Websites

Accent www.accent-records.com
Analekta www.analekta.com
Avie www.avierecords.com
BIS www.bis.se
ditions Hortus www.editionshortus.com
ERP www.erpmusic.com
Naxos www.naxos.com
doi:10.1093/em/cav043
Advance Access publication June 22, 2015

UriGolomb

Bachs choral music: readings and

interpretations
This selection of recent recordings of Bachs vocal
works marks the completion of three landmark cycles:
Sigiswald Kuijkens Cantatas for the Complete Liturgical
Year on Accent; his series of Bachs major choral works
on Challenge Classics; and Masaaki Suzukis complete
sacred cantatas on BIS. Suzuki is now in the midst of a
new seriesthe complete secular cantataswhich is also
represented here, alongside several individual CDs of considerable interest andmerit.
The range of interpretative perspectives demonstrated
belie recent complaints that Bach performance today is
suffering from depressing uniformity. The performances
here offer a variety of approaches, not only to technical
issues like ensemble sizeone-voice-per-part and standard choral forces are both amply representedbut also
to the more fundamental question of interpretative freedom, bringing to mind the categories of reading and
interpretation, as defined by Nicholas Kenyon and refined
by Joshua Rifkin. By this definition, a reading can be
regarded as a thoughtful yet relatively straight realization
of the musical notationunderstood, to the highest degree
possible, as the composer and his contemporaries would
have understood it. An interpretation, by contrast, forgoes
the pretence of letting the music speak for itself and seeks
instead to communicate the performers artistic vision.
As it happens, the current sample does not feature John
Eliot Gardiner (whose cantata cycle is already complete),
arguably the most prominent interpreter of Bachs choral music today. It does, however, contain a substantial
contribution from one of the most notable current readers, Sigiswald Kuijken, who now rounds off both of his
cycles of Bachs sacred choral music. Kuijken delves deep
into the music. He introduces each volume in his Accent
series with a double booklet: the series introduction, and a
detailed and absorbing essay on each work. These insightful commentaries facilitate attentive listening, as do the
actual performances. Kuijkens chamber ensembleoneper-part chorus and a small orchestra led from the violinoffers renditions of startling clarity and transparency,
allowing details to emerge with seeming effortlessness
while avoiding strong gestures and extreme tempos. Some
gestures do come acrosssubtle dance-like inflections,
accentuated syncopations, patterns of tension and relaxationbut there is no hint of intrusive point-making. For

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Kapellmeister Christoph Graupner, as shown by a Darmstadt

manuscript (Mus. Ms. 1221)written out by the court copyist
Johann Samuel Endler; digital copies of it can be seen online.
Soly has recorded five of the six items by Handel it contains:
the Chaconne in G hwv435, the Suites in F hwv427, and
By hwv434 and 440, and two movements from the Suite in
C hwv443. In addition, she includes the single-movement
Sonata in G hwv579, which is not in the manuscript but
has been included to show its relationship with a march by
Graupner in the same key, also recorded here. The CD is
rather short measure, so it is a pity that Soly did not record
the whole of the fine but neglected Suite in C, one of Handels
earliest keyboard works, and there might also have been
room for the other Handel work in the Darmstadt manuscript, the Suite in E minor hwv429.
Soly suggests in her notes that Endler copied his manuscript from a personal notebook of Graupners started in
his Leipzig years, and which he continued to expand during his stay in Hamburg and even beyond. It is true that
Graupner and Handel may both have been in Hamburg
for a short period, until the latter departed for Italy in
1706. However, the Handel pieces in the manuscript do
not seem to derive from that period. Terence Best states in
his commentary to the keyboard volumes of the Hallische
Hndel-Ausgabe that, with the exception of hwv443, their
texts were derived from English editions published much
later. Soly also asserts that Handel borrowed the theme of
hwv579 from Graupner rather than vice versa, though that
seems unlikely in view of the fact that Handels piece seems
to date from his Italian period while Graupners march
strikes me as being in a later, almost galant style. Be that
as it may, this is an enjoyable CD. Nothing is said about
Solys harpsichord, but it sounds like a powerful two-manual German-type instrument, and she plays it in an appropriately straightforward, muscular way, though she is also
capable of subtlety where necessary, as in her delicate application of notes ingales. All in all, this recording throws
interesting light on the transmission of Handels music in
Germanydefinitely novelty rather than gimmick.

542Early MusicAUGUST 2015

Occasional rough patches barely detracted from my

enjoyment. In a way, there is even something refreshing
in the intrusion of grittier sonorities into these gentle,
refined performances.
Peter Harveys Magdalena Consort, founded in 2008,
also presents a keen unity of purpose in their first Bach
album, J. S. Bach: Cantatas: Recreation for the soul
(Channel Classics ccs sa 35214, rec 2013, 63), yet their
approach differs markedly from Kuijkens. This is felt even
in their respective mission statements: while Kuijken writes
that the use of chamber-scale forces allows Bachs sacred
music to gain greatly in terms of collective devotional
power, Harvey writes that chamber forces facilitate communication between the performers so that the counterpointthe independence of individual musical lines which
so strongly characterizes Bachs musiccan be enjoyed
with the maximum freedom (my emphases). In choosing
his repertory for this showcase album, Harvey seems intent
on exploring expressive range and stylistic variety, from the
early, old-fashioned intimacy of Nach dir, Herr, bwv150 to
the exuberant, Italianate joy of Herz und Mund, bwv147.
The Magdalena Consorts rhetorical approach is keenly
felt from the very beginning (the opening chorus of Jesus,
der du meine Seele, bwv78); each vocal and instrumental
phrase is clearly inflected, creating a constant dialogue as
well as an overall sense of direction. This detailed inflection is marginally compromised in faster movements, yet
overall Harvey and his fellow musicians maintain a sense of
controlled eagerness; and the famous chorale in Herz und
Mund is rendered with compelling ebb-and-flow.
Philip Pierlot does not contribute a mission statement
to his CD J. S. Bach: In tempore nativitatis (Mirare
mir243, rec 2012, 69), but seems to share Harveys aesthetic ideals. This latest addition to the Ricercar Consorts
Bach series maintains the high standards of earlier volumes, offering a colourful programme, colourfully realized. There is more vigour and panache here, and a
keener sense of long-range tension, than in Kuijkens
Weihnachtsoratorium. If Kuijken reveals that even a work
like the Christmas Oratorio can be richly rewarding when
rendered with chamber-like intimacy, Pierlot (and Harvey
in Cantata 147)show that even a small ensemble can project a sense of drama and grandeur. His CD is enhanced by
Gilles Cantagrels exemplary and lucidnotes.
Neither Harvey nor Pierlot match Kuijkens startling
clarity; their textures are clear and transparent, yet they do
not give the sense that every note, every phrase, is audible.
But while they reveal a bit less about what is happening
at any given moment, they strongly illuminate what the
music is doing and where it isgoing.

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the type of listener envisaged by Kuijkenthose willing,

even eager, to immerse themselves in the music and its
meaning, to read the notes carefully and listen actively
Kuijken provides ideal guidance.
This approach has its detractors. Bradley Lehman
(Early Music, xxxix/1 (2012), pp.14950), for instance,
accused Kuijkens musicians of excessive politeness.
Iadmit to having a similar reaction to the final volume of
the seriesJ. S.Bach: Cantatas vol.18, bwv70 9 182
(Accent acc25318, rec 2012, 70). The dramatic potential
of Wachet, Betet, bwv70, was all but nullified, and even
Himmelsknig, sei wilkommen, bwv182, seemed oddly
charmless. Throughout the series, Ifelt that Kuijken overrestrained his singers in the secco recitatives.
That said, I found the preceding two volumes much
more engaging. Iwas surprised by my own positive reaction to O ewiges Feuer, bwv34, which opens J. S.Bach:
Cantatas vol.16, bwv34 173 184 129 (Accent
acc25316, rec 2012, 70). Ihave a particular affection for
Gardiners volatile, hyper-inflected interpretation of the
opening and closing choruses of this cantata, and his
fervent renditions of the central aria. Yet Kuijkens subtler approach also works wonders; his razor-sharp clarity allows every little clash, every change of direction, to
register. The same applies even to dramatic moments in
cantatas 54 and 168, both included in J. S.Bach: Cantatas
vol.17, bwv186 168 134 54 (Accent acc25317, rec
20052012, 78). You need to lend Kuijken your ear, but if
you do, you will be richly rewarded.
Kuijkens most successful contribution, however, may
well be J. S. Bach: Weihnachtsoratorium (Challenge
Classics cc72394, rec 2014, 139); the case for one-per-part
vocal forces in this work, one of Bachs most opulent creations, could not have been stronger or more convincing.
Kuijkens Challenge Classics albums of the major choral
worksI reviewed the Mass in B minor in Early Music,
xxxviii/3 (2010)are less generous in terms of presentation. Kuijkens analytical essays are replaced with a concise
note by La Petite Bandes Geert Robberechts. Kuijkens
interpretative stance remains the same, yet the sense of
occasion seems to have inspired a subtly more vigorous
approach. Afew dramatic moments are somewhat underpowered; yet there is a subtle swagger to the opening
choruses of the first, third and sixth cantatas, and shades
of gentle or pungent joy, quiet sensuality or veiled melancholy, are delightfully, gratifyingly realized. Both here and
in the cantatas, there is the sense of a closely knit chamber music ensemble, placing players and singers on equal
footing and encouraging them to listen to each other. The
sonorities are gently beautifulyet rarely over-genteel.

case for this version, in a lively, articulate and deeply felt

performance.
Taylor and Lamons Tafelmusik effectively communicate the beautiful, introverted lyricism of the opening aria of Vergngte Ruh, bwv170. The opening aria of
Widerstehe, bwv54, often presented as incisive and tense,
is here melancholy and resigned, but the musicians make
an effective case for this mellower reading. Idid feel, however, that the harsher edges were dulled in the two cantatas finalarias.
A more conventional coupling appears on the CD
J. S. Bach: Solokantaten fr Bass (Oehms Classics oc
887, rec 2013, 52), in which the young baritone Thomas
E. Bauer is joined by Christoph Spering and Das Neue
Orchester; the chorales are sung by Chorus Musicus Kln.
With its standard coupling of the three bass-solo cantatas (nos.82, 158 and 56), this CD faces some stiff competition, with which for the most part it competes honourably.
While there are no spectacular revelations here, soloist
and conductor do illuminate local details without sacrificing the integrity of the whole. Bauers and Sperings
approach is mostly rounded, beautiful and refined; yet,
compared with Taylor and Lamon, they are more willing
to explore the rougher, more dramatic potential of specific spots within key arias, injecting more urgency and
variety into their performances. The CD is accompanied
by a fascinatingif not always convincingessay by the
conductor.
Oehms Classics have also produced J. S.Bach: Cantata
Weinen, Klagen, Sorgen, Zagen bwv12, Cantata
Herz und Mund und Tat und Leben bwv147 (Oehms
Classics oc 425, rec 2012, 51), sung by Arcis-Vocalisten
Mnchen and the Barockorchester LArpa Festante conducted by Thomas Gropper, who also wrote the lucid and
helpful liner notes. The choral movements create an oddly
disconcerting impression: the large-sounding choir50
singers, according to CD bookletand the suitably flexible period-instrument orchestra do not seem to inhabit
the same expressive or stylistic world, though some heaviness sets in already in cantata 12s opening sinfonia. The
performances do have their merits, with fine individual
contributions from vocal and instrumental soloists alike;
but in Herz und Mund, Irepeatedly felt a need to cleanse
my ears by returning to the clarity and infectious enthusiasm of the Magdalena Consort rendition.
Solo singing is at the heart of J. S.Bach: Bach Arias
(Apart ap045, rec 2012, 67), performed by Pulcinella,
a small instrumental ensemble directed by the cellist Ophlie Gaillard. Ones response to this CD rather
depends on how one feels, generally, about aria recitals

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The final one-per-part CD in the current selection

J. S. Bach: Ruhm und Glck (Rondeau rop6058, rec
2012, 65)offers Alexander Grychtoliks reconstructions
of two of Bachs birthday cantatas for the Cthen court,
bwv36s and bwv66a. Most of the music for these cantatas resurfaces in Bachs church cantatas; consequently,
Grychtolik needed to engage in very little original composition to reconstruct the originals. Where he does employ
his compositional facultiesmost notably in the bwv66a
soprano aria Beglcktes Land, based on the duet Mein
Fruend ist mein from bwv140the results are surprisingly convincing, and seamlessly Bachian. Otherwise, we
basically have familiar music with unfamiliar words, and
occasionally in an unfamiliarorder.
Grychtolik directs the performance from the harpsichord. At first, Ilistened to his renditions with unalloyed
pleasure. On further hearings, I spotted both technical
issues (occasional patchy intonation and ensemble) and
interpretative ones (instances of generalized, undifferentiated phrasing; the treatment of dance rhythms, for
instance, is uneven: sometimes engaging and revelatory,
at other times dulled by uniformity of articulation and
dynamics). On the other hand, the CD contains many
delightful little touches in several of the solo piecesfor
instance, fine bassoon playing in Sei uns willkommen
(bwv36a/5), and a fine contrast from soprano Gudrun
Sidonie Otto in Auch mit gedmpften (bwv36a/7)
between the mellifluous A sections (speaking of muted,
feeble voices) and the fanfare-like articulation of the clarion-call melismas in the B section (speaking of the souls
joyful shout which doth in heavn itself resound). Ottos
instrumental partners are more conventional, but sensitive and persuasive. Recitatives are lively, in both singing
and playing, and the four soloists form a delightful and
cohesive consort, especially in the final chorus of bwv66a.
The sometimes rough-and-ready playing and singing
of Grychtoliks Mitteldeutsche Hofmusik contrasts with
the mellifluous lyricism of Jeanne Lamons Tafelmusik in
J. S.Bach: Cantatas bwv54& 170, Concerto bwv1060,
Suite bwv1067 (Analekta an 2 9878, rec 2011, 69). This
CD brings together two instrumental reconstructions
the original version of the second orchestral suite, and
the violin and oboe concertoand two cantatas for solo
alto sung by Daniel Taylor, who also appeared on the
Magdalena Consort CD. The instrumental works are realized with great sensitivity and refinement. Iwas particularly impressed by the convincing rendition of the Suite;
on previous occasions the use of the violin seemed distinctly second-best compared with the more familiar flute,
but Lamonas both soloist and directormakes a strong

544Early MusicAUGUST 2015

festive conclusion to the series. The sonorities are always

beautiful, and the solo singing throughout is both captivating and eloquent, with lively detail in the recitatives.
The liner notes feature detailed and informative
essays by Klaus Hoffmann, supplemented with Suzukis
Production notes. Volume 55 also includes an introductory note to mark the end of the sacred cantata series.
Suzuki speaks in highly reverential tones here: With the
help of his disciples, God left us the Bible. Into the hands
of Bach He delivered the cantata. This is why it is our mission to keep performing them: we must pass on Gods
message through these works, and sing them to express
the Glory of God. Soli Deo Gloria!.
In a more personal vein, he notes his sadness at parting
from the cantatas, adding wistfully: How hard I wished
someone would discover a huge pile of undiscovered
cantatas. The BCJs Bach saga is not quite over, however:
they have recently started recording the secular cantatas
as well. J. S.Bach: Secular Cantatas, vol.3 (BIS bis-2041,
rec 2012, 77) includes two birthday cantatas (bwv173a and
bwv36c), an oft-recorded wedding cantata for soprano
solo (bwv202) and a fragmentary Quodlibet (bwv524),
which survives in an incomplete fair copy in Bachs hand
and might, or might not, be entirely his own composition.
Suzukis secular cantata series, unlike its liturgical predecessor, includes no mission statement from the conductor. Clearly, the secular texts could not inspire the
religious sentiments Suzuki expressed in the quote above.
The music, however, is not all that different; in fact, the
two birthday cantatas in volume 3 were refashioned by
Bach into sacred works, and only the Quodlibet contains
music which could not have made it into church.
Comparing Suzukis rendition of the birthday cantatas
with his own earlier renditions of their liturgical parodies, one senses a subtle differentiation. The choice of
recording venue already reflects this: the sacred cantatas were recorded, as usual, at the Kobe Shoin Womens
University Chapel, whereas the secular versions were
recorded at Shirakwa Hall in Nagoya, which seems (to
judge by the recording) to have drier, less reverberant
acoustics, depriving the secular works of the chapels
distinctive halo while lending them a greater sense of
presence and clarity. The difference is not limited to
acoustics. The actual performances are more incisive
and vigorous; the musicians seem to play and sing with
a slight twinkle in the eye, which is rarely found in their
renditions of the sacred cantatas. This is perhaps clearest in Weichet nur, bwv202, where Joanne Lunns radiant singing is supported by consistently elegant playing,
invigorated at times with surprisingly cheeky perkiness

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as opposed to renditions of complete cantatas. The CD

consists primarily of Bachs arias with violoncello-piccolo
obbligato (played by Gaillard) interspersed with beautifully delicate chamber-ensemble arrangements of chorale
preludes, and ending with Melchior Hoffmans solo aria
Schlage doch, previously attributed to Bach (bwv53). The
playing is flexible, refined and expressive, slightly perky
where appropriate and always beautiful. The presence of a
lute in the continuo section both lightens and enriches the
texture. The intimacy also encourages some improvised
ornamentation from the singersSandrine Piau contributes some delightful touches to her opening aria, from
Cantata bwv68. Elsewhere, Ifound her voice slightly thick
(disappointingly so from a singer whose voice is usually
much lighter), but she is always unfailingly musicalas
are her two partners here, alto Christophe Dumaux and
tenor Emiliano Gonzalez Toro. Personally, I prefer to
hear arias within their original context; but readers who
do not have similar doubts would probably enjoy this CD
immensely. Here, too, Gilles Cantagrel contributes a concise, informative and enjoyableessay.
The final four CDs come from Masaaki Suzukis Bach
Collegium Japan, who have recently concluded their
18-year project of recording Bachs complete sacred cantatas. Suzukis performances have sometimes been accused
of being over-refined and genteel. As a general characterization, I do not concur: Suzukis Bach can often convey
a nervous energy and dramatic drive. In these last volumes, however, I did feel sometimes that his renditions
were overly generalized, especially in choral movements,
where the singing of the small choircompounded by
the reverberant acousticsseemed somewhat diffuse and
fuzzy. Ishould emphasize that this problem did not recur
throughout: to cite one of several counter-examples, the
stile antico opening chorus of Wr Gott nicht mit uns,
bwv14in J. S. Bach: Cantatas vol.54 (BIS bis-2021,
rec 2012, 76)is finely inflected, with subtly appropriate
accentuations. I was also deeply affected by the understated yet deeply felt renditions of the melancholy cantatas in J. S.Bach: Cantatas, vol.49 (BIS bis-sacd-1891,
rec 2010, 72). By contrast, the final volumeJ. S.Bach:
Cantatas, vol.55 (BIS bis-2031, rec 2013, 69)is predominantly jubilant, though the bass Peter Kooy and his instrumental partners eloquently capture the mood of sombre,
ceremonial reflection of the bass aria Mein Erlser und
Erhalter (bwv69/5). The balance in the trumpet-anddrums choruses is not always ideal; but the problem only
occurs intermittently, and the performance of Gloria in
excelsis deo, bwv191, is sharply etched in the choruses and
cheerfully perky in the central duet, providing a suitably

(listen, for example, to Sich ben im Lieben, bwv202/7).

This cheekiness is even more apparent in the Quodlibet,
where Suzuki makes no effort to disguise the musics raucous character.

Websites

doi:10.1093/em/cav057
Advance Access publication July 8, 2015

FrancisKnights

C. P.E. Bach reissues

Carl Philipp Emanuel Bachs anniversary last year brought
forth quite a number of interesting and appealing new
recordings (see Early Music, xlii/4 (2014), pp.6647), but
it is actually the reissue recordings that make one realize
that the composer is finally making it into the musical
mainstream, and not just travelling on his fathers reputational coat-tails. Three large collections have appeared
from Brilliant Classics, Deutsche Harmonia Mundi and
Warner Classics, and the prices average only around 2
per disc; inevitably they are of slightly mixed quality, with
a few out-dated recordings, but for the most part include
impressive performances from the leading players of the
last few generations.
By far the largest set comes from Brilliant Classics, who
have made a specialty of very substantial single-composer
collections and complete works in recent years: their
Carl Philipp Emanuel Bach Edition (Brilliant Classics
94640, rec 19852013, 1768) comprises no fewer than 30
CDs. Unlike the DHM and Warner sets (below), Brilliant
Classics supplement their own many new recordings with
material licensed from other labels, such as Dux, Edel,
Nimbus, Phoenix and Tactus. The trade-off here between
consistent quality of recordings and of repertory coverage is one that is worth making, however: as well as nine
discs of symphonies and concertos, there are six of chamber music, nine of keyboard works and six of vocal music,
allowing the listener to appreciate the impressive breadth,

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Accent www.accent-records.com
Analekta www.analekta.com
Apart store.harmoniamundi.com/labels/aparte.html
BIS www.bis.se
Channel Classics www.channelclassics.com
Mirare www.mirare.fr
Oehms Classics www.oehmsclassics.de
Rondeau www.rondeau.de

quality and imagination of C.P. E.Bachs large output. The

great majority of performances are on period instruments,
and even those using modern forces are Historically
Informed.
The set begins with the Hamburg, Berlin and string
symphonies, in the capable hands of ensemble Solamente
Naturali and the Kammerorchester Carl Philipp
Emanuel Bach, followed by concertos for oboe (Anna
Starr), flute (Machiko Takahashi, Eckart Haupt), organ
(Klaus Kirbach), cello (Raphael Wallfisch) and harpsichord (Peter-Jan Belder). Chamber music (including the
very rare trio for bass recorder and viola) is provided
by Collegium Pro Musica, the Helianthus Ensemble, Jed
Wentz (Baroque flute) and Musica ad Rhenum, Paolo
Pandolfi (viola da gamba) and Federico Guglielmo
(Baroque violin), certainly a roster to inspire confidence
in the performances.
The indefatigable Peter-Jan Belder is responsible for
the Prussian and Wrttemberg sonatas, Wq.48 and 49, as
well as the complete Kenner und Liebhaber set of sonatas, fantasias and rondos, on harpsichord, clavichord and
fortepiano. These new recordings, one of the highlights
of the set, are supplemented by the rarely heard symphonies for solo keyboard, Wq.122, played by Andrea
Chezzi on a copy of the GoermansTaskin in the Russell
Collection, Edinburgh. Equally unusual is a disc of sacred
songs from tenor Julian Redlin, which introduces the final
group, of sacred choral music. The celebrated Magnificat
is of course here (Hartmut Haenchen conducting the
Rundfunkchor Berlin and Kammerorchester Carl Philipp
Emanuel Bach), as well as Hermann Maxs 1986 recording of Die Auferstehung und Himmelfahrt Jesu, Wq.240
and his recordings of the inauguration cantatas Gnadig
und barmherzig ist der Herr, Wq.250 and Der Herr lebet,
Wq.251; six other rare sacred cantatas round out theset.
While not all of these performances would be first
choice in their own right, the sheer range and value of this
well-thought-out collection make it an essential purchase
for anyone interested in C.P. E.Bach.
Those wanting an alternative reading of the six sets of
the late Kenner und Liebhaber works might also want to
look at Preethi de Silvas complete recording on harpsichord, clavichord and fortepiano, recently reissued by
Centaur on five separate discs: Carl Philipp Emanuel
Bach: Six collections of sonatas, free fantasias, and rondos for connoisseurs and amateurs (Centaur crc3329,
3279, 3288, 3327, 3333, rec 19926, 69, 77, 67, 61, 74).
Some of these were reviewed in these pages at the time
of their first release, and praised as showing a profound
understanding of Bachs idiosyncratic language. Though