overwhelming them, creating a delicate sonic tapestry that highlights Bach’s intricate counterpoint. The clarity of voicing throughout the recording is commendable, revealing the inner workings of Bach’s textural designs.
The soloists in this recording uphold the high standards set by previous volumes in Suzuki’s series. Robin Blaze’s countertenor remains a standout, bringing a seamless fluidity to his lines that complements the sacred texts’ emotional gravity. His expressive delivery in BWV 70, where he participates in a richly woven dialogue with the instruments, showcases his technical prowess and interpretative depth. Soprano Yukari Nonoshita, although limited to a single aria, imbues her performance with an ethereal quality, particularly in the poignant moments of BWV 70, where her voice seamlessly integrates into the overarching ensemble.
Tenor Gerd Türk’s performances throughout the disc exhibit a lightness and flexibility that are particularly effective in conveying the text’s emotional nuances. His contributions in BWV 90 are particularly engaging, where the interplay with the orchestra creates a vivid sense of narrative. Peter Kooij’s bass voice is remarkable; his aria in BWV 40, “Höllische Schange…,” is executed with a fluidity that is both commanding and captivating. The juxtaposition of his resonant tone with the obbligato trombone in BWV 70 results in a performance that is as joyous as it is technically impressive.
The sound quality of this recording is exemplary, with BIS’s engineering capturing the nuances of the performance with clarity and warmth. The acoustic space of Kobe Shoin Women’s University contributes to a vibrant sound, allowing the intricate details of Bach’s orchestration to shine through while maintaining an intimate atmosphere. This attention to sonic detail enhances the overall listening experience, inviting the audience into the sacred world Bach expertly constructs.
Comparatively, Suzuki’s interpretations often stand apart from other notable recordings due to their emphasis on smaller forces and meticulous attention to textual clarity. While larger ensembles may offer a grander sound, the delicacy and precision achieved here allow for a more profound engagement with Bach’s theological themes and musical structures.
Masaaki Suzuki continues to deliver a distinguished and compelling interpretation of Bach’s sacred cantatas. His careful selection of forces and singers creates a rich yet transparent sound world that invites listeners to explore the depths of these remarkable compositions. This volume not only maintains the high standards set by its predecessors but also reaffirms Suzuki’s position as a leading interpreter of Bach, making it an essential addition to any collection dedicated to understanding this masterful composer.
