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And what a debut! Inter brachia Salvatoris mei – likely by Christian Flor – is incredibly vivid, with adventurous harmonies percolating through mournful, gentle strings. Resch sings with a balance of tenderness and authority, keeping text to the fore. He is rich in his lower register and his tone remains effortless as the impassioned phrases climb higher, and all the while he is accompanied by the warm embrace of a superb string ensemble. Following this, I feel that Meister’s substantial cantata Ach Herr, strafe mich nicht offers more opportunity than Resch takes for dramatic characterisation, especially in the opening section. His tone is engaging but unremittingly beautiful throughout, even on the quirkily repeated final word: ‘plötzlich’. I found the second cantata, Redet untereinander by Gottfried Phillip Flor, wondrous in all aspects. It’s a gripping text, spiced with opportunities for imaginative word-setting which the composer clearly relished and offset with ecstatic stringplaying from the start. Surely this was a catalyst for the young Handel, who seems to have borrowed the instrumental opening of the final chorale, ‘Jesu, lass mich fröhlich enden’ for Rinaldo’s duet ‘Scherzano sul tuo volto’. Further along, Resch’s long flowing phrases in Franz Tunder’s An Wasserflüssen Babylon could well be the high point of the album, even if it ends rather abruptly. But then Buxtehude’s mesmeric ostinato bass in the psalm Herr, wenn ich nur Dich hab is a good contender for the same accolade, where great blushes of passion from the violin parts intertwine skilfully with the voice. In both programming and performance, this album is a very welcome addition to the catalogue. |
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