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Bach: Easter Oratorio / Kuijken, La Petite Bande


Release Date: 04/26/2011 
Label:  Accent   Catalog #: 25313  
Composer:  Johann Sebastian Bach
Performer:  Petra NoskaiováYeree SuhChristoph GenzJan Van der Crabben
Conductor:  Sigiswald Kuijken
Orchestra/Ensemble:  La Petite Bande
Number of Discs: 1 
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Notes and Editorial Reviews



BACH Easter Oratorio. Cantata No. 6 Sigiswald Kuijken (cond); Yehree Suh (sop); Petra Noskaiová (alt); Christoph Genz Tear (ten); Jan Van der Crabben (bs); La Petite Bande; (period instruments) ACCENT ACC 25313 (59:37)


Volume 13 of Sigiswald Kuijken’s limited series of Bach cantatas is devoted to the Easter celebration. Kuijken’s program is interesting because he bypasses Bach’s two extant and often-recorded Easter cantatas, Nos. 4 and 31, in favor of the relatively unfamiliar Easter Oratorio. And Read more that’s not unreasonable. The oratorio is a fairly short work—cantata length, actually. Its discmate is BWV 6, one of the most beautiful of the cantatas. The two works were first performed on consecutive days—Easter Sunday and Easter Monday—in 1725.


Kuijken’s rationale for creating the series is to advocate for the Rifkinesque theory of Bach performance, and he has made some very successful recordings in the process. But is the oratorio appropriate for that purpose? As readers of this journal will know, I remain skeptical of the basic premise. Rather than rehash my reservations, I’ll simply observe that Easter is a time at which choir directors the world over do their level best to muster as many warm bodies as they can possibly find to expand their choirs—especially if they are planning to sing an oratorio at the Sunday service. Contraction is not on the agenda. Although Leipzig’s primary musical observance was on Good Friday, Easter was still the most important day of the church year. The scoring of the oratorio, with trumpets and timpani, reflects the festive nature of the occasion.


All that said, I must report that Kuijken has given us another fine recording. His solo quartet, with South Korean soprano Yeree Suh joining three veterans of Kuijken’s series, carries the day. Kuijken’s quest for authenticity does not extend to using boys in the upper parts, and I still wonder about pitting four unamplified singers (two of them boys) against an orchestra with three trumpets and timpani in a large stone edifice. But the serene opening chorus of the cantata is well served in Kuijken’s hands. Kuijken does throw us one roundhouse curve in the oratorio, substituting a traverse flute for the solo oboe in the Adagio. Frank Theuns plays it beautifully, so there’s not a lot of harm done. Kuijken’s instrumental ensemble, La Petite Bande, is, as always, top of the line. If you have enjoyed earlier entries in Kuijken’s series, this disc is a must-buy. If you haven’t sampled the series, this disc might just get you started.


FANFARE: George Chien


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Sigiswald Kuijken is coming to the end of his Bach pilgrimage. It has taken in one cantata for each Sunday of the liturgical year over a five year period. He hasn't quite managed the same high profile as Gardiner or Suzuki in their similar projects, nor indeed has Kuijken achieved the same uniformly high standards as those eminent conductors. His is a more idiosyncratic cycle, and I have had some reservations about the previous instalments. Each disc is recorded in superior SACD audio, but the precision of the engineering is not always matched by the performing style of the orchestra. The sound has often been merciless in highlighting suspect tuning in the strings and occasional balance problems.
 
That dichotomy is evident on this disc, of cantatas for Easter Sunday and Monday, with the tight focus of the engineering often at odds with the laid-back style of the performance. Fortunately, the technical side of the playing here stands up to the forensic scrutiny of the audio, which finds little wanting. On one occasion there is some loud rattling of woodwind keys, which, considering we are talking about baroque instruments, can only be coming from the bassoon. One of the arias is accompanied by a tenor/bass string instrument, which the orchestra list suggests is Kuijken himself on the violoncello da spalla; an exotic choice of instrument but not a particularly pleasant sound.
 
Otherwise, the timbres and textures are all very pleasing and easy on the ear. This might be explained by the fact that both of these cantatas, and BWV249 in particular, emphasise the wind over the strings in most of their movements. The woodwind playing is very good indeed. The players are just as relaxed in their style as the strings, or at least give that impression while playing with both precision and passion. Both recorder and flute are used, the one player alternating, and both give elegant woody colours. The three trumpeters manage to combine flair and restraint to a degree that is all too rare. It is also worth mentioning that they play "fully natural" trumpets - without vent holes. That's usually a recipe for some dodgy tuning, but all the trumpet lines here are spot-on.
 
As ever, Kuijken works in one-to-a-part mode with no choir. Joshua Rifkin would, no doubt approve, but the four soloists have to work hard to give these boisterous scores their due. The first chorus of the Easter Oratorio ( Kommt, eilet und laufet ihr flüchtigen) in particular sounds to me like a work for large choir, and while the singers give us the contrapuntal lines with valuable clarity, the chamber textures seem at odds with the spirit of the score.
 
No such concerns with the solo movements though, and each of the singers really makes the most of their various moments to shine. Alto Petra Noskaiová and bass Jan Van der Crabben are both competent purveyors of the Bach's solo lines. Neither excels, but the evenness of their singing has a value in itself. In particular, the fact that Crabben sounds equally at home in every part of Bach's bass register is an asset, and sets him apart from the bass soloists in other recent Bach cantata cycles. But both are outclassed by soprano Yeree Suh and tenor Christoph Genz, who put in some very special contributions. Genz demonstrates that you don't need to be in the very highest register to be a characterful and passionate tenor. Suh has an extraordinary voice, very pure and uncomplicated. She often sounds like a boy treble, and her sound might provide some welcome nostalgia for those who fondly remember the days when these top lines were always taken by boys' voices.
 
Sigiswald Kuijken has his fair share of admirers, who are likely to find much of this recording very much to their taste. The woodwind playing and the soprano and tenor arias in particular are up to the highest standards of this cycle. But, as with previous instalments, it is a mixed bag, and not everything hits the mark. That is a consequence, I suppose, of Kuijken's easy-going approach, which at its best combines spontaneity with a sense of intimacy that fully justifies the use of a minuscule ensemble (a Petite Bande indeed). Personally, I'd go for Suzuki or Gardiner every time, but if you find their readings too regimented and too detail-focused, then Kuijken might just be the man for you.
 
-- Gavin Dixon, MusicWeb International  
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Works on This Recording

1.
Easter Oratorio, BWV 249 by Johann Sebastian Bach
Performer:  Petra Noskaiová (Alto), Yeree Suh (Soprano), Christoph Genz (Tenor),
Jan Van der Crabben (Baritone)
Conductor:  Sigiswald Kuijken
Orchestra/Ensemble:  La Petite Bande
Period: Baroque 
Written: 1732-1735; Leipzig, Germany 
2.
Bleib bei uns, denn es will Abend werden, BWV 6 by Johann Sebastian Bach
Performer:  Petra Noskaiová (Alto), Yeree Suh (Soprano), Christoph Genz (Tenor),
Jan Van der Crabben (Baritone)
Conductor:  Sigiswald Kuijken
Orchestra/Ensemble:  La Petite Bande
Period: Baroque 
Written: 1725; Leipzig, Germany 

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