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Reviewer:
J. F. Weber It’s quite a leap from an early recording of this splendid work (Fanfare 41:4) to one that is not only a new recording but a new edition in Carus-Verlag’s complete sacred vocal music of Bach. It shares with the Archiv/Eloquence version a change of personnel (minor, this time). While Archiv suffered the passing of Fritz Lehmann after four cantatas had been completed, bringing in his chorus-master to complete the project a year later, Carus recorded a pair of live concerts and then replaced Mühlemann with Richter for recording sessions a month later. All credit to them for providing precise details. I have been following Rademann’s complete Schütz avidly for years, but his Bach recordings have just begun to appear. Rademann’s tempos are close to the median for this work. His soloists, all five of them, are not too familiar, and certainly not so much, if at all, in Bach on records. Hence it’s pleasant to hear how much Rademann has gotten out of them. Lehmkuhl has the first aria, a fine voice evocative of the “tender emotion” and “loving devotion” of the text. In the first cantata’s other aria, Nagy is jaunty as he contrasts the “mighty Lord” in the “lowly manger.” The opening chorus, “Jauchzet, frohlocket! auf, preiset die Tage,” is one of four movements taken from Cantata No. 214, where it goes “Tönet, ihr Pauken! Erschallet, Trompeten!” It’s a nice thought to add that movement at the end of the disc. The trumpets and drums come along from the royal birthday celebration to their unaccustomed place in a church cantata. It’s as surprising as using the passion chorale (the fifth movement here) for Christmas. The other five cantatas offer similar enlightenment. Among the few recordings of this work that I have, I used to turn to René Jacobs (21:4, 28:4) to hear it again. This one will serve as an alternative, perhaps even a replacement for it. It’s a strong contender in a crowded field. | ||||
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