Cantata BWV 71 - Discussions

Suzuki - Vol. 2

Ryan Michero wrote (December 20, 1999):
[9] If Vol. 1 was a bit tentative, Vol. 2 is where Suzuki and the BCJ really hit their stride. It includes great performances of two "favorite" cantatas (BWV 106 and BWV 131, the latter a particular favorite of Suzuki) and one lesser-known piece (BWV 71). This is an essential volume!

BWV 71 - "Gott is mein König"
Suzuki and company turn in a rousing rendition of this celebratory early Weimar cantata. While the choral singing is fine, the soloists (Suzuki, Mera, Türk, and Kooy) steal the show in their "soli" sections, blending their voices beautifully. Two aria performances deserve special mention: the lovely bass aria with great singing by Kooy and chill-inducing wind playing, and the extrovert alto aria which features fine period trumpeting. Suzuki conducts with brilliance and pomp in the big outer movements and with sensitivity in the arias and the quiet, strange "turtle dove" chorus.

Discussions in the Week of April 2, 2000

Aryeh Oron wrote (April 2, 2000):
Background

This is the week of cantata BWV 71, according to Jane Newble's suggestion. Like the other early cantatas, discussed in this group in the last couple of weeks (BWV 131, BWV 106 & BWV 54), I see this cantata as a complete unity of music, whose individual movements cannot be separated or cut out and performed individually.

For some background on BWV 71, I would like to quote from the linear notes to the Teldec recording, written by Ludwig Finscher:
"BWV 71 is Bach’s oldest council election cantata, altogether one of his earliest cantatas, and from the point of view of style an almost completely antiquated piece. The text consists of quotations also applicable to the inauguration of the council and free city’s secular lord, Emperor Joseph I (last movement), while the composition is a sequence of motet-like or concertante miniatures, emphasizing with the greatest care and simple conciseness every rhetorical detail. The treatment of the orchestra too, with its four-choir element, and the division of the chorus into ripienist ensemble vocalists and soloists are in the Middle German tradition. Nevertheless the work is rich in small, often insignificant individual traits: for instance the gentle endings of the outer movements, the intensive text interpretation of the choral embellishments in the second movement, the veritably coloratura through bass figuration and the psalmody-like conclusion of the penultimate movement. And no less worthy of note – as the ‘most modern’ part of the work – the magnificent fugue for the vocal soloists in the last chorus."

Personal Viewpoint

And something personal:
Usually, I read the English translation of the German text of the cantata under discussion, for the purpose of understanding it better. But this time I made something more. I translated BWV 71 text to Hebrew, based on some of its English translations. Consequently I found out that according to the text, there is a place for an interpretation which will emphasis the solemn and melancholy mood hidden in this cantata (at least in the second movement). However, most of the recordings tend to ignore this side of the cantata. Sorry that I cannot transfer to you the Hebrew translation, because my e-mail do not support Hebrew, and I believe that yours too.

Review of the Recordings

During last week I have listened to 6 recordings of this cantata. Hereinafter are my impressions.

[3] Kurt Thomas (1959)
Based on previous reviews of Kurt Thomas Bach recordings, some of them have been discussed in this group, I had low expectations from this one. But he surprised me in his recording of BWV 71. Firstly, the singers. All of them are born Bach singers, on a very high level, if not suitable to contemporary taste. Secondly, the conducting. Maybe the festive nature of this cantata awakened Thomas to life. Usually his conducting tend to be stiff, slow and heavy, but not here. Yes, it is slow, but it is also very vivid. I enjoyed this recording very much.

[4] Helmuth Rilling (1975 + 1982)
This is a very strange recording. It was recorded in 3 separate occasions (Jan. 1975, June 1975 and Feb. 1982). That it the reason it has so many solo singers in the list. It is legitimate of course, but I feel that the music should be treated with more respect. I believe that a cantata should be recorded at one occasion, like it was performed originally. In that way all the participants keep the flow of ideas from one movement to the other and the spirit of the work is preserved. I do not have any complaint about the singers. All of them do a competent job. But they should avoid participating in such an arbitrary rendering of this wonderful work of art. Regarding Rilling’s approach, it is very similar to that of Thomas, with brighter playing of the orchestra.

[5] Nikolaus Harnoncourt (1977)
This is one of the cases when Harnoncourt succeeds in cutting the flow of the music and breaking it into small pieces. All the enthusiasm in this cantata is getting lost. It is not a festive occasion. It is also not a solemn occasion (as could be interpreted based on the words). It is uninteresting. The good singing of some of the singers does not compensate, because they also avoid expressing their feelings. This recording is faster then that of Thomas but sounds slower!

[6] Hans-Joachim Rotzsch (1981)
Rotzsch was the Tenor in Thomas recording of the same cantata and succeeded him as the St. Thomas Kantor (between them served Mauersberger). His conducting shows that he has learnt something from his predecessors. Everything works well in this middle of the road rendering – the balance between the various parts, the tempi, the festive atmosphere, the enthusiastic singing of the boys-men choir, the vocal soloists, etc. But above all shines the beautiful voice and the tasteful singing of the exciting and wonderful Arleen Augér.

[7] Ton Koopman (1995)
I like this performance, because it is gentler than the others are and you can hear many details (as Finscher wrote) ignored by others. It has a chamber quality, and you can hear clearly every voice and every instrument. Every line of the concluding fugue can be heard. The festive side is getting somehow lost, but I do not mind, because I can hear it in other recordings. The voices are not only beautiful individually, but they bland very successfully together to create a supreme and very human performance, which touches the heart.

[9] Masaaki Suzuki (1995)
This performance is very similar to the one by Koopman and everything I wrote about Koopman is valid also for Suzuki. This one is more transparent and penetrating, where Koopman has more warmth and sweetness. However, these are minor differences and I have difficulties in choosing between them. It may depend on the singers you prefer to hear. One interesting factor that I have to note is that Suzuki here prefers slower tempi than he usually uses, but I have not heard it during listening to his performance. I took notice to it only when I looked at the TT.

Conclusion

Among the 6 above performances, there is only one that is clearly inferior in comparison to the others. This is the one by Harnoncourt [5]. All the others are more than satisfying, each one with its own virtues.

And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings.

Jane Newble wrote (April 3, 2000):
[To Aryeh Oron] Thank you Aryeh, for your review. I have trouble in writing anything about it, as I only have Koopman [7] and Suzuki [9], and they seem very similar. I do remember when I first had both, thI preferred Suzuki, especially when played loud! But now I am not so sure. I am very intrigued with your translation into Hebrew, and wondered if it was possible to send it separately. It certainly has made me want to look again at the translation, which I hope to do tomorrow.

Marie Jensen wrote (April 3, 2000):
[9] I agree with you. Everything is heard so clearly here. Just a tiny remark: "Ich bin nun 80 Jahr" has to call for a rather slow tempo! A man 80 years old is moving slow.

Ryan Michero wrote (April 4, 2000):
I'll just say about BWV 71 that my preferred version is by Suzuki on the wonderful Vol. 2 of his cantata series [9].

BWV 71, reality vs. assumption

Boyd Pehrson wrote (February 5, 2002):
On this day in 1708, BWV 71, the cantata by J.S. Bach titled "Gott ist mein König" (God is my King), was first performed. The occasion was the annual change of the Mühlhausen city council.

One voice per part advocates make much out of this Cantata, because although Bach didn't do it that often, BWV 71 is an example where "4 Ripines" is written on the title page of the autograph score from 1708. OVPP advocates say this proves that Bach wanted to use no more than one singer per part for his Cantatas (a mere quartet), if not, he would have written it so in the score as he did with this Cantata. This Cantata though was written long before Bach lived in Leipzig, where he wrote huge amounts of sacred music, and where his method was most settled and consistent.

The idea that one voice per part also is shown by Bach's own report to the Leipzig Town Council, on "a well appointed church music" is less convincing an argument than any others. Bach's comment that 3 sopranos, 3 altos, 3 tenors and three basses are in each of his main choirs is seen as support for a quartet by the one voice per part advocates because, they argue, Bach here means there was one singer, an instrumentalist and a back up for each part in each choir. Now, I think that would be the ultimate luxury for Bach. (!) The reality is, another separate letter confirms what Bach was writing in his Town Council letter, that 44 boys (register the word boys here) were needed to perform singing in Leipzig church services.

Here is an excerpt from a letter from the Chairman of the St Thomas School Board, Dr. Christian Ludwig Stieglitz. Here Dr. Stieglitz is proposing the admission of applicants for the nine vacant spaces left by past departures. Some applicants applied in writing, and others were suggested by the Cantor J.S. Bach. Dr. Stieglitz makes the argument on Bach's behalf that 44 boys minimum are needed for singing:

"... As for the orally observed opinion of Mr. Bach, grade sub. B. and C., those named are competent in singing; for the others no such dispositio has been found. In enclosure sub D., however, the same takes occasion to point out that, with respect to singing in services of all five churches, there is a need for 44 boys. Since many of those used so far have left the school and the churches can in no way be served by current alumni, the same begs that the Mr. Rector consider, to the extent possible, the unavoidable need for reflecting upon such subjects as are competent in music and singing, to fill the vacant places. ..."
Signed: Dr. Christian Ludwig Stieglitz (Stigliz)
Dated: Leipzig, May 18, 1729

(The critical portion of the text in German reads:
"...daß er zu Bestellung des GottesDienstes was das Singen anbelanget in allen 5. Kirchen 44. Knaben nöthig habe, ..."

Douglas Neslund wrote (February 6, 2002):
And there you have it! Until someone else needs to find a reason to earn a PhD!
:-)

“Das neue Regiment”

Andreas Burghardt wrote (September 24, 2002):
On occasion of the election of a (new) parliament in Germany yesterday, I have uploaded the final choral of "Rathswahlkantate" BWV 71 to the file section.
http://groups.yahoo.com/group/Bach_Cantatas/files/DasNeueRegiment.mp3

Das neue Regiment
Auf jeglichen Wegen
Bekröne mit Segen!
Friede, Ruh und Wohlergehen,
Müsse stets zur Seite stehen
Dem neuen Regiment.
Glück, Heil und großer Sieg
Muss täglich von neuen
Dich, Joseph, erfreuen,
Daß an allen Ort und Landen
Ganz beständig sei vorhanden
Glück, Heil und großer Sieg!

It is a private live recording of a performance of the Tölzer Knabenchor together with an unknown orchestra directed by Gerhard Schmidt-Gaden. If I remember well the recording was made in Paris and dates from the 80s.

Katia Tiara wrote (September 27, 2002):
[To Andreas Burghardt] Beautiful singing! Thanks

Boyd Pehrson wrote (September 28, 2002):
[To Andreas Burghardt] I finally took some moments to download your music file. Great stuff there! These boys certainly make a most difficult Bach composition sound easy. Thank you for sharing your most rare recording. I encourage members to save the downloads for review while they are available. Andreas your contributions are superb, and always a treat; in this case a most appropriate treat.

Discussions in the Week of February 6, 2005

Neil Halliday wrote (February 4, 2005):
BWV 71: Introduction

[This introduction is a day early. BTW, thanks Aryeh, for the guided tour of Zeitz!]

The cantata for discussion during the coming week (Feb. 6-12) is:
BWV 71 "Gott ist mein König".

Composed for the installation of the new town council (at Mühlhausen), on 4^th February 1708.

1. Texts, scoring, commentaries, music examples, and list of known recordings: http://www.bach-cantatas.com/BWV71.htm

2. Contributions by list members during the previous round of cantata discussions: http://www.bach-cantatas.com/BWV71-D.htm

----------

Bach must have been aiming for an impressive `spatial' effect, both instrumental and vocal, for the presentation of this piece, as shown by the unusual layout of the BGA score:

The first and last movements are written on 19 staves, with the large forces grouped (in the score) into six sections thus (from top to bottom):

1. 3 trumpets and timpani (on 4 staves).
2. 2 recorders and cello (3 staves).
3. 2 oboes and bassoon (3 staves).
4. Violin 1, violin 2, viola, and violone (4 staves)
5. SATB chorus (4 staves)
6. Organ (1 stave; 2 in other movements).

Moreover, the SATB chorus is marked at the beginning `Divisi a due Cori', with frequent alternations between the `Coro pleno' and `Senza Ripieni' sections as the movement progresses.

[Boyd Pehrson has some interesting comments on the OVPP issue in relation to this score, seen at the discussion page mentioned above].

---------

In the first movement, you can hear the initial major-triad motive on the trumpets move across to the oboes, and then to the recorders (from the left to the right-hand loud-speakers, in Rilling's recording). The music has a strong rhythmic pulse which is reinforced by the timpani.

The second movement (a duet for S and T), has an organ obligato accompaniment; only important motives in the R.H. (treble clef) part are written out (the rest is supplied by the organist from the figured bass). There is the usual tone painting, with descending melismas occurring on the word `sterbe' (tenor). This is another instance of a duet in which different texts are sung simultaneously (as in BWV 131's two duets).

The third movement is a confident sounding fugue for chorus (marked Senza Ripieni).

The fourth movement, with oboes and recorders, is a da capo aria for bass.

The fifth movement is a segmented alto aria, with occasional trumpet fanfares, and several changes of time signature (there is an instance of 1 bar only in 3/8 time).

The sixth movement is a wistful chorus employing the full choir and orchestra (minus trumpets and timpani) that featurean attractive trill motive.

The final chorus once again features (sometimes rapidly alternating) sections between the full and OVPP choir, with a short, powerful fugue for the full choir and orchestra; surprisingly the work concludes on just two notes on the unison recorders (shades of BWV 106). The 'Joseph' mentioned in the 2^nd verse of this movement's text is not the biblical one, but rather Emperor Joseph I, to whose rule Mühlhausen belonged.

I hope to see many of you participating in the discussions.

John Reese wrote (February 5, 2005):
[To Neil Halliday] One of the things I've noticed about these early cantatas (BWV 106 being the other one) is that Bach's vocal writing was quite a bit more daring than in his later works. You rarely see, for instance, leaps of more than an octave in the Leipzig cantatas. I don't know if this is due to Bach having more practical experience with vocalists, or if he just didn't have as much faith in his Leipzig performers.

It's also interesting to see some of the melodic mannerisms that Bach had in these early works, which don't appear later on. This includes quick downward leaps of a fifth or more on certain syllables (see the end of measure 3 of the second movement of BWV 71; also in the second movement of BWV 106.)

I'm working on transcribing BWV 106 so I can put it in PDF format -- won't be long.

Mike Mannix (Mickey Drivel) wrote (February 5, 2005):
Italianisation maybe? BWV 106 is so archaic.

Thomas Shepherd wrote (February 5, 2005):
Recently there have been interesting accounts about how specific cantatas relate to their liturgical performance - BWV 106 and Funerals, BWV 196 and Weddings. Are there any detailed descriptions of the pomp and ceremony that must have occurred at the commissioning of a New Town Council in Mühlhausen? What went on in St Mary's church and how did the cantata written for the event fit into the service? Please would Thomas Braatz, or others, find the time to say something about this?

Peter Smaill wrote (February 5, 2005):
The fact that BWV 71 is the only Cantata (surviving ) published in Bach's lifetime remains a puzzle after many years. Why was it that this work, definitely not per ogni tempore - in fact playable only once, was set to print? There was surely no call for it to be played again?

Whittaker says it is the only Cantata printed, but Boyd reflects on another, at Weimar the next year, sadly lost. In which case, the question arises twice- why print a one-off piece in honour of a specific Council 's inauguration on a specific day?

Is the wealth of the Councils a reason alone; or was there really a desire to mount the set pieces again, perhaps to show civic pride in the achievement of the appelmeister? If no repeat performance were intended, then an act of fiscal irresponsibility even by today's standards of local government was being committed!

I've remarked before that this sole surviving printed choral work has no reference to Jesus.

Also unusual is the overt specification of "coro pleno" and "senza ripieni", plus a large orchestra divided in four groups.Original touches abound ; for example, the naked consecutive seconds on trumpet at the end of "Durch mächtige Kraft" and the lovely murmuring beak-flutes imitating the turtledove, the onamatopoeic "turtletauben" being set to an exquisite vocal passage.

Thanks to Malcolm Boyd there is an available reference to the councillors being implicitly honoured as the "Neue Regiment" Boyd quotes Konrad Kuster (author of "Die junge Bach") who has especially studied the Thuringian background to the early cantatas.

It does appear from the interpolations to Psalm 74 that Bach is honouring some old burgomasters - identified is the principal Burgomaster Adolf Strecker (1624-1707) who was 83 years old. "Ich bin nun achtzig Jahre" seems thus a reference to him, with its prayer "to die in my own city" ; indeed, Strecker passed away in that year. Also identified is Bach's Mühlhausen patron, the burgomaster Conrad Meckbach.

It is a wonderful example of Bach's early skill in weaving a varied patchwork of texts and musical styles into a cohesive statement of divine order - omnipotent God, enlightened monarchy, city-proud burghers. The Divine kingship of God is followed by the prayer of the ageing servant; age and youth are contrasted; peace and war ; the enemy with the tutledove. At the end, the pomposity of the bombastic "Gluck, Heil und Grosser Sieg" is trumped by, as it were, the final cooing of a pair of rather cheeky turtledoves, me-doh.

Who says Bach has no sense of humour!

Doug Cowling wrote (February 5, 2005):
Cantata 71 - How did it start?

Peter Smaill wrote:
< The fact that BWV 71 is the only Cantata (surviving ) published in Bach's lifetime remains a puzzle after many years. Why was it that this work, definitely not per ogni tempore - in fact playable only once, was set to print? There was surely no call for it to be played again? >
I'm always curious about the practical aspects of performance. There is no orchestral introduction to the opening chorus of "Gott ist mein König": how did the singers get their note? We see the same situation Cantata BWV 80, "Ein Feste Burg" which begins ex nihilo.

Wolff suggests that a prelude was normally played on the organ before the cantata, but was this a formal piece or a freely improvised "intonation" in the tradition which goes back to the Gabrielis?

The opening chorus of Cantata BWV 12 "Wir Danken" is introduced by a huge movement with organ solo based on the E Major Violin Partita (the Tallis Choir used this movement to introduce the Credo of the BMM (BWV 232) which we performed as a free-standing work). It too was written for the inauguration of the Town Council. Could there be a tradition of the organist displaying his virtuosity before the cantata?

Since Cantata BWV 71 is not based on a chorale, can we speculate if any of Bach's early preludes and fugues in C major may have been paired with this cantata?

Paul Harder [Valparaiso University] wrote (February 6, 2005):
[To Doug Cowling] I can answer part of your question. The Valparaiso University Bach Choir (the house choir for the Valparaiso University Bach Institute) just performed BWV 71 "Gott ist Mein König" last weekend and here is how we got our note: the instrumentalists tune to A. We found the opening C by hearing them tune.

just my 2 cents,

Doug Cowling wrote (February 6, 2005):
[To Paul Harder] That's an old trick which is a good stretch for the singers -- I can't do it if I have to wait longer than 10 seconds!. However, Bach's players may not have had an opportunity to tune just before the cantata. Church protocol was very different from modern concert hall protocol.

Paul McCreesh makes the fascinating suggestion that the instruments may have discretely tuned DURING an organ piece -- he points to organ works which seem to sustain the notes required to tune strings. And of course with a fixed instrument like the organ playing throughout a service, there were many opportunities for players to check their tuning. So, during the organ "preludising", the instruments checked their tuning and the singers found their note.

[Sidebar: when did the modern habit of tuning to an oboe A develop? ]

This tradition of "preludising" can be found in Mozart who inserted an improvisation between the priest's "Gloria in Excelsis" intonation and the beginning of the choral movement (so brilliant was his flourish that everyone in the sanctuary turned around to gape at the organ loft). Even as late as the "Missa Solemnis", Beethoven calls the gorgeous string interlude after the Sanctus a "preludium" -- normally the organist imprountil the priest raised the host and the bells were rung and the choir continued with the Benedictus.

And finally my favourite church tuning story ...

At some Hamoverian event in the Chapel Royal, the Archbishop of Canterbury preached so long that the players in the gallery began to tune their instruments as a not too subtle signal to end the sermon!

Olle Hedström wrote (February 6, 2005):
BWV 71, Gott ist mein König on DVD

[12] Olle Hedström wrote: <snip> << Have you seen any of the available DVDs on the world market with Bach Church Cantatas or other vocal works ? I suggest that you for example aquire the Cantata BWV 71, "Gott ist mein König" on DVD (JSB- Leben und Werk) shot on location in St Marienkirche in Mühlhausen, the very church where its first performance took place in 1708. I find it awesome, and I'm convinced that you after hearing and s e e i n g that DVD would change your mind radically regarding Bach Cantatas on video. There are other Bach Canatatas on DVDs too of the highest emotional, musical and technical quality. Certainly I would like to see much more of such issues on the market. >>
Aryeh Oron wrote: < DVD with Cantata BWV 71? Who are the performers? Where can I buy it? Thanks, >
[12] [To Aryeh Oron] Being a dedicated Bach fan like you, I presumed you already had aquired all the available Bach Cantatas performances on DVD available worldwide. There aren't that many, unfortunately.

The BWV 71, "Gott ist mein König" is the best DVD-release I've encountered so far, where a Bach cantata is envolved. Recorded flawlessly in the Marienkirche in Mühlhausen. Where else ? Breathtaking if you ask me. I have watched it dozens of times, and I'm stunned.

Besides the full cantata BWV 71, with the Telemann Kammerorchester you also get:

# the toccata in d-minor from the Bachkirche in Arnstadt, with Gottfried Preller
# the motet, "Der Geist hilft unserer Swachheit auf" with Biller and the Thomaner in the Thomaskirche
# 3^rd Brandenburg from Cöthen (Spiegelsaal) also Telemann Kammerorchester
# Concerto in C-dur for cembalo, (BWV 984) Christine Schornsheim, Schloss Weimar
# From the Art of Fugue, Dresdner Steich Trio, Alte Börse, Leipzig

There's also a documentary shot on Bachlocations in Germany: "Lebensstationen"

I think you can find it at www.amazon.com or other net retailers. If you cannot find it I can send you a copy. Let me know !

DVD: Johann Sebastian Bach, "Leben und Werk" VKJK 0101, 90 minutes, PCM stereo and Dolby Digital 5.1, PAL 16:9, www.querstand.de

Bradley Lehman wrote (February 6, 2005):
< Bach must have been aiming for an impressive `spatial' effect, both instrumental and vocal, for the presentation of this piece, as shown by the unusual layout of the BGA score:
The first and last movements are written on 19 staves, with the large forces grouped (in the score) into six sections thus (from top to bottom):
1. 3 trumpets and timpani (on 4 staves).
2. 2 recorders and cello (3 staves).
3. 2 oboes and bassoon (3 staves).
4. Violin 1, violin 2, viola, and violone (4 staves)
5. SATB chorus (4 staves)
6. Organ (1 stave; 2 in other movements). >
Yes, cori spezzati.

In Laurence Dreyfus's dissertation (1976-80), republished 1987 as Bach's Continuo Group, he pointed out some interesting bits about BWV 71:

- Each of those subgroups has its own bass instrument.

- The violone here is an 8-foot pitch instrument (not playing an octave lower as a modern string bass might do).

- The continuo texture, as is common for some other contemporary music, does NOT have cello doubling the organ's bass line as the typical sound that we know from later music, but rather, the organ often accompanies the voices all by itself. "In [Bach's] pieces composed before Weimar, the cello probably did not join the continuo group unless Bach explicitly required it."

Neil Halliday wrote (February 7, 2005):
Bradley Lehman wrote
(excerpt from L. Dreyfus' "Bach's Continuo Group"):
<"The violone here is an 8-foot pitch instrument (not playing an octave lower as a modern string bass might do)">.
So there were two types of violones, one with a range an octave above the normal double-bass range? (A. Robertson: "Violone. An octave lower than the viol da gamba, similar to the couble-bass).

Dryefus' comment about the organ's bass-line not normally being doubled by cello pre-Weimar (though he adds the word "perhaps"), is backed up by the BGA score of BWV 196 discussed last week.

Neil Halliday wrote (February 7, 2005):
BWV 71, Gott ist mein König on DVD, and Rilling

[12] Olle Hedström wrote: "DVD: Johann Sebastian Bach, "Leben und Werk" VKJK 0101, 90 minutes, PCM stereo and Dolby Digital 5.1, PAL 16:9, www.querstand.de"
Thanks for this, sounds interesting. I have ordered a copy from: www.querstand.de

The Rilling CD of BWV 71 [4] has a nice S,T duet (2^nd movement), which features a bright registration of the right hand part that Bach wrote for the obligato organ.

The SATB + continuo 3^rd movement is quite effective in Rilling's Multi-VPP rendition, reminding me of the "It was a wonderful war" movement from BWV 4.

Likewise, his performance of the 6^th movement is reminiscent of the bitter-sweet wistfulness of BWV 198's final chorus.

There is certainly some very enjoyable music in this cantata.

Neil Halliday wrote (February 9, 2005):
Harnoncourt's BWV 71 [5]

I like the emphatic, vigorous chords on "Gott", in the 1^st movement. At 2.02, cf 1.50 for Rilling [4], Harnoncourt is as impressive as Rilling in this dramatic (if relatively brief) music for large forces from Bach, which features possibly the greatest number of performers in a movement, thus far in his career.

The organ obligato in the second movement is not as colourful nor effective as Rilling's, due in part to the consistently non-legato chords on the obligato organ, in contrast to the tasteful, mostly legato style (with bright registration), from Rilling's organist.

But interestingly, Harnoncourt's treatment of the continuo bass line works in the central part of the 4^th movement (continuo and bass vocalist only), where the detached phrasing of the cello line lends a pleasing lightness to the music, forming a welcome contrast to the somewhat thick, sempre legato, bass-string line from Rilling, which is not helped by the accompaniment of the 'perpetual motion' continuo harpsichord.

The OVPP chorus (movement #3) is pleasing except for the 'dainty' organ part. (BTW, the organ is the main criticism I have of Leusink's performance [11], where an incredibly small instrument, which sounds like a toy, detracts from the strength of the music).

In the following alto aria, Harnoncourt expresses the short fanfares for trumpets and timpani with excitement and verve.

The choir captures the engaging wistfulness of the ripieni chorus (6th movement); and and there is spirit a-plenty in the final chorus, although I don't like the typically exaggerated hiatuses between the words, eg, in the fugue: "Muss taeglich"- gap -"von neuen" - gap - "dich, Joseph" - gap, etc.

Doug Cowling wrote (February 9, 2005):
Neil Halliday wrote:
< The OVPP chorus (movement #3) is pleasing except for the 'dainty' organ part. (BTW, the organ is the main criticism I have of Leusink's performance [11], where an incredibly small instrument, which sounds like a toy, detracts from the strength of the music). >
Leusink's [11] use of a small portative is constant disappointment in his series. The opening of "Wir Müssen Durch Viel Trübsal" is pathetic.

John Pike wrote (February 10, 2005):
BWV 71 Gott ist mein König

Cantata for inauguration of Mühlhausen Town Council, 4.2.1708.

I have listened to Harnoncourt [5] and Rilling [4]. I could not warm to Harnoncourt's recording here. I was put off, once again, by the boy singers, who sometimes seemed to be struggling to reach the higher notes. The opening chords seemed more like screeches than audible notes.

Rilling seemed much better to me, but the vibrato in the alto and soprano in the arias was too obtrusive for my taste.

Doug Cowling wrote (February 10, 2005):
Emmas & the Boys

John Pike wrote:
< I could not warm to Harnoncourt's recording here. I was put off, once again, by the boy singers, who sometimes seemed to be struggling to reach the higher notes. The opening chords seemed more like screeches than audible notes. >
One of the interesting features of the period performance industry is that the white English sound of singers such Emma Kirkby, which was developed by conductors to revive the Renaissance music of Taverner and Sheppard, is now the established ideal for Bach. Although their training method was certainly influenced by bel canto technique, German boys typically sing with a full, somewhat rough tone which is light-years away from the overly-controlled, overly-mannered sound favoured as "authentic" Bach soprano sound. It's amazing how quickly this model and that of countertenors for altos has become normative in period performances of Bach.

Continue of this part of the discussion, see: Women in Bach' Vocal Works - Part 4 [General Topics]

Continue on Part 2

Cantata BWV 71: Complete | Recordings of Individual Movements | Discussions: Part 1 | Part 2

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Last update: ýJanuary 26, 2008 ý22:57:58