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Recordings & Discussions of Cantatas : Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion |
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Recordings & Discussions of Cantatas : Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion |
Cantata BWV 164
Ihr, die ihr euch von Christo nennet
Discussions
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Discussions in the Week of September 9, 2001 |
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Aryeh Oron wrote (September 10, 2001):Background This is the week of Cantata BWV 164 according to Peter Bloemendaal, the sixth one in his proposed list of cantatas for discussion. Although this is relatively unfamiliar cantata, it has a lot of beauty and charm. Alberto Basso wrote in the ‘Oxford Composer Companion - J.S. Bach’ that ”The cantata is notable for the variety of its aria forms, which do not include the typical da-capo structure.” But the rest of his short article is rich with factual data and poor with enlightening explanation that enriches the listening. For that purpose I shall return to W. Murray Young’s book ‘The Cantatas of J.S. Bach - An Analytical Guide.’ I shall skip the factual data, most of which appears above, and the text (original German and translation into English) for which I put above links to the relevant pages in other sites. “The Gospel, Luke 10: 23-37, dealing with the parable of the good Samaritan and with having pity on one’s neighbour’s suffering, is this time adhered to throughout.” The Recordings I am aware of only three recordings of this cantata. All of them are taken from the cantata cycles, which have been already completed. See: Cantata BWV 164 - Recordings. (1) Helmuth Rilling (1981-1982) (2) Gustav Leonhardt (1987) (3) Pieter Jan Leusink (1999) Review of the Recordings - Movement by Movement Mvt. 1. Aria for Tenor “There is dramatic quality about this initial aria sung by the tenor, who represents, perhaps, the good Samaritan. The swinging rhythm conjures up a pastorale scene along a country road, where the wayfarer denounces the lack of pity in those who pass on the other side of the road and ignore the wounded man.” (1) In the first round of listening to this cantata for this review I did not know who the singers were. But from the first notes of the tenor who sang in Rilling’s recording I assumed that he was neither Adalbert Kraus nor Aldo Baldin, the usual Rilling’s tenor singers. Both have lyric tenor voices, and here I heard dramatic voice with boldness and vigour. I find that Lutz-Michael Harder suits very well the demands of the opening aria. He declares the main message of whole aria, and this has to be done bravely, clearly, confidently and convincingly. And this is exactly whar we get in his rendition. After his declaration, one should have no doubt what the right direction is. Rilling chose wisely his tenor singer for this aria. (2) At first Leonhardt’s rendition of the opening aria sounded to me slower than that of Rilling. Comparing the playing time I was astonished to find that Rilling’s is 4:30, when Leonhardt’s is 4:28, which means that they are almost identical. The real difference is therefore not the pace, but the approach. Leonhardt’s rendition is more relaxed, where Rilling’s is more energetic. I like them both because they illuminate the aria from different angles. These conductors teach us that red-hot debates are in many cases unnecessary. This is also the main message of the whole cantata ‘love thy neighbour as you love thyself.’ Love your neighbour also means respecting his right to have a strong opinion, which might be different from yours. After hearing him so many times in previous cantatas, it was not difficult to identify Equiluz. He is a multi-faced singer, who has the ability to convey convincingly almost every feeling and nuance existing in the music and the text of the Bach Cantatas. Here he is bringing forth his sense for drama. Dramatic expression in Bach’s vocal works does not have the same meaning as in the operas of Verdi and Wagner. The drama should not necessarily mean strong and extrovert singing and over expression. In Bach’s works it must come from within and being conveyed in somewhat subdued way. Equiluz has it all. His voice is richer than that of Harder, and he reveals more hidden corners. However, I like them both. (3) Leusink prefers lighter approach and his singer, whose singing and voice are pleasurable and delicate, is not interested to handle the dramatic potential of this aria. I feel that he is saying to us, this aria has beautiful melodies, and its text can have different meanings. I shall not force my interpretation on it. Here it is, plain and simple. Take from it whatever you like. I can live with this kind of interpretation too. Is it Marcel Beekman? Interesting. Mvt. 2. Recitative for Bass “Quotes a paraphrase of St. Matthew’s text 5: 7: ‘Blessed are the merciful: for they shall obtain mercy’, followed by examples of those who are merciless: the priest, the Levite, and we other Christians who ignore the pain of our neighbour’s suffering.” (1) The bass singer in Rilling’ recording has compassion and mercy, which he conveys with authority of somebody who knows exactly what he wants. These feelings are expressed convincingly in every word, as it should be. I was somewhat surprised to find out that the singer was Walter Heldwein, whose singing had sounded to me occasionally a little bit stiff in some other cantatas. Here he outdoes his usual self. (2) Max van Egmond (with Leonhardt) is somewhat restrained in his expression. More expression, which he is surely capable of, would have made his interpretation more interesting. (3) Ramselaar’s singing (with Leusink) in this recitative is not interesting enough. It seems that he does not have a clear picture in his mind what he wants to convey in this recitative. Mvt. 3. Aria for Alto “The transverse flute accompanies the aria with a tender tear-motif to praise the love and compassion shown by the Samaritan. This feeling we should strive to emulate, in order to be like God.” (1) Tenderness and mercy are reflected from the alto singer’s expression, and her timbre of voice suits very well the mood of this aria. This is Julia Hamari, whose expression almost always leaves nothing to be desired. But here the technical demands of the aria are not very difficult, and she has no problem to handle also this aspect of the performance. (2) The playing of the flute in Leonhardt’s recording is captivating with its wooden ancient timbre and the easiness in which it is played. Esswood is showing himself hear as a master of humble expression. The singer and the player are enjoying performing together this aria. This is a really sublime rendition, which takes you to heaven. With this kind of performance you feel closer to God. (3) When the technical demands are not very high, and the expressive demands are not too varied, Buwalda can handle a Bach’s aria for alto almost as good as anybody else. He conveys the love and compassion naturally and effortlessly. The flute player complements him with tender playing, in which a special attention is giving to the tear-motif. Mvt. 4. Recitative for Tenor “Prays that he would practice true Christian love towards friend or enemy, heather or Christian, whose sorrow he will feel as his own. His final wish is ‘May my heart be rich in love, gentle and mind. Thus will Thy Likeness be transfigured in me’.” See Mvt. 1 above. Mvt. 5. Duet for Soprano & Bass “Accompanied by the unison playing of all the instruments, the vocalists sings the line in canon to convey beautiful imagery of hands, eyes and hearts, which begin alternate lines. These parts of the body should never be closed to any pain suffered by our neighbours, for the Lords will reward those who show compas. The duet is the most charming part of the cantata.” (1) The opening ritornello of Rilling’s recordings is both rich and tender. The wonderful soprano has a darker voice than either Arleen Augér or Helen Donath, the usual soprano singers in Rilling’s cycle. Edith Wiens singing has both warmth and inner deep sorrow, which I found irresistible. Her helpmate Heldwein responds wonderfully to her pain, supporting her by maintaining the same feelings he has shown in his recitative, conveying them with the same high level. This is a fascinating and heartfelt rendition. (2) In Leonhardt’s rendition the boy soprano shows expressive abilities and sensitivity which are relatively uncommon in boy sopranos. He is helped by Egmond, who does not try to compete with the boy, but to support him and complement him. (3) The opening ritornello of the duet in Leusink’s recording is bolder and sharper than in the other two recordings. Surprisingly, Holton and Ramselaar, who sang together many cantatas, do not reflect the empathy and the chemistry, which we have found in the other recordings. They are more competing than complementing each other, and this is definitely against the spirit of this duet in particular and this cantata in general. Mvt. 6. Chorale “Based on verse five of Elisabeth Kreuziger’s hymn ‘Herr Christ, der einge Gottes Sohn’ (Lord Christ, the Only Son of God). It is the same chorale that concluded BWV 22, but here it is more plainly sung, although its meaning is still fitting for the ending of this cantata.” (1) If this choir was supposed to be sung by the audience, than it is definitely justified to sing it with mixed choir, as Rilling choir is. This rendition reflects the feeling of a little kid coming home after a long absence and getting warm and loving embrace from his parents. (2) The singing of the combined choir of Tölzer Knabenchor and Collegium Vocale Gent with Leonhardt is precise and polished, if less flowing and less warm than Rilling’s choir. (3) The singing of Leusink’s Holland Boys Choir’s is less coherent than that of Leonhardt’s combined choir and dryer than that of Rilling’s choir. Conclusion I like all three recordings of this cantata, with no special preference. One last thing - the message in this cantata is unified and it is fascinating to follow Bach’s different ways of handling the same subject along the cantata. Therefore it is most recommended hearing it in one sitting without a pause. And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings. |
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Thomas Braatz wrote (September 9, 2001):The Text / Date of Composition and Performance / State of Original Score and Parts: See: Cantata BWV 164 - Provenance Comments on the Mvts (Musical Form and Content): See: Cantata BWV 164 - Commentary Recordings The recordings of BWV 164 that I have listened to are: Rilling (1981-82) (1), Leonhardt (1987) (2), and Leusink (1999) (3). Mvt. 1 (Tenor) (1) Rilling: The canonic theme that is announced by the 1st violins in measure 1 is immediately restated in measure 2 by the 2nd violins in what is a Canone all Unisuono. Note the legato statement of the 4 dotted quarter notes that comprise the main element of this theme. In contrast to this, Rilling decides to treat the moving triplet eighth notes (9/8 time signature) as staccato. Bach did not mark everything, in this case at the beginning of the mvt., so a conductor might think, "Now I can do whatever I want here." However, if you examine the score carefully, you will find these eighth-note triplet figures tied together under a single ligature as in the viola (measures 1 and 2), in the 1st violins (18-19), and all the strings except bc (28-31, and, once again, all the string parts in the entire ritornello (42-49.) These indications should not be overlooked, but rather considered as a strong directive by Bach on how he wanted these notes to be played - not staccato, not tenuto with tiny separations in between them. Rilling even changes the eighth-note triplet figures from Bach's 'dah?-ah-ah' to 'dah-ah dot,' in essence tying the first two eighths together and playing the last eighth as a staccato note. The effect of all this is like having a pastor harangue his congregation with serious admonitions placing more emphasis upon "so sind sie härter als ein Stein" ("hearts harder than stone") than "die Herzen sollten liebreich sein" ("hearts that should be kind.") Harder's presentation reflects this 'hard' line and this attitude is particularly evident when he sings the coloraturas beginning in m. 24 with the voice in the high range. Here the distinction between angry expression and the difficulty Harder actually has in singing these words becomes blurred. Note also that Harder sings, "Ihr, die ihr euch" without a breath or break after the "Ihr" although a comma exists in the text. Since, as Dürr pointed out, this mvt. is an example of the voice singing an instrumental line the way an instrument would play it, it sounds entirely suitable and appropriate to do it this way. Sometimes the combination of a strong nasal quality and a fast vibrato that characterize his voice becomes almost too much to bear. There is no momentary relief from all this intensity. Does Rilling follow the dynamic indications? No, he allows his instrumental forces to play 'forte' all the time. 'Piano' markings by Bach are found (I will not indicate the 'forte' markings because that is what is normally heard in all the recordings all the time) in measures 10, 16, 31, 53, 75, 91. I thought that most conductors of Bach's music were familiar with the concept of 'tiered' dynamics, but obviously this is not the case. (2) Leonhardt: Instead of treating the 4 dotted quarter notes as "dah, dah, dah, dah," Leonhardt has the violins play "Dee¯yah dot dah." In contrast to Rilling's version, however, the moving triplet eighth-note figures are now done correctly as Bach had indicated them. Listen to the unison playing of the strings, particularly the 1st violins. They are having serious problems trying to play the same notes together at the same pitch. This goes on through the entire mvt. and is very noticeable in the higher range (above the top line of the treble clef.) With his usual excellence, Equiluz presents not only the correct notes, but adds emotional expression that underscores the two opposing ideas - the 'hearts harder than stone' vs. the 'kind, generous hearts showing true mercy.' Who can not help being moved by Equiluz performance that demonstrates vocal control as well as complete understanding of the text? Of course, his voice sounds ideal when he does not have to 'force' it. When the latter occurs (as with the fast vibrato on the final note that he sings,) we need to remind ourselves that he has been singing publicly for at least forty years when this recording was made. Note also, how Equiluz treats the opening motif: At first, he hardly creates any kind of decisive break after the "Ihr" in "Ihr, die ihr." although the comma would normally demand it. In any case, we have a definite conflict here between Leonhardt's phrasing of this initial motif (see above) and the demands of the text. Each time this motif reoccurs, Equiluz makes less and less of an attempt to adhere to the rigid rule of commas, and decides in favor of the more musical treatment with no break whatsoever (listen to m. 75!) Actually he should have placed a slight break after the second 'ihr' because that is where Leonhardt wrongly places the bat the very beginning of the mvt. In order to provide a 'unified' performance of a Bach composition (or any similar polyphonic composer) it has always been my understanding that the players/singers must agree on how they will play or sing a similar motif (fugal subject, etc.) This is done not only for the sake of coherency, but also for the intelligent listener's pleasure which would be diminished if this were not the case. Phrasing, dynamics, embellishments must be the same or very similar. Why is this commonsense rule frequently abandoned in the Bach cantata recordings? What is so different about the cantatas, that less attention to detail is allowed? (3) Leusink: What's this? After the 1st two notes of the four-note canonic theme are played, the main motif suddenly recedes into the background and becomes prematurely an accompaniment to the bc. Doesn't Leusink recognize the entire theme? The bc is now back to Rilling's staccato treatment of the triplet eighth-note figures with each eighth note separated from the one that follows. The bc, as usual, is too loud, but listen to the difference in the violins! The unison playing is much more in unison than in Leonhardt's recording where two violins were not quite in tune with each other. Beekman sings the initial motif legato with all four notes of equal intensity and duration. This sounds to me to be the most natural and reasonable approach as it also provides a contrast to all the moving triplet eighth-note figures. The canonic effect is missed for the most part because the violins fail to play (or 'sing' out) properly the theme whenever it occurs. An egregious example of this is found in measures 57 and 58 (the second time the tenor finishes singing the words, "allzu weit") where the instruments are playing alone (no need to play softly,) but Leusink fails to make the theme become apparent. He thinks it is only part of an accompaniment to the bc. Vocally Beekman does quite well and is pleasant enough to listen to. His range of expression is very limited, but he does try to put a different emphasis on "härter" (measure 63.) He creates a beautiful musical phrase on "allzu weit" (the 2nd time this occurs) and I like the fact that a vibrato does not distract from the music and words as in the other two recordings. Leusink does not follow Bach's dynamics where there certainly are ample opportunities to do so. Mvt. 2 Recitativo (Bass) (1) Rilling: Heldwein has a strong voice that he modulates to good advantage in order to bring out the many different nuances contained in the text. There is no disturbing vibrato that might distract a listener from concentrating on the text. For any listener who happens to have this recording as well as any of the others that I have listed, here (in the Rilling version) is an opportunity to hear clearly the difference between the secco recitative as notated by Bach and played according to his notation as contrasted with those who subscribe to the Harnoncourt Doctrine: Leonhardt and Leusink, who, for no valid reason as far as anyone can determine, remove the sustained notes in the bc and replace them with a quarter note followed by rests. (2) Leonhardt: van Egmond sings sotto voce, but his expression of the text is very good. This is an art which he perfected, however this is not a full voice. It sounds as if he is always holding back, or that the voice simply does not have anymore to give. Leonhardt, for a reason known only to himself, decides to hold the first note in the initial secco recitative (before the arioso) for a full 9 beats, just as Bach had intended, but then, after the arioso, he reverts entirely to the Harnoncourt Doctrine. Perhaps this was a momentary, unconscious lapse on Leonhardt's part before he was suddenly reminded of his duty to his mentor Harnoncourt, in whose cantata cycle he was a participant. For the greater portion of this recitative it was entirely Harnoncourt's conception that prevailed. (3) Leusink: Leusink follows the Harnoncourt Doctrine utterly. Ramselaar has a clear voice with even less power than van Egmond's, but in contrast to van Egmond, there is a clear, but, unfortunately, constricted quality in Ramselaar's voice (the opposite of 'open.') There is less expression here - the main goal is to hit all the correct notes and sing the words as written. Mvt. 3 Aria (Alto) (1) Rilling: The two flute parts are clearly delineated. Of course, these are modern instruments, hence they are louder and more brilliant as well as a semitone higher than the other two recordings. In Hamari's voice I can hear the perception of the empathetic pain felt by the Good Samaritan, a pain that moves to compassion and mercy as the listener is included in this group: "Samaritergleiche Herzen" ("hearts that are like that of the Good Samaritan.") A very moving aria indeed! (2) Leonhardt: If you are fortunate enough not to be sensitive to relative intonation problems, then this is the version for you to enjoy. For me there is nothing but musical pain caused not only by the wooden transverse flutes not being in tune with each other, but also by Esswood's tendency to sing almost every note flat. Perhaps Leonhardt wants the listeners to feel the pain along with the Good Samaritan. Yes, I feel the pain, a pain of compassion that moves me to want to go to the musicians and show them exactly where the correct pitches of their notes should be. BTW the last long note that Esswood sings is in tune. Perhaps he is trying to let us know that he is aware of the correct pitch and that this aria was intentionally sung this way, thus artificially inducing pain in the listeners? (3) Leusink: The tempo is faster, but the wooden transverse flutes are in tune. The thin, reedy, expressionless voice of Buwalda seems to threaten to fracture at any moment and break apart. Buwalda occasionally cuts short certain note values, and at times he is in danger of being outperformed by the musical ensemble, an ensemble that, after all, is not very loud to begin with. Mvt. 4 Recitativo (Tenor) (1) Rilling: Harder always sounds like he has a cold. I have no idea why he changed a note in the recitative. It is very possible in a Bach recitative to add extra appoggiaturas, of this I am aware, but in this instance Bach has three consecutive Db's in a row on the words, "kalten Herzen." Harder changes the second Db to a C. I have checked the NBA KB to see if any variations in the sources are indicated. There are none that pertain to this change. (2) Leonhardt: Equiluz has some exquisite moments in this recitative which he delivers almost perfectly. In the middle of the recitative, he uses a bit too much vibrato (or has some difficulty controlling it,) but toward the end he gets better and better. Many tenors will need to listen to recordings of this quality to see what it is that they can learn from Equiluz here. There is magic in his delivery. I would like to attribute it to a genuine emotion that flows easily from the performer to the listener. This is a numinous quality that goes beyond any words that can be used to describe what is happening here musically. (3) Leusink: Beekman has a 'dead' quality in his voice as he hits all the right notes. There is little expression, and, as a result, this performance does not move the listener. Too much here is a matter-of-fact production of the music as it appears on the printed page. Mvt. 5 (Duet Soprano, Bass) (1) Rilling: The voices of Wiens and Heldwein blend quite well. This is a very reasonable, enjoyable performance of this music with all the canonic interplay between instruments and voices thoughtfully and clelucidated. (2) Leonhardt: While Rilling's version was more legato in style, this version is bouncy, dance-like with much staccato, foreshortening of note values, and the typical light tapping of notes that characterizes many of the cantata performances nowadays. However, somehow this whole mvt. does not hang together very well. The soprano boy, Wegmann, does some things well, but has difficulty with the moving eighth-notes at this faster tempo (too fast for him.) A vibrato on long whole notes does not help his intonation which is insecure at times (tends to go sharp.) Van Egmond's vibrato does nothing to improve the situation here. This is a joyless, perfunctory performance with only a few high points. (3) Leusink: The conductor has chosen a similar light, jumpy treatment, but this time, if you disregard Ramselaar's voice quality, you will hear more of the music contained in this mvt. as both voices (Holton's as well as Ramselaar's) are very suitably matched and capture wonderfully the complicated interplay of all the canonic figures. Here the voices are more like instruments in clarity and blend. The only thing lacking is expression of the words in the text. This, perhaps, is impossible at this fast tempo. Mvt. 6 (Chorale) (1) Rilling: This version is serious and slow. A few voices in the sopranos and tenors detract through their vibratos from the clarity of the vocal lines. (2) Leonhardt: There is a tendency toward heavy emphasis of each quarter note, a tendency not enhanced by his decision to insert a comma after "erweck" where there is none. This may otherwise be conceived as a feeble, artificial attempt to put expression into the singing of this chorale. Depth of feeling can not be replaced by a method artificially contrived and derived from following a musical doctrine. (3) Leusink: Here there is more legato. The final quarter notes under a fermata are too short. The soprano falsettists spoil an almost acceptable performance by swooping up with a yodeling glide to the word "den." Too bad that this could not be improved with better control. |
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Marie Jensen (September 11, 2001):This cantata BWV 164 (The Leusink version (3)) for the "Sunday of the Good Samaritan" is "liebreich, sanft und mild" to use some words from the tenor recitativo (Mvt. 4). It brings lots of associations. The siciliano rhytm in the opening tenor aria (Mvt. 1) reminds me of pastoral settings, where the story could take place, but also of a rocking cradle: a symbol of Gods love. The tender melody is sung a text about how hard a mans heart is compared with Gods. The melody has a slight melancholic touch , and now and then its tenderness is broken: for example: "Wo bleibet die Barmherzigkeit?" and "härter als ein Stein". If you remember BWV 179 , the tenor aria "Falsche Heuchler", reviewed a few weeks ago it was a strong reprimande about human hypocrisy. This text is too, but here is Gods love considered more important , embellishing the words in a completely different musical expression. Of course I don't know other versions. They might have a different mood. Charity is to take care of the helpless and fragile. Buwaldas voice has a fragile timbre which in this particular case suits the alto aria (Mvt. 3) with its two flutes well. This aria reminds me of a mother teaching softly an infant on her knee, perhaps because the aria is rather simple. The duet (Mvt. 5) has a beautiful text about what you give to your neighbour, God gives back in rich amounts. The bass and soprano could be Jesus and the soul as so often in these cantatas.The instruments feed the dialogue with energy every time they make a new entry. It is one of those dancing energy recycling (or should I say energy accumulating) arias I love so much. |
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Roy Reed wrote (September 13, 2001):Stunning shock, terrible sadness, rage, confusion!! How could it be? Can such hate be possible? I don't know who has passed by uncaring, but Good Samaritans are putting themselves forward in multitudes in New York City. And all over the nation people are coming forward to do whatever they can....give blood, give money, time, organize times of pray and sharing.... trying to find ways to come to the aid of their suffering neighbors. This cantata is so poignant for me at this terrible time, with its message of care for the suffering. It's message, and the gospel it interprets (Luke 10: 23-37) holds a word from Jesus that is more complex than the chastisement of the hypocrites and the encouragement of loving care. Jesus tells this parable in reply to the question, "Who is my neighbor?" It turns out that the neighbor is the heretic Samaritan outside my clan. I suppose this is the hardest message.... as the cantata puts it, that "my neighbor's woe, whoever he may be, friend or foe, heathen or Christian, may touch my heart as if it were my own sorrow." A colleague and I just sent a book off to editors whose title will be something like (depends on editors at Eerdmans) "Moral Courage, Forgiveness and Reconciliation." The latter two are a tough sell in the USA this day. There was an article in today's paper with the heading, "SHALL WE HATE BACK?" What is the source of such insane hate? Many things, of course, but up there at the top is religious fundamentalist fanaticism and xenophobic tribalism. And when these combine you have just the most evil force in the world. In this regard the histories of these three great religions, Judaism, Christianity and Islam have nothing to be inordinately proud about and much to be ashamed of. Shall we too rise up to the level of super-haters? Behind hate there are reasons...there are also malevolent, wicked evil persons, and I don't object to doing them in. Would that I could have put a bullet in Hitler's brain. But the multiplication of horrors is not the answer. Some brave souls must step forward to rectify injustices, step over the past and pave the way to a human future. Meanwhile Jesus heaps scorn on religious hypocrisy and lauds the outsider as true neighbor. Hard to hear today. I have two settings of BWV 164. Rilling (1) and Leusink (3). I vastly prefer Leusink, although the second flute in #3 is kind of shy. I very much appreciate the singing of tenor, Marcel Beekman (My kind of Bach tenor) and I think that the duet (Mvt. 5) of Ruth Holton and Bas Ramselaar is magic. |
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Andrew Oliver wrote (September 14, 2001):How up to date these cantatas are! Have we not seen a graphic demonstration this week of the cantata we have been considering? Mvt. 3 Nur durch Lieb und durch Erbarmen Werden wir Gott selber gleich. Samaritergleiche Herzen Lassen fremden Schmerz sich schmerzen Und sind an Erbarmung reich. Which Z. Philip Ambrose renders: Just through love and through compassion Will we be like God Himself. Hearts Samaritan in kindness Find the stranger's pain as painful And are in compassion rich. Many of us will have watched or heard or read about the selfless dedication of scores of members of the emergency services in New York, not to mention the strain which the medical services must be under. Why, I wonder, does it often take a tragic event such as this colossal devastation to bring out the spirit of the good Samaritan of which this cantata speaks? Many people there, on the spot, are demonstrating this spirit, but what of us? Sometimes, when there are natural catastrophes in the poorer parts of the world, the hearts of many around the globe are touched, and then perhaps we are able to demonstrate our concern by responding to appeals for aid. But what if a most unnatural catastrophe occurs in a pnation, rich enough not to need any financial or practical assistance from outside? Read the cantata. The important thing is to have a heart of compassion. If we are not in a position to give any practical assistance, we may still pray for those who are. If you do not believe in prayer, then simply run through your mind all those who need support: the injured, any awaiting rescue, the bereaved, those who do not know whether they are bereaved or not, those struggling to find survivors, the medical services, those who, though not in any of the above categories, have suffered the psychological shock of witnessing horrific scenes. Nor should we forget the distress felt by many of us far from the scene, who have witnessed these things indirectly. Nor, again, should we forget the wisdom that will be required by those in authority in dealing with the aftermath, because, without doubt, there will be repercussions. Consider the words of this cantata, set most effectively by the master composer, and hear the lessons they teach. |
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Harry J. Steinman wrote (September 15, 2001):(3) Well, I have only the Leusink version and have found this cantata to be a pleasant experience. A few thoughts... First of all, I found Buwalda's voice to be not just tolerable, but appealing in the alto aria (Mvt. 3). I wonder what it is that is different here; his voice does not labor or sound 'tight'. I thoroughly enjoyed the bass/soprano duet (Mvt. 5). I'm a sucker for duets; don't know why. That's just the way it is. I frequently listen to the cantatas in my car as I travel about (recently got a new car and my #1 criteria was to have a bitchin' stereo! ;D ) Anyway, I was very pleased with the movement. I don't understand any German; found it difficult to look for a translation at 55 miles per hour, and was just hoping that the libreto was something happy. It also seemed to me that the very first 2 notes of the 1st movement were the same as the very first 2 notes of the duet (Mvt. 5). I'm not sure what this means (I'm only a civilian in the world of music and Bach; not a technical genius like some of the contributors) but I liked the way this tied the two movements together. Well, not much to add to all of the other contributions...but I enjoyed this work. |
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Discussions in the Week of July 22, 2007 |
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Russell Telfer wrote (July 22, 2007):Introduction to BWV 164 Week beginning 22nd July 2007 Introduction to J.S.Bach's Cantata BWV 164 Ihr, die ihr euch von Christo nennet Ye who the name of Christ have taken Link: http://www.bach-cantatas.com/BWV164.htm The cantata was intended for the 26th August 1725 for the 13th week after Trinity. The work was previously discussed from 9th September 2001 onwards. This previous discussion was quite overwhelmed by the tragedy that erupted during that week. Text is taken from the Gospel of Luke 10: 23-37, dealing with the parable of the good Samaritan, having pity on one's neighbour's suffering and helping one's neighbours. For music scholars there are rich pickings here. Just as in the Art of Fugue (BWV 1080), Bach creates all manner of canon and inversion to weave his complex but seamless way through the verses, making each an object lesson of composition. In what follows the opening movement, the pattern of canonic treatment continues. The first may well depict the Good Samaritan on active service - the 9/8 rhythm calls in mind a rustic scene but one which, with its minor key, underlines the serious message that Bach is presenting. Note though that compared with the day of judgment theme of last week's cantata, this is almost a let off for Bach's congregation. The second verse is a recitative for bass with continuo accompaniment. The theme of the cantata is suggested by the words: Wir hören zwar, was selbst die Liebe spricht: Die mit Barmherzigkeit den Nächsten hier umfangen We've heard, indeed, what love itself doth say: All those with mercy who have here received their neighbour .. In the third verse we see a pattern shown elsewhere in the cantata but here with reduced forces, namely two flauti, the alto soloist and continuo. There is a reliance on four part harmony with much use of canonic variation and inversion: the continuo part is powerful, busy, and interesting: the movement is very compelling. There follows a fifteen bar recit for tenor with fully scored strings and continuo. Lovers of the Passions will know how riveting Bach's music can be when all the harmonies are 'strung tight'. In the penultimate (fifth) verse, the soprano soloist holds one top line whilst flutes, oboes and violins provide a beautiful interweaving counterpoint line. The bass soloist remains mostly in the baritone register and is underpinned by continuo. The final (sixth) movement: Ertödt uns durch dein Güte is also found in BWV 22 although here we have only the plain chorale without the superlative obbligato accompaniment of the other version. A review of available recordings is available on this link: http://www.bach-cantatas.com/BWV164-D.htm You will be able to read (amongst several useful contributions) two very erudite and comprehensive analyses by Aryeh Oron and Thomas Braatz. One of the virtues of our particular dedication is that our efforts remain of lasting value, and if there are occasional swings in fashion they do not impair the values that we have already invested. |
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Neil Halliday wrote (July 24, 2007):Russell Telfer wrote: >For music scholars there are rich pickings here. Just as in the Art of Fugue, Bach creates all manner of canon and inversion to weave his complex but seamless way through the verses, making each an object lesson of composition.< It might even be that the canon form - with its leader and follower - is a representation of the title of this cantata: "You (Christians) who are named after (or follow) Christ". In any case, in what may be seen as a kind of unifying element, the three main movements all have the opening vocal motifs at first presented in canon in the ritornellos: 1. In the tenor aria (Mvt. 1), at the unison in the 1st followed by the 2nd violins; 2. In the alto aria (Mvt. 3), at the fourth in the flutes (ie, the follower - 2nd flute - is an interval of a fourth lower than the leader); and 3. In the SB duet (Mvt. 5), in inversion (briefly) at the 12th (with the upper unison instruments leading the continuo). Moreover, the voices themselves begin with a canon at the octave (soprano leading bass). I have Rilling's recording [1]. The tenor aria (Mvt. 1) has rich four-part writing for the strings (including continuo), vividly presented in Rilling's recording [1]. Rilling's somewhat rigid articulation works well in this movement, IMO. (As pointed out by Thomas B., Rilling's phrasing has the slur over two notes, instead of Bach's phrasing with the slur over groups of three notes). Harder (appropriately named, in light of the text that refers to "hearts that are harder than a stone"!) endows the music with heroism tinged with desperation; the last long-held note on "Stein" accompanied by the final repeat of the canon on the `forte' violins is magnificent (here the 2nd violins lead the first). The text in this aria is repeated in a somewhat complex manner, as opposed to the more usual "da capo'form. Koopman [5] (sample) has a gentler, more flowing performance at the same speed. In the secco recitative (Mvt. 2), Rilling's [1] continuo strings are too strong (perhaps the double bass should have been omitted) and the harpsichord is weak. In alto aria (Mvt. 3), the BGA shows the initial motifs on the flutes minus the embellishment that is added to the corresponding vocal part, but I think Rilling [1] has made a musically satisfying choice by adding this embellishment to the flute parts as well. [This is the embellishment that is found in the leap of the sixth at the start of another aria concerned with "Erbarmung" (pity), namely, the `Erbarme dich' aria from the SMP (BWV 244)]. The fourth line of text has a characteristic chromatic treatment on the words "Schmerz" and "schmerzen"; second time round, these words have a figure reminiscent of the "falling leaves" motif in the alto aria of BWV 205. Rilling has one of the finest altos in his set, Julia Hamari. The accompanied recitative (Mvt. 4) has rich string harmonies expressively played by Rilling's modern string orchestra [1]. Personal note: I would prefer Bach to have finished on a major chord, rather than the minor, in order to represent "(Christ's) image", and to prepare for the more upbeat mood of the following duet. In the rhythmically lively SB duet (Mvt. 5), the six lines of text are presented (canonically) in three pairs of two; the soprano leads with the first pair of lines, the bass with the second pair, and the soprano with the third pair. The second line in this third pair: "God will Himself his heart give" is presented in a characteristically expressive manner with a construction in a partial cycle of fifths; for five bars the unison upper instruments, low on the treble stave (lower than the soprano), contrast beautifully with the vocal parts while the continuo descends in crochet scale passages. Finally the bass leads in a repeat of the entire text, pausing for a long melisma on "streben" ("strive") during which the soprano `catches up' with her text. The special timbre of the six non-continuo instruments playing in unison is a feature of this movement. |
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Jean Laaninen wrote (July 24, 2007):[To Russell Telfer & Neil Halliday] Thanks to both Russell and Neil for the detailed insights. I was glad for the opportunity to read both postings before fitting in the time to listen. Indeed this cantata does sound unified and the sweet and serious quality of the message is so nicely conveyed by Bach's choices. Of particular note to me was the use of the flutes in Aria 3, and now I will be listening as the weeks go by to observe the different uses Bach makes of flutes related to conveyance of emotion in the cantatas. Dürr mentions that the flute's sighing melody is meant to symbolize love and mercy, possibly in this case an interpretation of the work of the Spirit.. The final chorale, while in the nature of a petition for a focus to have a charitable mind, also seems to contain an element of triumph to my thinking thus blending in some manner the emotional directives of the preceding sections by creating a fushion of ideas that says in simple language to me--this is a good way to live. The chorale was new for me and gave me a very positive feeling about the ending. |
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Russell Telfer wrote (July 26, 2007):Neil Halliday wrote, with regard to the use of canon form: < It might even be that the canon form - with its leader and follower - is a representation of the title of this cantata: "You (Christians) who are named after (or follow) Christ". > A good point. I should have emphasised this. Neil's more detailed comments had me looking over the text again. I have felt that one or two of the cantatas under discussion (or due to be discussed) do not, unusually for Bach, match text to music as closely as they could. Bearing in mind the theme of love and compassion, is it not surprising that so much of BWV 164 is in the minor mode? As to Jean's remarks about the chorale, I would say: if it is new to you, you must listen to cantata BWV 22. Just as a jewel can have an even more brilliant case, so the Ertödt Uns chorale has an even more captivating obbligato. |
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Jean Laaninen wrote (July 26, 2007):[To Russell Telfer] Thanks Russell, I will check out Cantata BWV 22 after a bit. We are having intermittent monsoon storms here, and I've been turning my computer off and on today to protect it. But I'm always ready for a musical treat, and when mother nature calms down I'll listen. I have time today. |
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Nicholas Johnson wrote (July 26, 2007):One of Bach's most astonishing canons is hidden deep in the texture of BWV 682. |
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Neil Halliday wrote (July 26, 2007):[To Nicolas Johnson] Astonishing indeed! Not only is the cantus firmus in canon in both hands, the accompaniment begins in canon in both hands, all over a free pedal, resulting in music in five voices. This is complex music, needing serious study. (I'll check some recordings later, to see if I can actually hear the c.f. in canon). [For those who want to see the score, it's found in the BGA in Band 3, near the end of Clavierübungen Part 3, with the title 'Nun komm', der Heiden Heiland'; it's the second piece after the famous "Giant Fugue" BWV 680]. Fortunately, the canons in BWV 164 are much easier to appreciate! |
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Bradley Lehman wrote (July 26, 2007):Clavierübung and other facsimiles (was Re: Introduction to BWV 164)
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Neil Halliday wrote (July 27, 2007):Neil Halliday wrote: >For those who want to see the score (of BWV 682), it's found in the BGA in Band 3, near the end of Clavierübungen Part 3, with the title 'Nun komm', der Heiden Heiland'< My apologies, the piece is entitled 'Vater unser im Himmelreich'. (I should have recognised the tune). |
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Ed Myskowski wrote (July 29, 2007):Russell Telfer wrote: < Bearing in mind the theme of love and compassion, is it not surprising that so much of BWV 164 is in the minor mode? > 'Better to have loved and lost than never to have loved at all' Source unknown (?), very minor mode. More specific to the text of BWV 164: <Your hearts should be rich in love But they are harder than a stone> (Mvt. 1, Dürr trans.) My very first post to BCML included a reference to felsen herzen (heart of stone), which was in the text of the cantata of the week, as I recall. I will look it up, but not this instant. The point was to introduce myself as a geologist and stone carver, but not felsen herzen. This seems like an appropriate moment to mention it again. The text of BWV 164 is more about the failure of love, or our failure to love one another, despite Christ's sacrifice and example. Not to oversimplify, but you have to love (!) the example from Mvt. 2 <His eye that runs with tears; Yet our heart is not driven to love!> That seems to be as true in our day as in Bach's. If you think about it too much, even minor mode is way too optimistic. OTOH, we are listening to and discussing music, with occasional points of agreement. It's a start. |
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Ed Myskowski wrote (July 29, 2007):I previously wrote: <My very first post to BCML included a reference to felsen herzen (heart of stone)> I intended 'felsen herzen', the German phrase, to appear in italics, to inidcate that it is not English. Alas, this function has worked in the past, but not today. At least as the post appeared in my mail. Apologies for any confusion. To emphasize: I am neither 'felsen herzen' nor stoney-hearted. Just the opposite, I like to th, although you are free to form your own opinions. |
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Russell Telfer wrote (July 29, 2007):Ed Myskowski wrote: < That (our failure to love one another) seems to be as true in our day as in Bach's. If you think about it too much, even minor mode is way too optimistic. OTOH, we are listening to and discussing music, with occasional points of agreement. > Well! Some music heavily in the minor can be a little cheerful, but into which mode would you move to express something even more downbeat? On your major point I do agree with you. You can see that Bach, as an intelligent and humane man, had a wide awareness of human nature and of all the flaws in human behaviour, which are of course much more visible in others than ourselves. (!) >occasional points of agreement....< Rather more than occasional, surely? How often do you have a vigorous exchange of views about oboe da caccia with the fellow next to you on the commuter train or the Clapham omnibus? |
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Ed Myskowski wrote (July 30, 2007):Ed Myskowski wrote: << That (our failure to love one another) seems to be as true in our day as in Bach's. If you think about it too much, even minor mode is way too optimistic. OTOH, we are listening to and discussing music, with occasional points of agreement. >> Russell Telfer wrote: < Well! Some music heavily in the minor can be a little cheerful, but into which mode would you move to express something even more downbeat? > Twelve-tone (equal temperament required?) still seems to have the ability to partly empty concert halls at intermission, and stimulate letters of protest to the papers, in my area. This does not say anything about the composers intent, more about the audience's expectations. Bach had the luxury of texts based on unquestioned theology, the audience pretty much locked in. Perhaps Bach deserves the credit for consolidating , or even inventing, the association of major and minor modes with upbeat and downbeat moods? < On your major point I do agree with you. You can see that Bach, as an intelligent and humane man, had a wide awareness of human nature and of all the flaws in human behaviour, which are of course much more visible in others than ourselves. (!) > >> occasional points of agreement.... << < Rather more than occasional, surely? > Certainly, but I meant to emphasize that even bits of agreement are reason for optimism. I do think that the energy and word-count spent on disagreement on BCML are much the greater part. Perhaps about the same proportion as the world at large? Or perhaps we do a bit better than average? No worse, I don't think. Mentioning a passion for Bach's cantatas to your commuter mate on train or bus is not likely to strike a chord (major or minor), but could be worth a try? You never know. I agree with your perspective on Bach's awareness of human nature, but I am not so sure that it agrees with Bach's Lutheran theology, which leaves us in delicate territory. I am going to continue with a separate post re BWV 178. |
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Alain Bruguières wrote (July 30, 2007):Ed Myskowski wrote: < Perhaps Bach deserves the credit for consolidating , or even inventing, the association of major and minor modes with upbeat and downbeat moods? > I'm not so sure (meaning that 'perhaps' conveys a degree of certainty superior to my own on this). For one thing it seems to me that the association major/minor <-> upbeat/downbeat mood pre-exists Bach. It's certainly there in Purcell's music, for instance, but I would suspect that it is as old as major and minor themselves (but on that I'm not competent). Besides, it seems to me that Bach transcends such simplistic relationships. To me many a piece in a minor key sounds pretty cheerful, and the converse is true also. Besides, Bach sometimes combines major and minor simultaneously (I think this happens in certain chorale fantasias, with the chorale melody in one mode and the ritornello in the other mode). |
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Jean Laaninen wrote (July 30, 2007):[To Alain Bruguières & Ed Myskowski] To augment what Alain is saying, this morning I read in Schweitzer that Bach was neither a pietist or a truly orthodox Lutheran, but rather a mystic. As such minor tonalities would have expressed joy at times for him because mystics long to be one with their creator. Schweitzer explains that Bach's mystic center was his strength in withstanding so much of the trouble he encountered, and while Bach was happy with many aspects of his life he viewed death as something sweet as revealed in some of his compositions. The major/minor thing is also abundant in varying ways in Schütz, where the bitter sweet qualities are so engaging, though it was not perhaps used in the same manner as you have included in your discussion. I hope this is helpful. |
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Julian Mincham wrote (July 30, 2007):[To Alain Bruguières] Bach's relationships with major/minor modes are extremely complex and certainly do not relate to anything as simplistic as 'upbeat' and 'downbeat' emotions. Try reading a stanza before you hear the cantata and attempt to guess whether Bach set it in the major or minor. My bet is that you will get it wrong as often as you get it right. For example the fantasia to BWV 8 ('When will I die'?) is set in the 'bright' key of E major and I can give many similar examples. One of the ways in which Bach pulls off this enigmatic approach to the expressive use of modes is his use of the notes which differentiate the major and minor scales (in both the main melodic line and the harmony) where they are not expected. For example in E major the three notes which principally determine whether an E scale is minor or major are G, C and D naturals (in the major scales they would be all sharps) In BWV 8 these notes are all prominent in the ritornello ----D (bars 1/2 ) C ( bar 3) and G (bar 9). These notes soften the major scale by imbuing it with 'minor' elements---a case of appearing to use neither traditional major or minor modes but 'Mijer' as a colleague once quipped. Such examples abound and an excellent one is the alto aria from BWV 33 where the three mode altering notes occur in the first 4 bars of the ritornello. |
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Paul T. McCain wrote (July 31, 2007):There is also about on this list what I believe to be a confusion of Pietism with orthodox Lutheranism, when it comes to a certain view of life. The thought that orthodox Lutheranism precluded enjoyment and zest for life is entirely incorrect. In fact, it was precisely Pietism that introduced the dreary legalism that is confused with any form of religious conservatism. Bach was an orthodox Lutheran. He enjoyed wine, women (his wives) and song. Pietism, on the other hand, spent too much time focussed on making sure people were not having too much fun at anything. |
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Jean Laaninen wrote (July 31, 2007):[To Paul T. McCain] You are correct, here. Thanks for making these points. |
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Russell Telfer wrote (July 31, 2007):Twelve tone music [was: Introduction to BWV 164] I asked: << Some music heavily in the minor can be a little cheerful, but into which mode would you move to express something even more downbeat? >> Ed Myskowski replied: < Twelve-tone (equal temperament required?) still seems to have the ability to partly empty concert halls at intermission, and stimulate letters of protest to the papers, in my area. This does not say anything about the composers intent, more about the audience's expectations. > Right. Sir, you touch on one of my hobby horses. About "equal temperament" and atonal system I am not disinterested! Whereas you are certainly right in what you say, and it answers my question, it is not IMO a satisfactory answer. The very worst atonal music is a not a steep downwards step into a deeper pit of misery. It does not make me downcast nor remind me of the funerals of loved ones; merely it irritates. At one time I had a collection of the finest atonal music written in the nineteen sixties. I really don't know what I was doing. Who was I trying to impress? Eventually I began to see that the vast majority of atonal music had no lasting value. |
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Harry W. Crosby wrote (July 31,2007):Russell Telfer wrote: "At one time I had a collection of the finest atonal music written in the nineteen sixties. I really don't know what I was doing. Who was I trying to impress? Eventually I began to see that the vast majority of atonal music had no lasting value." Well, I have no illusion of being capable of pronouncing eternal verities, but I feel indebted to Russell for crystalizing my inchoate conclusions about atonal music so perfectly and in such few and pithy terms. Esteemed Sir: Right on! Harry W. Crosby |
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Russell Telfer wrote (July 31, 2007):Harry W. Crosby wrote: < Well, I have no illusion of being capable of pronouncing eternal verities, but I feel indebted to Russell for crystalizing my inchoate conclusions about atonal music so perfectly and in such few and pithy terms > Thank you Harry! I could have much more to say about this. I meant to add OT (Off Topic) to this thread variation, and have done so now. What we need is for another member to direct us to a site where we can vent our frustration at wasting part of our lives listening to 'music' which obeys none of the rules that we think govern the musical universe. |
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Ed Myskowski wrote (August 1, 2007):Russell Telfer wrote: < I asked: Some music heavily in the minor can be a little cheerful, but into which mode would you move to express something even more downbeat? > << Ed Myskowski replied: Twelve-tone (equal temperament required?) still seems to have the ability to partly empty concert halls at intermission, and stimulate letters of protest to the papers, in my area. This does not say anything about the composers intent, more about the audience's expectations. >> < Right. Sir, you touch on one of my hobby horses. About "equal temperament" and atonal system I am not disinterested! Whereas you are certainly right in what you say, and it answers my question, it is not IMO a satisfactory answer. The very worst atonal music is a not a steep downwards step into a deeper pit of misery. It does not make me downcast nor remind me of the funerals of loved ones; merely it irritates. > I am going back a bit in the thread, to my last comment and response, but I have read subsequent posts by Russell, Harry, Jean, Alain, and more. Welcome back Julian, even if not specifically on the twelve-tone issue. Your comments on the complexity of even the major/minor relations in Bach were in agreement with what I hear, although I don't express the technical details as well as you do. Your comment on the specific notes which make the key change are very valuable to have in the BCW archives. The details accumulate. To paraphrase (correct me if I misunderstand), the harmonic relations are about surprise and innovation, so if you are listening with expectations, you will be surprised. Perhaps irritated? I raised the twelve-tone issue more to be humorous than provocative. You will not be surprised that I was not surprised that it turned out to be provocative as well. A bit more than a year ago, before I was hip to some of the long-standing BCML issues, I mentioned in passing that Craig Smith of Emmanuel Music had once said that there were no intervals in twelve-tone music that Bach had not used first. I was unable to recover a written reference at the time, and I have not tried again. In the subsequent year of listening, I have heard many recitatives which I find supportive of the thought No one has disclaimed the statement. Neither has anyone acknowledged it (a point often missed BCML). One more fertile project for the grad students. Not a joke, degree possible at the end of the quest. Given the current research that suggests that Bach's intervals may not have been in equal temperament, should we give twelve-tone another chance with a bit of a tune-up? Or face up to the fact that there is a lot of music written in the current (Bach's, ours, any old time) vogue, most of which does not survive for the ages. However enjoyable (or not) it may be at the moment. I took special notice of Jean's comment re Schütz, and major/minor tonality. John Harbison was commissioned by the Vatican to write a piece, which I have not heard. He commented in passing, with respect to another composition ('But mary Stood' previously noted), that he submitted many samples to the Vatican. They invariably preferred the major mode, a preference which dates back to the 14th century. I pass that anecdote along, and close, without further research or opinion, although it is rich with innuendo. Thanks to Russell, for the comments which brought out discussion. < At one time I had a collection of the finest atonal music written in thenineteen sixties. I really don't know what I was doing. Who was I trying to impress? Eventually I began to see that the vast majority of atonal music had no lasting value. > It's that durable, lasting, minority that you want to hang on to. If only we could tell which is witch, in advance. I do agree, I have heard a lot of bad, atonal music. I have also heard a lot of bad tonal music. Not better or worse, just more familiar. |
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Ed Myskowski wrote (August 7, 2007):BWV 164 recordings There are only a few recordings of BWV 164. Three were available for the first round of discussions, and two have been added since then: Koopman [5] and Kuijken [6], neither yet commented on. Kuijken is a partial set in progress, all the others are from already completed sets. I originally intended to add a few thoughts on Koopman, but then decided to wait for the the Kuijken for comparison. This leaves me way behind the current discussions, which look to be getting a lot of comments. Both Koopman [5] and Kuijken [6] are in the HIP (or non-traditional) style, Kuijken very much so, with OVPP for the chorus/chorale. In relation to posts in the first round of discussion, they are most comparable to Leusink [3], especially with regard to comments on tempo. If Rilling [1] is the traditional standard for Mvt. 5 (S/A duet), and Leusink is quick, Kuijken is even quicker. I had only acquired the Koopman [5] as a fleeting BRO bargain, and I nearly overlooked that BWV 137 and BWV 164 are sequential, matching the chronology of our discussions. This instance is unique for Koopman, as best I can tell, although there is a loosely chronologic layout to his volumes (three CDs each). In any event, I enjoyed listening to the two together. The contrasts in texture and instrumentation are extreme. If these are indeed 'Jahrgang III' (or even if not exactly that), Julian's earlier question about Bach's intentions with these compact works is stimulating. I don't have any proposed answers, but I would like to acknowledge that the question makes me think. I was originally prepared to write a few words about why I find Koopman's BWV 164 [5] the best choice. After comparing Kuijken [6], he has some superior points, but Koopman remains slightly preferable, IMO. The overall sound of Kuijken becomes a bit 'edgy' with repeated listening. I wonder if this has anything to do with recording engineering intended for the SACD format? Incidentally, this format does indeed seem to be completely compatible with conventional CD player. I would be interested to hear others' opinions on this point. The Koopman performance is more balanced, or flowing and smooth as noted by Neil H., especially in Mvt. 1. The Mvt. 3 aria is a female alto for both, Bogna Bartosz with Koopman [5] and Petra Nioskaiová with Kuijken [6]. Both are excellent, clear voices with minimal vibrato. I find this welcome variety (not necessarily better) from the more typical HIP counter-tenors. As I understand it, neither choice (male or female) is 'authentic' nor 'correct'. The mdifference between the two recordings is in the tempo, with Kuijken much slower at 4:17 vs. 3:47. In a direct comparison, I find the slower tempo preferable, but both sound good in the context of an overall performance. The Mvt. 5 tempos are reversed, so the total times are misleading, 16:08 for Kuijken [6] vs 15:22. In fact, the most noticeable tempo in either version is the speed of Kuijken's Mvt. 5 at 3:15, compared to 3:47. The lean orchestration is nicely balanced with the vocal duet, and the tempo sounds energetic rather than forced. The contrast with Mvt. 3 is likely the intent, as if one of the performance objectives is to extract maximum contrast from the minimal forces. The continuo accompaniment by Kuijken [6] in Mvt. 2 is indeed continuous. Koopman [5] sounds choppy, by comparison, on this detail, often commented on BCML. I find Kuijken's sound preferable, whatever its scholarly correctness. This detail is not likely to be the reason for choosing one recording over another. The OVPP chorale texture of Kuijken [6] is balanced and unhurried. It makes a fitting, and contrasting, conclusion to this energetic performance. Even if OVPP is not your first choice, it is worth sampling the recordings to enjoy the chorale texture. |
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Cantata BWV 164 : Complete Recordings | Recordings of Individual Movements | Discussions |
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