COMPOSERS: JS Bach
LABELS: Accent
ALBUM TITLE: JS Bach
WORKS: Cantatas BWV 82, 178 & 102
PERFORMER: Elisabeth Hermans (soprano), Petra Noskaiová (mezzo-soprano), Christoph Genz (tenor), Jan Van der Crabben (bariton); Le Petite Bande/Sigiswalk Kuijken
CATALOGUE NO: ACC 25303
Kuijken is uncompromisingly in
the ‘one-voice-to-a-part’ camp
for Bach cantatas as his expansive
notes, exuberantly full of italics and
bold emphases, make clear. He also
expounds a theory about Bach’s bass
string instrument being at 8’ pitch rather than an octave below; the
resulting textures are refreshingly
light and clean. BWV178 strongly
supports the solo-voice principle
with a movement comprising
chorale phrases interrupted by
three fragments of recitative. First
come two stunning arias for bass,
followed by a glorious trio sonata
– oboes d’amore and bass – wrapped
around the tenor’s chorale phrases.
With excellent recording balance
and SACD sound, this is unbeatable
among its relatively few competitors.
For the uniquely scored BWV82
Kuijken accompanies the solo bass
with pairs of violins above viola and
cello, adding oboe da caccia to the
upper line of the exquisitely peaceful
and reassuring ‘slumber aria’ with
which the aged Simeon greets death.
The resulting top-weighted balance
and density detract from Bach’s
supreme contrapuntal craftsmanship;
nowhere are distinctive instrumental
parts more perfectly interlaced,
as Parrott’s solo Taverner Players
demonstrated all of 21 years ago,
accompanying David Thomas.
The vocal demands of BWV102
could again support the case for
single voices – fast solo fragments
and virtuosic fugal passages – and
Kuijken’s soloists create a light, airy
texture. But Koopman’s 19 singers,
taking it a touch slower, still sustain a
crystal clarity, while his choice of flute
rather than violin for the final aria
reveals a strikingly different character
from Kuijken’s obbligato violin.
George Pratt