Composer: Johann Sebastian Bach
Works: BWV 21: Ich hatte viel Bekümmernis; BWV 38: Aus tiefer Not schreie ich zu dir; BWV 51: Jauchzet Gott in allen Landen; BWV 56: Ich will den Kreuzstab gerne tragen; BWV 76: Die Himmel erzählen die Ehre Gottes; BWV 79: Gott der Herr ist Sonn und Schild; BWV 80: Ein feste Burg ist unser Gott; BWV 82: Ich habe genug; BWV 93: Wer nur den lieben Gott laut walten; BWV 106: Gottes Zeit ist die allerbeste Zeit; BWV 137: Lobe den Herren, den mächtigen König der Ehren; BWV 140: Wachet auf, ruft uns die Stimme; BWV 149: Man singet mit Freuden vom Sieg
Performers: Arleen Auger, Nancy Amini, Eva Caspo (sopranos); Gabriele Schrekenbach, Julia Hamari, Helen Watts, Karen Hagermann, Ann Murray, Mechtild Georg, Hanna Schwarz (altos); Adalbert Kraus, Lutz-Michael Harder, Douglas Robinson, Aldo Baldin (tenors); Philippe Huttenlocher, Walter Heldwein, Sigmund Nimsgern, Wolfgang Schöne, Norman Anderson, Dietrich Fischer-Dieskau (basses); Gächinger Kantorei Stuttgart, Indiana University Chamber Singers, Bach-Collegium Stuttgart, Württemberg Chamber Orchestra
Recording: March & May 1976 (BWV 21), Feb & April 1980 (BWV 38), Sept 1983 (BWV 51), July 1983 (BWV 56), Sept & Dec 1977 (BWV 76), November 1981 (BWV 79), April 1983 (BWV 80), July 1983 (BWV 82), Feb 1979 (BWV 93), Jan 1975 (BWV 106), Dec 1980 & March 1982 (BWV 137), Sept 1983 & Feb 1984 (BWV 140), June 1983 & Feb 1984 (BWV 149)
Label: Hänssler Classic
Johann Sebastian Bach’s cantatas stand as monumental pillars of sacred music, reflecting both the theological and musical intricacies of the Baroque era. The four-CD set conducted by Helmuth Rilling encapsulates a wide array of this repertoire, presenting selected cantatas that showcase not only Bach’s compositional genius but also the interpretive traditions that have evolved around his work. The recording, dating back to the late 20th century, serves as a significant reference point in the ongoing dialogue about Bach performance practices, particularly as historical performance techniques gain traction in contemporary discourse.
Rilling’s approach, often characterized as “traditional,” can be seen as both a strength and a limitation. His choice of instrumental forces, predominantly “modern” rather than “period,” influences the overall sound, producing a full-bodied texture that can sometimes overshadow the nuanced counterpoint Bach is famed for. However, this sonic richness is not without merit; Rilling’s ability to create a cohesive orchestral sound, particularly in larger choral pieces like Ein feste Burg, BWV 80, demonstrates a compelling commitment to the music’s grandeur. The opening chorus showcases a robust orchestral presence, with the strings and winds weaving together in a manner that, while potentially overwhelming for purists, offers a stirring interpretation that captivates the listener.
The soloists featured in this set are a highlight, particularly Arleen Auger, whose performance in BWV 51 is nothing short of luminous. Her clear timbre and adept phrasing breathe life into the text, embodying the expressive potential of Bach’s melodic lines. Dietrich Fischer-Dieskau, a titan in the realm of lieder and oratorio, brings his formidable artistry to BWV 56 and BWV 82. While his interpretations here may not eclipse his earlier recordings with Karl Richter, they nonetheless provide a masterclass in vocal artistry, with a rich emotional palette that speaks to Bach’s psychological depth. The ensemble’s choral contributions are equally commendable, blending seamlessly to produce a rich, harmonious texture that supports Rilling’s grand vision.
From a technical standpoint, the sound engineering of the recordings is commendable. The clarity of the orchestral lines and the careful balance between soloists and choir allow each voice to emerge distinctly, though some may find the continuo realizations occasionally heavy-handed. The cello’s presence in the continuo often thickens textures unduly, straying into moments where simplicity might serve the music better. Rilling’s tendency to extend notes during sparse sections does enhance some passages, but can also dilute the rhythmic drive that characterizes much of Bach’s work.
Overall, this collection serves as a reliable introduction to Bach’s cantatas for those seeking a traditional interpretation. While there are certainly more “authentic” renditions available that adhere closely to recent musicological findings, Rilling’s performances offer a heartfelt and artistically valid perspective that honors the music’s emotional core. His work stands as a testament to the enduring power of Bach’s music and the interpretive possibilities that continue to inspire musicians and audiences alike. Enthusiasts of Bach’s sacred music will find much to appreciate in this set, despite the absence of more extensive documentation and contextual information, which could have enriched the listening experience further.
