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Bach: Cantatas Vol 22 / Suzuki, Bach Collegium Japan


Release Date: 09/30/2003 
Label:  Bis   Catalog #: 1321   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Yukari NonoshitaRobin BlazePeter KooyJan Kobow
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Number of Discs: 1 
Recorded in: Stereo 
Low Stock: Currently 3 or fewer in stock. Usually ships in 24 hours, unless stock becomes depleted.  

Notes and Editorial Reviews

This volume heralds the beginning of the most substantial and ambitious compositional exercise in Bach’s career: an annual series of cantatas in which the composer planned that every Sunday in the church calendar would be identified, textually and musically, by the appropriate chorale for the season. Bach’s second annual cycle – or Jahrgang 2 – was never completed but it contains around 40 chorale cantatas in which, most notably, the first stanza of the chorale is presented variously as an intricate fantasia on the chosen hymn, proclaimed with stirring fervour, usually by the sopranos. While Bach sought new compositional challenges here, he also knew that his boys at St Thomas’s would cope better with familiar chorale-based material than Read more the highly complex choruses which characterise the earlier cycle.

Suzuki’s approach to these cantatas is not strictly chronological as has often been the case. He starts with the first piece in the cycle, the splendid O Ewigkeit, du Donnerwort (No 20), which Bach performed on the first Sunday of Trinity (June 11, 1724) but jumps a week by missing out No 2 (with its strikingly austere stilo antico opening movement) and goes for No 7, and then chooses No 94 from a few weeks later. None of this has much bearing on the performances except that this formula seems to juxtapose deftly the wide range of forms used by Bach. The extended and graphic description of Christ’s baptism in Christ unser Herr zum Jordan kam (No 7), articulated by two concertante violin parts, is contrasted with the dazzling French overture of No 20. If the playing in the former is somewhat prosaic, Suzuki gives the majestic opening movement of O Ewigkeit such apt propulsion in the bass line that one only intermittently yearns for the more secularised elegance of Herreweghe.

It seems curious that two performances of No 20, released so closely, should employ the same tenor and bass soloists in Jan Kobow and Peter Kooy. Suzuki’s approach with both singers is rather more rhetorical than Herreweghe, who tends to irradiate the music for its own sake, enhanced by the cultivated strings of Collegium Vocale. Both have something interesting to say but Suzuki connects language and music with greater depth of sentiment.

As exemplary a work is Was frag ich nach der Welt (No 94), a substantial cantata whose librettist clearly worked in close collaboration with Bach, ensuring that each stanza of the chorale could be presented with disarming invention. The work is as eager to provide telling dramatic imagery as it is to ruminate on the transience of life and Mammon’s vanity. Bach makes instant demands on his virtuoso flute player who, judging by the number of obbligato parts from this period, was no slouch. It is a marvellous, fresh and abiding testament to Bach’s increasing obsession with unified and economical means. Suzuki realises its quizzical turns and relishes the enriching set-pieces.

Pieter Jan Leusink and Ton Koopman’s readings are full of character and ruddy energy (in the case of Koopman and the Amsterdammers, particularly distinguished instrumental performances) but neither can boast Robin Blaze’s commentary on our deluded world, Betorte Welt. All told, another success chalked up for this continually impressive Bach series.

Jonathan Freeman-Attwood, Gramophone [5/2004]
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Works on This Recording

1.
O Ewigkeit, du Donnerwort, BWV 20 by Johann Sebastian Bach
Performer:  Yukari Nonoshita (Soprano), Robin Blaze (Countertenor), Peter Kooy (Bass),
Jan Kobow (Tenor)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 
2.
Christ, unser Herr, zum Jordan kam, BWV 7 by Johann Sebastian Bach
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 
3.
Was frag ich nach der Welt und allen ihren Schatten wenn ich mich nur an dir, mein Jesu, BWV 94 by Johann Sebastian Bach
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 

Sound Samples

O Ewigkeit, du Donnerwort, BWV 20: Part I: Chorale: O Ewigkeit, du Donnerwort (Chorus)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Recitative: Kein Ungluck ist in aller Welt zu finden (Tenor)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Aria: Ewigkeit, du machst mir bange (Tenor)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Recitative: Gesetzt, es dau'rte der Verdammten Qual (Bass)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Aria: Gott ist gerecht in seinen Werken (Bass)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Aria: O Mensch, errette deine Seele (Alto)
O Ewigkeit, du Donnerwort, BWV 20: Part I: Chorale: Solang ein Gott im Himmel lebt (Chorus)
O Ewigkeit, du Donnerwort, BWV 20: Part II: Aria: Wacht auf, wacht auf, verlornen Schafe (Bass)
O Ewigkeit, du Donnerwort, BWV 20: Part II: Recitative: Verlass, o Mensch, die Wollust dieser Welt (Alto)
O Ewigkeit, du Donnerwort, BWV 20: Part II: Duet: O Menschenkind, hor auf geschwind (Alto, Tenor)
O Ewigkeit, du Donnerwort, BWV 20: Part II: Chorale: O Ewigkeit, du Donnerwort (Chorus)
Christ unser Herr zum Jordan kam, BWV 7: Christ unser Herr zum Jordan kam (Chorus)
Christ unser Herr zum Jordan kam, BWV 7: Aria: Merkt und hort, ihr Menschenkinder (Bass)
Christ unser Herr zum Jordan kam, BWV 7: Recitative: Dies hat Gott klar (Tenor)
Christ unser Herr zum Jordan kam, BWV 7: Aria: Des Vaters Stimme liess sich horen (Tenor)
Christ unser Herr zum Jordan kam, BWV 7: Recitative: Als Jesus dort nach seinen Leiden (Bass)
Christ unser Herr zum Jordan kam, BWV 7: Aria: Menschen, glaubt doch dieser Gnade (Alto)
Christ unser Herr zum Jordan kam, BWV 7: Chorale: Das Aug allein das Wasser sieht (Chorus)
Was frag ich nach der Welt, BWV 94: Was frag ich nach der Welt (Chorus)
Was frag ich nach der Welt, BWV 94: Aria: Die Welt ist wie ein Rauch und Schatten (Bass)
Was frag ich nach der Welt, BWV 94: Recitative and Chorale: Die Welt sucht Ehr und Ruhm (Tenor)
Was frag ich nach der Welt, BWV 94: Aria: Betorte Welt, betorte Welt! (Alto)
Was frag ich nach der Welt, BWV 94: Recitativo [&Choral]: Die Welt bekummert sich (Bass)
Was frag ich nach der Welt, BWV 94: Aria: Die Welt kann ihre Lust und Freud (Tenor)
Was frag ich nach der Welt, BWV 94: Aria: Es halt es mit der blinden Welt (Soprano)
Was frag ich nach der Welt, BWV 94: Chorale: Was frag ich nauch der Welt!

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