Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monterverdi Choir, The English Baroque Soloists, Gardiner
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Free Music Notes for Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monterverdi Choir, The English Baroque Soloists, Gardiner
Free Music Review: Sublime music, fine performances
Hit: 5 Stars
Bach's cantatas were some of the finest music to come out of the high Baroque, and these two are justifiably among the most famous. Especially in view of their quality, the cantatas are underperformed. Gardiner did all of us a favor by championing them.
To judge this disc by the music on it and not its labeling (which did not confuse me), it deserves a high rating. This music does deserve a period instrument, historically informed performance. The instruments produce clear lines rather than romantic lushness. And Gardiner's interpretation is vigorous rather than reverential. This is most obvious in the famous (and much transcribed) movement no. 4, the "Zion h?rt die W?chter singen" choral, from the "Wachet auf" cantata. There are painfully slow, reverential performances of this music that seem to be plowing through molasses. That's how Karl Richter recorded it. Gardiner, in comparison, takes it at a gallop, and the music comes alive. It's wonderful.
Free Music Review: READ THE SMALL PRINT
Hit: 2 Stars
In the year 2000 John Eliot Gardiner, together with his colleagues here the Monteverdi Choir and the English Baroque Soloists, to say nothing of some distinguished solo performers both vocal and instrumental, famously pursued what they call a Cantata Pilgrimage in which they recorded all Bach's surviving cantatas in various churches round the world on the liturgical dates for which the music was intended. On the back of the record box here you will see a logo 'Bach Cantata Pilgrimage'. On the front you will see imaginative photography suggesting travel, along with Bach's picture. The first page of the liner leaflet consists of two things - a short statement by Gardiner written in 1999 and laying stress on the significance for Bach of the millennium year, and an editorial note saying that 'Gardiner...will perform all the surviving church cantatas during...2000'. If you happen to look in less prominent places you will discover that these performances have, er - NOTHING TO DO with the year 2000 or with what we normally think of as the Cantata Pilgrimage that has been so successful. They were actually recorded in 1990 and issued by DG in 1992.
In reviewing any classical cd I normally expect to be concerned with the performance and recording above all else. Moreover I have reviewed several issues from the authentic Pilgrimage series with unalloyed enthusiasm. However in the last resort I believe that a reviewer has to be concerned with the production in toto, and I disapprove so strongly of this kind of marketing that I am prepared to scale down my evaluation drastically, despite the distinguished musicianship. Here we find two of the best known of the cantatas - Wachet Auf ('Sleepers Awake') and the top favourite of them all, no 147 with the chorale often called in English 'Jesu joy'. In fact even if this had been part of the real Pilgrimage series it would not have been my favourite. I adore the cantatas themselves, the singing and playing are of a high and consistent quality (and the countertenor is the one whose tone I like better than all others' combined, Michael Chance), and the disc gives fair value in terms of quantity with 55 minutes of music. I think my reservations pertain really to the recording. It is 'good', it is 'faithful', but it is rather lifeless and there are definitely one or two signs of strain in the higher registers, for example in the first chorus. For performances given in the more severe style of interpretation, using authentic instruments and favouring for the most part brisk tempi, this kind of sound is not the best or most appropriate. 'Jesu joy', to take the most obvious case, is charmless here, which should never be so under any circumstances or at any speed.
I take no pleasure whatsoever in submitting an unfavourable notice when the performers are musicians I admire sincerely and they are performing (I guess) well up to standard. However I prefer to be dealt with in a more open and straightforward manner by the producers and editors, I feel strongly that the way in which the production and editing have been done is almost certain to create a false impression in many quarters, and on top of that I am unravished by the recorded sound. However these two cantatas must either have been already issued or be slated for issue before long in the Pilgrimage series proper, and I look forward in due course to being able to recommend those performances and recordings as warmly as I have already recommended those among their companions that I know so far.
Free Music Review: a voice teacher and early music fan
Hit: 5 Stars
STUNNING RENDITIONS OF TWO OF BACH'S MOST ATTRACTIVE CANTATAS!
Without a doubt these are two of Bach's most attractive cantatas, and fortunately for us are performed by the very excellent Monteverdi Choir under the direction of John Eliot Gardiner, who is probably the leading authority on the music of Bach. The soloists are the best and sing with great skill and emotion.
The first cantata 'Wachet auf,ruft uns die Stimme'opens up with a rousing chorale familiar to most of us. The tenor voice of Anthony Rolfe Johnson announces 'He comes, He comes, the Bridegroom comes!' A conversation takes place between the Soul (soprano-Ruth Holton) and Jesus (bass-Stephen Varcoe): "When comest Thou, my Saviour?".'I come now'. Holton sounds so much like a boy soprano that I had to keep checking the line-up; but this partially explains why the Monteverdi Choir does not need boy sopranos to get the correct baroque sound; their sopranos have light, breathy sounds that lend themselves to the kind of music they frequently sing. This cantata was written for the 27th Sunday after Trinity which took place on Nov. 25th,1731.
The cantata "Herz und Mund und Tat und Leben" was written for the fourth Sunday in Advent, Dec. 20,1716, and is based on the Gospel reading: Luke 1:39-56. This text takes Mary's words (Magnificat) as the paradigm for personal Christian proclamation, thus encourging the congregation to bear witness to Christ freely. When I first listened to this disc, it seemed to be over before it started; I enjoyed it so much.One of the high points for me personally was the exquisitely beautful "Schame dich, o Seele, nichtu" sung so emotionally by Michael Chance (countertenor), who, in my opinion, sings Bach better than anyone else anywhere.
Free Music Review: One small correction
Hit: 4 Stars
The Amazon listing for this disk shows a release date in 2000. Actually, this disk was originally released in 1992 and re-released in 2000. At least one of the guest reviewers also says it was recorded in 2000. I have the disk and consider it to be excellent, my only reservation being the recording itself which is not quite up to the technical quality of the Gardiner/Bach recordings actually made in 2000.Free Music Review: Rolling Thunder Cantata Review...
Hit: 4 Stars
Imagine being clueless about the "Bach Cantata Pilgrimage" of 2000: John Eliot Gardiner, the English Baroque Soloists, and the Monteverdi choir toured various churches in europe while performing the extant Bach church cantatas on the days they were written for. Who could imagine a better gig? Definitely beats out all of the stinky and smoky bars I played in some years ago.Bach's cantatas are a wellspring of music; some of his most famous melodies originated in a cantata. The obvious standout here is "Jesu, Joy of Man's Desiring" from cantata BWV 147. This is usually heard in isolation on "Classical Greatest Hits" type CDs and typically without the vocal parts. I don't know if modern music listeners in general can't stomach classical style singing or what, but I find it hard to hear this piece without the vocals; they add another dimension that the melody played on a solo organ lacks.
As with everything, there are multifarious ways to interpret music. This particular interpretation may not be for everyone, but it has it's own energy and style. It does have an authentic sound to it, as if the music is being played in a church (which is what it is intended for, for what that's worth) in front of a penitent congregation. Still, it's enjoyable in its own right, and worth a listen.
The Cd booklet contains the text for all the vocal parts, a history of Bach related to the cantatas, and some words by Sir Gardiner himself. Nice package all in all.
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