In 1731 Bach
transposed Ich habe genug up to E minor for soprano and reassigned the
oboe part to flute. Michael Maul’s scholarly essay speculates that the soprano
version might have been prepared for Bach and his wife Anna Magdalena (a
talented soprano) to perform ‘either in a domestic setting among friends or in a
service in a castle chapel somewhere between Weissenfels, Eisenach or Kassel’.
Miriam Feuersinger’s stylish phrasing, almost entirely vibrato-free timbre and
articulate communication of words form an elegantly bittersweet conversation
with Tomoko Mukoyama’s gently consoling flute, intelligently contoured strings
and subtle continuo realisations by organ and theorbo (seldom available to Bach
in Leipzig but easily available nowadays in Basel). ‘Schlummert ein’ has an easy
flowing pace and an attractive weightlessness, albeit thin on deep-rooted
poignance. Quick passages in ‘Ich freue mich auf
meinen Tod’ are sung with disarming fluency. Ich
bin vergnügt mit meinem Glücke was composed for Septuagesima on February 9, 1727
– only one week after the original bass version of Ich habe genug. It is a
contemplation on Christ’s parable of the vineyard. Feuersinger’s intimacy of
tone and limpid shaping function in equal partnership with Katharina Arfken’s
concertante oboe in two arias, the first solemnly elegiac, the other blithely
dancelike.
Notwithstanding
the liturgical use of Jauchzet Gott in allen Landen on the 15th
Sunday after Trinity, probably in 1730, Maul imagines that the virtuoso soprano
cantata featuring high-flying solo trumpet may have been written earlier on for
‘a guest appearance by the Bach couple’ at the castle chapel of Duke Christian
of Weissenfels in about February 1729 – maybe the voice part designed for Anna
Magdalena to sing in dialogue with trumpet solos played either by her father
Johann Caspar Wilcke or one of her brothers-in-law (all court trumpeters at
Weissenfels). Invited by the natural momentum of alert yet unhurried strings,
Feuersinger’s relaxed conversing with trumpeter Ute Hartwich has purling
eloquence. Founded by graduates of the prestigious Schola Cantorum Basiliensis,
Capricornus Consort also play interludes between the cantatas – the Trio Sonata
for flute, violin and continuo in G, and violinist and director Peter Barczi’s
rearrangements for strings of Bach’s organ prelude treatments of the chorale
Herr Jesu Christ, dich zu uns wend.
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