Bach Cantatas, Volume 22: Eisenach

by

John Eliot Gardiner

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Here I am again trying to praise to the highest degree yet another installment of the John Elliot Gardiner's "Bach Pilgrimage" that is being evidenced by these recordings of the Cantatas at different locales through out the world in the year 2000. (My understanding is that the Cantatas eventually are to be released, on CD, in their entirety by Gardiner and his forces or, at least, all of the ones now known to exist). This 11th release was recorded "live" at St. George's church, Eisenach, Germany, where Johann was baptized. This two disc 11th release (actually Volume 22) wonderfully maintains those very lofty standards that Gardiner and his forces have set previously. Volume 22 is filled with some of the most glorious choruses that I feel dear Johann ever penned. The Monteverdi Chorus and The English Baroque Soloist, playing on "original instruments", are splendid indeed. Listen to the very early and very familiar cantata "Christ lag in Todesbanden", BWV 4, on the 1st disc. That Cantata certainly finds JS Bach at his very best (and that's saying a whole lot). The rather operatic sounding cantata "Ein Herr Das Seinen" on the second disc is marvelous too. The performances, (as in the entire recording), in those Cantatas also find Gardiner and his forces at their very best delivering truly awe inspiring performances of the works. The works in Volume 22 were written for the "Easter Season" which is, of course, a very important time for all Christian churches and Bach in the works contained in Volume 22 certainly "rises to the occasion"--the works in this release are glorious in every way. Volume 22 contains some of the most "moving" music that I have ever heard! Although this release features some marvelous choral music, the soloists have plenty to do, and they do it very well!

Stephen Varcoe's bass voice has never been particularly appealing to me; however, in this recording, he delivers his solos admirably executing the "runs" trills, grace notes, etc., wonderfully. Again, tenor James Gilchrist, is most splendid singing his arias and recitatives accurately and beautifully easily meeting Bach's many vocal challenges--listen to tracts 13 and 14 of the 1st disc and tract 8 of the second disc. Male alto, Daniel Taylor, is good too singing with full rich tones--no "countertenor hoots" are to be heard. The two soprano soloists are "easy on the ear" possessing sweet light lyric and very flexible soprano voices.

Some fine examples of Bach's great instrumental writing are also very evident in Volume 22 with some wonderful trumpet, oboe, violin and cello obbligatos. I loved the lively "Sonata" that serves as an instrumental introduction to the cantata, "Der Himmell Lache" as well as the "Sinfonia" to the cantata

"Christ lag in Todesbanden".

Although, this is a "live" recording, the extraneous noise level is very low. One would never know that it is "live" if it were not so indicated on the "jacket" as such. Plus the recorded sound is marvelous being so clear, rich and full.

Per usual, Gardiner's notes (in the very nice booklet-type recording sleeve) are very informative giving the historical and religious significance of the works contained therein (I just wish that there were photos of the soloist--just a very minor quibble on my part--I do, however, really like the cover photos on all of the releases thus far--they are wonderful).

In conclusion, I adore this release, as I'm sure you will too, if you purchase Volume 22 of Gardiner's "Bach Pilgrimage"; it's truly wonderful.

Hogwood: Nothing to be done.

Jeggy: I'm beginning to come round to that opinion. You should have been a conductor.

Hogwood: I was (Gesture towards his rags.) Isn't that obvious?

Jeggy: So there you are again.

Hogwood: Am I?

Jeggy: I'm glad to see you back. I thought you were gone forever.

Hogwood: Me too.

Jeggy: Together again at last! We'll have to celebrate this. But how? Get up till I embrace you.

Hogwood: Not now, not now.

Jeggy: May one inquire where His Clipped Highness spent the night?

Hogwood: In a ditch with the Academy of Ancient Music.

Jeggy: A ditch! Where?

Hogwood: Over there.

Jeggy: And the critics didn't beat you?

Hogwood: Beat me? Certainly they beat me.

Jeggy: The same lot as usual?

Hogwood: The same? I don't know.

Jeggy: When I think of it all these years but for me... where would you be? You'd be nothing more than a little

heap of bones at the present minute, no doubt about it.

Hogwood: And what of it?

Jeggy: It's too much for one man. Come on, Hogweed, return the ball, can't you, once in a way?

Hogwood: (with exaggerated enthusiasm). I find this really most extraordinarily interesting . . . Let's go.

Jeggy: We can't.

Hogwood: Why not?

Jeggy: We're `Waiting for Bach'.

Hogwood: (despairingly). Ah!

Jeggy: That passed the time.

Hogwood: It would have passed in any case.

Jeggy: Yes, but not so rapidly . . . Let us not waste our time in idle discourse! (Pause. Vehemently.) Let us do something while we have the chance! It is not every day that we undertake a soothing, self-indulgent Bach Pilgrimage. To all mankind my performances on Soli Deo Gratia are addressed, those cries for `Anglicised Bach as Evensong' still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us make the most of it, before it is too late!

Hogwood: (aphoristic for once). We are all born mad. Some remain so.

The Ghost of Karl Richter enters: (in a rush). Mr. Bach told me to tell you he won't come this evening but surely tomorrow.

Jeggy: I say: that's rather awful. Why on earth not?

Ghost of Karl Richter: Well, Mister Bach heard your performances of Cantatas in Volume 22 and he's decided to spend time with Maestro Suzuki instead. He is astounded that anyone could attempt to `Handelise' these works but Jeggy, that's what in play here (the opening movement of 'Der Himmel lacht! die Erde jubilieret' (BWV 31) could almost be drawn from the Water Music). Come the opening bars of Christ lag in Todesbanden, the violins of the English Baroque Soloists sound like a cat in a feline Iron Maiden - MIAOW! The Monteverdi Choir is saccharine and affected in `Den Tod niemand zwingen kunnt' (and even here, you clip their phrases summarily - in contrast, my DG recording of this very movement from 1969 Bach: Cantatas sounds like it is coming from the other side of the River Styx) - and then your infamous jauntiness, to the detriment of any spiritual aspirations, takes flight in `Jesus Christus, Gottes Sohn'. Your bass - Stephen Varcoe - lacks projection, particularly in the lower register (`So stehe dann, du gottergebne Seele' & `Adam muss in uns verwesen' from BWV 31 are underwhelming to say the least). Jeggy, your decision to replenish the ranks of the Monteverdi Choir's altos with el cheapo counter-tenors is disastrous - one suspects that a parody is in play when they screech out in toto. Yep - not once does this bright vacuity translate into spirituality. On, I forgot: it has a `noice' cover.

He leaves.

HOGWOOD: Do you want a carrot?

Bach: Cantatas, Vol 1 (BWV 4, 150, 196) /Bach Collegium Japan * Suzuki

Bach: Cantatas, Vol 6 (BWV 31, 21) /Bach Collegium Japan * Suzuki

Bach: Cantatas, Vol 18 (BWV 66, 134, 67) /Bach Collegium Japan * Suzuki