Texte paru dans: / Appeared in: PHI |
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Reviewer: J.
F. Weber The two Reformation cantatas, Ein feste Burg ist unser Gott and Gott der Herr ist Sonn und Schild, have been paired four times in quick succession (Fanfare 41:4, 41:6, 42:3). This version is an intriguing offering, for the two works frame one of the most beloved works among the church cantatas and the first large work to be recorded complete in 1931, the Easter cantata Christ lag in Todesbanden. The work fits well in this program, for, like the other two, it is based on one of Luther’s chorales; it is also one of Bach’s earliest cantatas, probably from Mühlhausen, though revised in Leipzig in 1724. BWV 80 was also early, originating in Weimar, while BWV 79 is one of Bach’s late works. There has been so much discussion of the six more or less complete recordings of church cantatas that little room is left for the credit Philippe Herreweghe deserves, for he is right behind Rudolf Lutz, Karl Richter, Fritz Werner, and Sigiswald Kuijken in building a large collection of cantata recordings (the Richter and Werner series no longer ongoing). His series appeared first on Harmonia Mundi and Virgin, more recently on his own Phi label. (Earlier, his choir sang under Gustav Leonhardt for the Teldec series.) I count 62 cantatas, including four remakes for Phi. In this program he uses 12 singers and 23 players, including a countertenor (Alex Potter) among the soloists. Bass Peter Kooij is the most familiar name in Bach sacred music and a member of this ensemble for over 40 years. Tenor Thomas Hobbs and soprano Dorothee Mields complete the roster. All the soloists are among the dozen choral singers. Hence this is a light and flexible ensemble. My colleagues, chief among them George Chien, have been uniformly favorable to his efforts (“their usual distinction” sums up GC’s feeling). The choice here is between Rudolf Lutz and this offering, for they share many admirable qualities, while Eric Milnes’s version is for the one-voice-to-a-part fans. Herreweghe’s choral forces are smaller than Lutz’s but larger than Milnes’s, if you are looking for a median position. (I omit Graham Ross on account of his broad group of fillers.) Herreweghe is a fine Bach interpreter whose series will please those who want to concentrate on one interpreter, a choice that solves the problem of overlapping couplings. | ||||
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