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Cantata BWV 140
Wachet auf, ruft uns die Stimme
Discussions - Part 9 |
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Continue from Part 8 |
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Discussions in the Week of July 27, 2026 (5th round)
Cantata BWV 140 ‘Wachet auf, ruft uns die Stimme’ by Rudolf Lutz compared to 15 other HIP and 2 OVPP recordings. |
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Frits V. Herbold wrote (July 27, 2026):
For this very popular cantata, the BCW shows 175 recordings so far, starting with an early interpretation from 1946 (Robert Shaw with the Robert Shaw Chorale / RCA Victor Orchestra) and ending with recent renditions, some of them only available on YouTube.
Not discussed here is a recording with Reginald Jacques with the Bach Choir and Jacques Orchestra from 1955 and digitally remastered in 2006, sung in English, nor both older and newer recordings by Harnoncourt and Rilling.
BWB 140 is the 19th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, November 21, 2008 - two days before the respective 27th. Sunday after Trinity in that year, a lucky coincidence, since In 2008 Easters was so early, that It helped the performance calendar to have a 27th Sunday after Trinity (November 23) to perform Bachs only cantata for this Sunday. Bach witnessed this Sunday during his Leipzig period only two times himself, in 1731 (first performance of BWV 140) and 1742. For the Lutz series this was important considering that the next 27th Sunday after Trinitatis will only appear again in 2035!
See also the Bachipidia Bachpedia with links to the concert (YouTube), workshop and reflexion. The names of all performers, including all choristers can also be found there. See also my general comments about the Lutz cycle at Rudolf Luts - Discussions Part 1.
Scoring: see NBA: I/27 | BC: A 166 and Bach Digital: Bach Digital
Sopran solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Corno, Oboe I, Oboe II, Taille, Violine piccolo Violine I, Violine II, Viola, Basso continuo
Remarks:
1. The NBA I/27 with its ‘Kritischer Bericht’ (critical report) was published in 1968 by Alfred Dürr, meaning that it was available to all conductors of the recordings discussed here.
2. The ‘Kritischer Bericht’ (critical report) mentions the original extant parts (kept at the ‘Bach Archiv Leipzig’ as well as a copy of the lost original score by Christian Friedrich Penzel). See BCW . It doesn’t mention separate solo parts and choir parts for Soprano (‘Canto’), Alto, Tenor and Bass that would indicate an OVPP performance – very seldom for Bach’s late Leipzig works, especially for the chorale cantatas. The parts include a ‘violino piccolo’, a taille (as lower oboe) and both non-transposed and transposed parts for the BC, including the mention of the bassoon, which is rare. It also doesn’t mention explicitly a harpsichord for the non-transposed BC part, which was also rare in Leipzig.
3. The original Leipzig key is in E Flat Major played at the Leipzig ‘Kammerton’ pitch a’ = 415. The transposed organ part is notated two half tones lower, D Flat Major, at a pitch of a’= 465 Hz.
Introduction Cantata BWB 140 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘The calendar of the church year contains a Twenty-seventh Sunday after Trinity only when Easter takes place before 27 March (between 22 and 26 March). This very seldom happens. During his Leipzig period, Bach experienced it only in 1731 and 1742, and before that (leaving aside his childhood: 1690 and 1693) only once: in 1704, when, as organist at Arnstadt, he was reproached that ‘hitherto no concerted music had been performed’. 61 The dating of the only Bach cantata that survives for this Sunday therefore presents no difficulties. Cantata 140 was written for performance on 25 November 1731 and may have been revived in 1742. Bach thus took the opportunity to supplement his cycle of chorale cantatas with an additional work, albeit one that does not fully accord with the type he favored in 1724– 5. For the three-verse hymn by Philipp Nicolai (1599), with its single inner verse, offers too few possibilities for madrigalian* paraphrase and consequently had to be enriched with freely versified insertions. Accordingly, the anonymous librettist retained all three hymn verses word for word— they mark the beginning, middle, and end of the cantata (nos. I, 4, and 7)— and inserted as interludes two pairs of movements, both made up of solo recitative followed by a duet-aria. The text derives from the Sunday Gospel, carrying further the idea of the bridegroom coming to meet his bride. The bridegroom is Jesus Himself, and His bride the Soul of the faithful Christian. The libretto includes a rich crop of biblical allusions, chiefly drawn from the Song of Songs: 2nd. Movement He comes, He comes, The Bridegroom comes! Matthew 25.6 You daughters of Zion, come forth Song of Songs 3.11 His going forth hastens from on high Luke 1.78 Into your mother’s house Song of Songs 3.4, 8.2 The Bridegroom comes, who like a roe, Like a young hart Song of Songs 2.9, 2.17, 8.14 Skips upon the hills Song of Songs 2.8 3rd Movement When are You coming, my Salvation? Isaiah 62.11 I am waiting with burning oil Genesis 49.18, Matthew 25.4th. Movement I have betrothed myself to you From eternity Hosea 2.19 Upon my heart, Upon my arm I will set you as a seal Song of Songs 8.6 Upon my left hand you shall rest, And my right hand shall kiss you. Song of Songs 2.6 6th Movement My Beloved is mine, and I am his Song of Songs 2.16, 6.3 ‖ feed ‖ among heaven’s roses Song of Songs 6.3 There shall be the fullness of joy and gladness Psalm 16.11, Isaiah 35.10 The division of the opening words of the sixth movement between the two dialogue partners of Bach’s duet—‘ Mein Freund ist mein’/‘ Und ich bin sein’ (‘ My Beloved is mine’/‘ And I am his’)— is strictly speaking incorrect. Nor is it rectified by altering the second clause to ‘und ich bin dein’ (‘ and I am yours’), as in older editions of the cantata (perhaps it would be correct to say, ‘und du bist mein’, ‘and you are mine’). Evidently, Bach’s concern was not with a realistic dialogue but with keeping the biblical quotation intact and disregarding dramatic .’
Remarks:
· Total times vary considerably between the fastest at 24:10 (Gardiner 2) and the slowest 32:00 (Saulius Sondeckis).
Movement 1: Chorale S with Horn, A, T, B, Oboes I and II, Taille, Strings and Violino Piccolo, BC
Introduction by Alfred Dürr (without illustrations): ‘The large-scale opening movement follows Bach’s favored type of chorale chorus. The chorale melody, sung by the soprano (reinforced by horn), is incorporated line by line within an independent orchestral texture. Although it possesses its own theme, this instrumental music is nonetheless by no means devoid of suggestions of the chorale melody; compare, for example, bars 5 f. of the introductory ritornello with the chorale opening in the soprano: The orchestral music, scored for three oboes (oboe I, II, and taille), strings (including violino piccolo), and continuo, begins with block chords in dotted rhythm, alternating between strings and oboes, out of which the melody quoted above emerges in a dialogue between violin I (plus violino piccolo) and oboe I. These instruments are then united in the final cadence of the introductory ritornello. Perhaps in this introduction Bach already wanted to draw attention to the dialogue structure of the work as a whole. The independent orchestral themes are maintained during the vocal passages. The three lower voices accompany the chorale melody (which is stated in long notes) in a livelier, mostly imitative* texture without reference to the chorale theme. At times, the lower parts are condensed into brief chordal shouts of ‘Wach auf (‘ Awake!’) or ‘Macht euch bereit!’ (‘ Get ready!’). The ninth chorale-line, ‘Alleluja’, alone acquires a moextended, fugal substructure, derived thematically from the orchestral ritornello. Though the shortest line of text, it is thereby extended to double the length of the other line-passages.’
Remark: total times vary significantly between the fastest at 5:53 (Christoph Spering) and the slowest 8:27 (Saulius Sondeckis).
Rifkin (10-1986): although having studied Andrew Parrot’s, Rifkin’s and Kuijken’ s writings on OVPP performances, I don’t think Bach performed these sophisticated choir parts with one voice per part IMHO. Nevertheless, I am a huge fan of these recordings because of the transparency and clarity. Soprano Julianne Baird, Counter-tenor Drew Minter, Tenor Jeffrey Thomas and Bass: Jan Opalach are first rate soloists and mix very well. I am discussing them in the following movements individually, with the exception of alto Drew Minter, see BCW who only participates in this and choir movements 4 and 7. I like this jaunty tempo and the relatively small instrumentation including the violino piccolo which further allows for clarity and transparency in this movement. According to the liner notes, the taille part is played by an oboe da caccia here. Rifkin performs with original instruments, also detailed in the liner notes and in the original Leipzig key of E Flat Major at the ‘Kammerton’ of a’= 415 Hz, including the positive (chest) organ. Among my first choices for OVPP.
Saulius Sondeckis (12-1987): this interpretation couldn’t be more different than Rifkin’s above. Recorded live during the Festival “December Nights” at the Pushkin Museum of Arts, Moscow, Russia (organized originally by Russian pianist Sviatoslav Richter). Unfortunately, the liner notes don’t inform the sizes of choir and orchestra, but one can hear the relatively huge choir and string section. This is also the slowest rendering of this movement among all others discusses here. I miss the clarity and transparency commented above with Rifkin. Sondeckis plays at the modern pitch of a’= 440 Hz, in E Flat Major. Not my first choice.
Greg Funfgeld (01-1989): although the liner notes explain in section ‘A note on the Recording’ the special care taken to establish an optimal sound result experimenting with the microphone positionings and several rehearsals, there is no information regarding size of the choir performing here, see BCW. But the above link and an illustration of this choir shows an enormous count of choristers – I am guessing at least 15 voices per part or a total near 60. The result is a very ‘wishi-washi’ sound, total lack of transparency and inexact entries. The number of instrumentalist is also omitted in the liner notes, mentioning only one violin (and violino piccolo?), one oboe (?), horn and both ‘Portative organ’ and church?- organ, and Violoncello, Bass (Double-Bass?) and Bassoon for the BC . I can’t hear clearly a violino piccolo or distinct the 2 oboes, nor a taille or oboe da caccia. Neither can I hear what kind of organ is playing here. Funfgeld also plays at the modern pitch of a’= 440 Hz, in E Flat Major. Anyway, not my first choice.
Blanche Honegger Moyse (10-1989 released 1990): this rendition has the same problem as above IMHO. The Blanche Moyse Chorale choir is detailed in the liner notes with 11 sopranos (I & II), 9 altos, 7 tenors and 6 basses, too large for my taste. So are the instruments with 4 first, 4 second violins, 4 violas, 3 oboes (one of them probably a taille or oboe da caccia), horn and 2 violoncellos, 1 bass (double-bass?), bassoon, harpsichord as continuo instruments. There is no mention of an organ, although one can clearly hear a (chest?-) organ playing, e.g. in movement 2. Again, the result is a very similar to Funfgeld’s interpretation. This recording is also tuned to the modern pitch of a’= 440 Hz, in E Flat Major. Neither my first choice.
Gardiner 1 (03-1990): I am a huge fan of the prestigious Monteverdi Choir, especially singing Monteverdi and J. S. Bach. With 6 sopranos, 4 altos, 4 tenors and 4 basses it comes nearer to the size of Bach’s choir in Leipzig, although still too large. But this interpretation is far better – very transparent and clear with exact entries. The size of the orchestra and individual instruments are given in the liner notes: 4 first (including the violino piccolo), 4 second violins, 2 violas, 3 oboes (one of them probably a taille or oboe da caccia), horn and 2 violoncellos, 1 bass (double-bass?), bassoon, 2 violoncello, double-bass, bassoon and organ and harpsichord. Interestingly, besides the Leipzig ‘Kammerton’ pitch of a' = 415 Hz the liner notes inform the use of the non-equal temperament by Vallotti. I am sure that most listeners will not hear this and I am not sure if Gardiner uses this different tuning in his later recordings with Archiv and Soli Deo Gloria. The result is an excellent performance, certainly among my first choices.
Jeffrey Thomas (01-1995): Among the recordings made in the USA, I am also (other than Rifkin) a huge fan of the Koch International Classics releases of the 6 volumes of cantatas with the American Bach Soloists under Jeffrey Thomas, a reduced choir with 3 voices per part (with the exception of 4 tenors), very close to Bach’s situation in Leipzig. I also appreciate the very detailed liner notes, informing about the original instruments, their origin, sizes and players. Apart from this ideal choir size, the also adequate reduced string section of 3 first (including a violin piccolo), 3 second violins, 2 violas, we have the 2 oboes and oboe da caccia (not taille) according to the original parts, a cornetto playing the horn part and in the BC 2 violoncello, contrabass (as double-bass or violone), bassoon and both chest organ and harpsichord (check individual movements) . An interesting and valid addition to the BC is an archlute, as so many times also with Koopman. This is a very joyous, fresh, transparent and technically perfect interpretation of this movement, also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. One of my first choices for all HIP interpretations.
Heinz Hennig (02-1995): I am including this recording because of the Knabenchor Hannover, a purely boys choir (see BCW). According to this site’s illustrations, a guess that the choir sings with 4 to 6 choristers per part. The liner notes inform the exact instrumental size of the Baroque Orchestra’L'Arco’, see BCW) and composition: 5 first, 4 second violins (including the violino piccolo), 2 violas, 3 oboes (one of them a oboe da caccia or taille), and a violoncello, double-bass (not mentioned, but visible in an illustration), bassoon as well as also both chest organ and harpsichord (I can only hear the organ!) in the BC. This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Because of the boy’s performances‘ clear and transparent voices as well as exact entries also among my first choices.
Koopman 1 (??-1997, DVD): this is the first recording by Koopman; I have the DVD but one can also enjoy this recording recorded & filmed at the Pieterskerk, Utrecht, Netherlands on You Tube, see YouTube. The video allows also seeing the size of the choir and used instruments, which is good since the liner notes are practically nonexistent. Koopman uses his Amsterdam Baroque Orchestra & Choir as also in his complete cycle on CD. The choir has 4 voices per part for the sopranos, altos tenors and 3 for the basses, which is slightly stronger but still very transparent. The singing is technically perfect with a good sound balance and exact entries. All instruments are according to the original parts, but with a larger number of strings: 5 violins I (including the violino piccolo), 4 violins II and 2 alt. Both oboes (oboe I played by top soloists Marcel Ponseele), oboda caccia and a natural horn. In the BC2 violoncellos, double-bass, bassoon and chest organ, in this movement not played by Koopman who is only directing. This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Among my first choices for HIP recordings.
Stephen Cleobury (06 & 07-1999, 01-2000): this recording with the renowned British King’s College Choir Cambridge (see BCW) is the second interpretations with a pure boy’s and men’s choir discussed here. According to the link above total choristers are listed as 3 sopranos, 9 altos, 15 tenors and 19 basses, but one can clearly hear that not all of them are singing here, since the sound is still relatively transparent and – as can be expected – technically perfect with exact entries, although still too large IMHO. The HIP Chamber Orchestra ‘Academy of Ancient Music’ see: BCW has a long tradition in performing ‘old’ music - defined initially as anything composed at least a century. The Academy was founded by Christopher Hogwood in 1973 to give audiences an experience of music as it might have sounded at the time it was written. An illustration in this link shows 3 first (including the violino piccolo?), 3 second violins and 2 violas as well as 2 violoncellos, a double-bass and a lute/ theorbo in the BC completed by a chest organ played by Cleobury himself for the solo parts. There is no detailed mention of the woodwinds and the brass instrument that doubles the chorale melody sung by the sopranos. This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Also among my first choices for HIP recordings.
Leusink (01 & 02-2000): this is the third recording with a boy’s and men’s choir discussed here, although its size is far too large IMHO. I am including Leusink here because of the soprano Ruth Holton, who performs in movements 3 and 6. Instruments of the Baroque Orchestra ‘Netherlands Bach Collegium’ see: BCW) are present according to the original parts, although there is no definition id a taille or oboe da caccia is playing. The BC is relatively large; I believe that in this recording Leusink is not using the big church organ but a . This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Because of the slightly ‘fuzzy’ sounding choir – especially the sopranos, not my choice for HIP recordings.
Gardiner 2 (11-2000): this second recording of BWV 140 by Gardiner within the launch of the Live recordings from the Bach Cantata Pilgrimage was released 10 years after his first recording discussed above. With the same Monteverdi Choir and the English Baroque Soloists, there are no significant differences between both recordings, with the exception of the S, A and B soloists, see following movements. This is why I don’t have any different comments regarding choir and instruments. The real difference here is that the liner notes don’t mention the use of a non-equal temperament (by Valotti) as in his first recording. This is not to say that Gardiner abandoned this special tuning, but I cannot hear it. This second recording is also performed at the original Leipzig key of E Flat Major and Leipzig ‘Kammerton’ of a’= 415 Hz. Among my first choice for HIP recordings.
Koopman 2 (06-2001 [Mvts. 2, 5]; 11 & 12-2001 [Mvts. 1, 3, 6-7]; 10-2003 [Mvt. 4]): this second recording by Koopman was released only 3 years after his first launch on DVD, see above. Contrary to the live performance on video, this CD release – ‘put together’ from many different recording sessions in 2001 and 2003 in a sound mixing studio, which is not desired IMHO! The S and A soloists are different, while the bass part is covered by Klaus Mertens in both recordings (see movements below). As with Gardiner 2, I don’t hear any important differences is this chorale movement, apart from the fact that one cannot see exactly who is playing. The difference in tempo is insignificant; this recording is only 9 seconds faster than the first. From the BCW and liner notes (by Christoph Wolff with interesting comments about the late Leipzig church cantatas) one can see the different artists in both choir and solo parts. One difference is the oboe I solo part, played by Alfredo Bernardini instead of Marcel Ponseele. This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. As Koopman 1, among my first choices for HIP recordings.
Note: the BCW shows a third recording with Koopman, recorded & filmed live at l'Abbatiale d'Ambronay, in the frame of Ambronay Festival 2010, broadcast by Arte-TV on September 21, 2010. The YouTube link is not active and I am not discussing this rendition here.
Thomas Folan (11-2005): Folan’s instrumental & vocal ensemble ‘’Publick Musick’ (see BCW) might not be as well-known as many other performances discussed here but I have found a comment by Bradley Lehman, who wrote (February 25, 2008): There is a delightful new release by the Rochester NY group "Publick Musick" performing cantatas BWV 62, BWV 45, BWV 192, and BWV 140. They have a seventeen-voiced choir, and the soloists (all excellent) include Max van Egmond. The performances and recording are well-prepared and clear, letting the music move along beautifully. My favorite on there so far is cantata BWV 140, "Wachet auf", in part because it's the most familiar. The web page has a sample aria from that. The CD is so well-filled that not another 20 seconds of music would fit.
I was indeed surprised by the clarity and transparency of this first very joyous movement. The 17 voiced choir (as informed by Lehman) would put its size very close to Koopman and Gardiner (as examples). The instrumental accompaniment is also very subtle and clear; unfortunately the liner notes aren’t very detailed, but mention the violin and violin piccolo, (1?) oboe, violoncello and (chest?) organ. There is an illustration from which I would guess a string section of around 4 violins I, 4 violins II and 2-3 violas, as well as the other solo and BC instruments scored here. This recording is also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Among my first choices for HIP recordings.
Rudolf Lutz (11-2008): Lutz’s choir with 4 voices for soprano and alt and 3 voices for tenor and bass per part is very close to Bach’s choir in late Leipzig. All instruments can be observed in the video (also available on YouTube, see introduction above). As so often with Lutz, the string section is minimal with 2 fist, 2 second violins and 2 violas. Two oboes and a taille, a natural horn (placed apart at the church’s pulpit) can be recognized as well as a violoncello, violone, bassoon and chest organ in the BC. There is no additional harpsichord and Lutz only conducts in this movement. A very spirited and joyous interpretation, also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. Among my first choices for HIP recordings.
Note: the BCW mentions under number 16 (recordings from 2010 to 2019) a previous recording also with a link to YouTube, but I believe this is a mistake, since this is the same recording from 2008 discussed here.
Suzuki (09-2011): as usual with Suzuki, the liner notes are very detailed and informative: his choir has a good size of 4 voices per part and the instruments are also listed: 3 violins I (the violino piccolo is not listed but certainly plays in all obligato movements, including here) 3 violins II and 2 violas, 2 oboes and taille as well as violoncello, violone, bassoon and both obligato (chest) organ and harpsichord, not used in this first movement. This performance reminds Lutz (see above) in clarity and transparency. Also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. this rendition is alsoamong my first choices for HIP recordings.
Kuijken (12-2011): this is the second OVPP recording after Rifkin (see above). As pointed out with Rifkin, I don’t think Bach performed these sophisticated choir parts with one voice per part IMHO. Nevertheless, I am a huge fan of these recordings because of the transparency and clarity. Soprano: Yeree Suh, alto Petra Noskaiova; tenor Christoph Genz and bass Jan Van der Crabben mix very well in this first movement and the other choir movements below. Also, the reduced string section with 2 violins I (including violino piccolo), 2 violins II and one viola. 2 oboes, taille and a natural horn follow the original parts. Kuiken’s BC is explained in the very detailed line notes and uses his preferred ‘basse de violon’ as well as a bassoon and chest organ. Also performed at the original Leipzig key of E Flat Major and ‘Kammerton’ of a’= 415 Hz. I like this rendition because of its clarity and transparency and is my first choice (together with Rifkin) for HIP recordings.
Christoph Spering (02&03-2019): the ‘Chorus Musicus Köln’ see BCW) is a relatively new chamber choir, in this recording with 5 voices per part. The string section contains 4 violins I (including the violino piccolo), 3 violins II and 2 violas. The liner notes inform a horn and 3 oboes, leaving open if a taille or oboe da caccia is used. They also include interesting views about performance details, including a comment about the organ: ‘… with the result that a number of movements are performed with only the organ, which is placed at the heart of the orchestra, or with the harpsichord on his own. In this first movement, I can only hear the (chest) organ. I like this performance as well as most other HIP recordings.
Ranking: based on the transparency of all choir parts and instrumental clarity I prefer both OVPP renditions with Rifkin and Kuijken. A ranking for the HIP recordings is not easy, and I like equally: Lutz = Gardiner 1= Jeffrey Thomas = Henz Henning = Koopman 1 = Stephen Cleobury = Gardiner 2 = Koopman 2 = Thomas Folan = Suzuki = Spering. Not my taste are: Saulius Sondeckis, Greg Funfgeld, Blanche Honegger Moyse and Leusink
Movement 2: Recitativo, T and BC
Introduction by Alfred Dürr: ‘The three solo singers of the cantata have clearly defined roles: the tenor as narrator, the soprano as the Soul, and the bass as Jesus. A joyfully excited secco recitative, no. 2, announces the approach of the Bridegroom and, accordingly, leads to the first duet between Jesus and the Soul, no. 3.’
Remarks:
· I am only commenting on the singing of the tenor part; the instruments used in the BC vary significantly in each interpretation (mostly only organ, organ and violoncello and/or harpsichord).
· Total times vary significantly between the fastest at 0:46 (Koopman 1) and the slowest 1:03 (Leusink and Suzuki).
Rifkin (10-1986): north American conductor and tenor Jeffrey Thomas, see BCW is well-known from other recordings releases in the USA. Jeffrey Thomas is Artistic and Music Director of the American Bach Soloists and the American Classical Soloists, with whom he has directed and conducted recordings of more than 25 cantatas (see also below). I like his unostentatious timbre and excellent technique as well as pronunciation of the German text. One of my first choices.
Saulius Sondeckis (12-1987): Latvian tenor, Janis Sprogis, see BCW might not be as well-known as Thomas, but he is well known as a soloist all over Europe, with a large number of solo albums. His recordings include opera arias, solo songs and Latvian folk songs, as well as popular songs written by Latvian composers, including some by Sprogis himself, with various instruments as accompaniment. I am only aware of his participation in cantates BWV 78 and BWV 140 with Sondeckis. His performance is quite the opposite to Thomas’: too ostentatious and operatic, especially in his jumps to higher notes. Not my first choice.
Greg Funfgeld (01-1998): north American tenor, David Gordon, see BCW reminds a lot of Jeffrey Thomas, above. His timbre is somewhat darker and volume stronger, but technique and German diction are also perfect. Also among my first choices.
Blanche Honegger Moyse (10-1989 released 1990): north American tenor, Jon Humphrey, see BCW is also at the same level of both Thomas and Gordon, very similar in timbre, volume, technique and diction. Also among my first choices.
Gardiner 1 (03-1990): English tenor Anthony Rolfe-Johnson was one of England's most distinguished singers. His generation allowed him to sing with conductor Michel Corboz, Georg Solti and Harnoncourt (among others) and more recently also in some passion music’s and cantatas with Gardiner. I like his performance and timbre, also among my first choices, but not at the top.
Jeffrey Thomas (01-1995): north American conductor and tenor Jeffrey Thomas (above). Thomas is as good as with Rifkin here, with a somewhat fuller voice, but otherwise with the same perfection and attributes mentioned under Rifkin. One of my first choices.
Heinz Hennig (02-1995): German tenor, Jan Kobow, see BCW has a vast experience with other Bach conductors like Frans Brüggen, Gardiner, Herreweghe, Kuijken, Lutz, Stephan MacLeod and Eric J. Milnes (among others). I like his ‘light’ timbre, technique and volume. Also among my first choices.
Koopman 1 (??-1997, DVD): German tenor, Lothar Odinius, see BCW. He also worked with renowned conductors like Helmuth Rilling, András Schiff and Adam Fischer and performs regularly with conductors like Philippe Herreweghe, among others. I like his technique, timbre and volume. Among my first choices.
Stephen Cleobury (06 & 07-1999, 01-2000): English tenor, Ian Bostridge, see BCW also very experienced (worked with other conductors like Frans Brüggen (evangelist!), Harnoncourt and Herreweghe) is at the same level of the best tenors discussed here and is among my first choices.
Leusink (01 & 02-2000): Dutch tenor, Nico van der Meel, see BCW. He sounds somewhat shrill but performs equally well as many other tenors here. Among my first choices, but not at the top.
Gardiner 2 (11-2000): English Tenor, William Kendall, see BCW performed as evangelist with Harry Christophers and Herreweghe, and has a forceful voice and pleasant timbre – although somewhat exaggerated in declamation. Among my first choices, although not at the top.
Koopman 2 (06-2001 [Mvts. 2, 5]; 11 & 12-2001 [Mvts. 1, 3, 6-7]; 10-2003 [Mvt. 4]): I like English tenor, James Gilchrist, see BCW better than Lothar Odinius with Koopman 1. Good diction, declamation, timbre and technique. Among my first choices.
Thomas Folan (11-2005): Chilean-born Canadian tenor, Pablo Cesar Willey-Bustos, see BCW. Pablo Bustos has been an ensemble member of the Eastman Opera Theatre and a featured singer with Eastman's Collegium Musicum. He is a regular soloist for the Rochester Bach Festival's monthly Bach Cantata Series. One can hear his experience in this short recitative. I like his timbre, technique and volume. Among my first choices.
Rudolf Lutz (11-2008): Austrian tenor, Bernhard Berchtold, see BCW represents a younger generation of excellent tenor soloists; he performed in many other recordings with Lutz and I am a big fan of hisclear and strong voice, declamation and timbre. At the top of my first choices.
Suzuki (09-2011): German tenor, Gerd Türk, see BCW has a huge experience as Bach tenor. He is a member of Cantus Cölln, Germany's leading vocal ensemble, and Gilles Binchois (France), renowned for its interpretation of medieval music. Other conductors he worked with are René Jacobs, Konrad Junghänel, Koopman and Lutz, among others. His performance is perfect, also at the top of my ranking. From what I can hear, Suzuki uses a harpsichord with violoncello, and probably double-bass, but no organ in this movement.
Kuijken (12-2011): German tenor, Christoph Genz, see BCW has a similar career as Türk (above). He as recorded many cantatas with other conductors such as Georg Christoph Biller, Gardiner, Reinhard Goebel and Ludwig Güttler, among others. I like his very forceful declamation and timbre. Among my first choices.
Christoph Spering (02&03-2019): German tenor, Georg Poplutz, see BCW. He also represents a younger generation than most of the ‘older’ tenors discussed here. Contrary to Genz, his voice stays too much in the background against a IMHO too strong BC. Nevertheless among my first choices.
Ranking:
Best: Lutz, Suzuki, Rifkin, Greg Funfgeld, Blanche Honegger Moyse, Jeffrey Thomas, Heinz Hennig, Koopman 1, Kuijken, Christoph Spering, Stephen Cleobury, Koopman 2, Thomas Folan
Average: Gardiner 1, Leusink, Gardiner 2
Last: Saulius Sondeckis
Movement 3: Aria Duetto, S, B , Violino Piccolo and BC
Introduction by Alfred Dürr: ‘…. (the recitativo) leads to the first duet between Jesus and the Soul, no. 3. Here the obbligato* instrument prescribed by Bach is the violino piccolo, a violin of smaller dimensions than usual, with its strings tuned to b flat, f’, c’’, and g’’ — a minor third higher than a normal violin. As a result, the lively and decidedly virtuoso figuration of this solo part sounds especially bright and silvery, perhaps depicting the radiant brilliance of the bride, who awaits her beloved ‘with burning oil’. The yearning, sensuous character of the vocal dialogue, developed thematically out of the opening of the ritornello, arouses mystical impressions, for heavenly and earthly love are here blended into a unity Musically, the movement belongs among the most beautiful love duets in the musical literature of the world.’
Remarks:
· I am only commenting on the singing of both soloists, the sound of their mixing and the playing of the violino piccolo.; the instruments used in the BC vary significantly in each interpretation (mostly only organ, organ and violoncello and/or harpsichord).
· Total times vary significantly between the fastest at 5:00 (Jeffrey Thomas) and the slowest 8:00 (Saulius Sondeckis).
Rifkin (10-1986): north American soprano, Julianne Baird, see BCW is one of the better known sopranos of an ‘older’ generation. Of her unique artistry The Washington Post wrote that the American soprano, Julianne Baird, has “one of the most extraordinary voices in the service of early music that this generation has produced. She possesses a natural musicianship which engenders singing of supreme expressive beauty." She also performed with Jeffrey Thomas, among many others. Her high tones are exceptionally well sung but unfortunately too operatic IMHO. North American bass-baritone, Jan Opalach, see BCW is of the same generation with an experienced career mainly in the USA. I like his more contained declamation and timbre but the mix with Baird is not ideal: the soprano is too loud. The violino piccolo, an instrument from Cremona (Italy) dated 1639 is beautifully played by Australian violinist, author, and conductor Stanley Ritchie, see BCW. Not my first choice but average.
Saulius Sondeckis (12-1987): Russian-born soprano of Korean descent, Nelly Lee, see BCW might not be well-known. She has a very pronounced operatic voice, especially in the higher register where she is technically insecure. I didn’t find any biographical information about Russian (?) bass soloists Mali Palm. I like his timbre better than Lee, but the voices are not a good mix. The slow tempo of 8 minutes sounds exaggerated as well as the violino piccolo (or is it common violin?), sounding too strong in the foreground. Not to my liking, probably last.
Greg Funfgeld (01-1998): German-born Canadian soprano, Henriette Schellenberg, see BCW has also performed with Blanche Moyse (see below) and Dwight Oltman. I like her technique but her declamation and high registers almost crosses the threshold of the operatic. Canadian bass-baritone and teacher, Daniel Lichti, see BCW. He is known especially as an interpreter of J.S. Bach and has appeared at numerous J.S. Bach events, including performances with the Carmel Bach Festival, New England Bach Festival, Oregon Bach Festival, Baldwin-Wallace College Bach Festival, Bach Festival of Winter Park, and beginning in 1985, regular performances with the Bethlehem Bach Festival. With this latter's Bach Choir of Bethlehem, he has also appeared at John F. Kennedy Center in Washington (1999) and Carnegie Hall (2000) and toured the UK in 2003. His voice and timbre are much better and contained which results in a not so good mix with Schellenberg . The liner notes do not mention a violino piccolo – only a solo violin played by Laura Hamilton, see LAura Hamilton Website and I believe she is playing the latter. Not among my first choices, but average.
Blanche Honegger Moyse (10-1989 released 1990): Henriette Schellenberg (see above) also sings in this recoding, together with American bass-baritone, Sanford Sylvan, see BCW present the same problem as the above recording with Funfgeld: the soprano too operatic and a not good mix. The liner notes don’t mention specifically a violino piccolo – only a concertmistress (violin) played by Mitsuru Tsubota, see Orchestra of St Luke's Website. I am not sure which instrument is playing here. Anyway, also not among my first choices, but average.
Gardiner 1 (03-1990): English soprano, Ruth Holton, see BCW is one of my favorite sopranos with her ‘ boyish’ and clear timbre as well as excellent technique. Her voice mixes very well with English bass-baritone, Stephen Varcoe, see BCW. The violino piccolo is beautifully played by Alison Bury, see Wikipedia. Among my first choices.
Jeffrey Thomas (01-1995): English soprano, Catherine Bott, see BCW participated in many other recordings, mainly in the USA. She has a very pleasant and ‘warm’ timbre which mixes very well with the voice of American bass-baritone, William Sharp, see BCW. The violino piccolo is mentioned in the liner notes, an instrument by Giovanni Grancino, Milano, Italy dated 1725, played by Elizabeth Blumenstock, see The Juilliard School Website. I like this interpretation better than many others discussed here.. Among my first choices.
Heinz Hennig (02-1995): German soprano, Marietta Zumbült, see BCW although technically perfect, sounds definitely too operatic and the mix with German baritone, Peter Frank, see BCW is not ideal, although his performance is better. The liner notes mention only a solo violin played by Christoph Heidemann, see BCW but I believe he is playing a violino piccolo, very much at the forefront. Not my first choice but average.
Koopman 1 (??-1997, DVD): Swedish soprano, Lisa Larsson, see BCW has also performed with Gardiner among other conductors. One can hear her experience as opera singer with a technically perfect range, especially in the higher registers, but unfortunately sounding somewhat shrill. This doesn’t mix well with the warm timbre of German bass-baritone, Klaus Mertens, see BCW, who is perfect in timbre, declamation and volume here. The violino piccolo playing by Margaret Faultness (see University of Cambridge: Faculty of Music Website) sounds well in the forefront. Nevertheless, not among my first choices but also average.
Stephen Cleobury (06 & 07-1999, 01-2000): English soprano, Susan Gritton, see BCW also sounds too operatic, although never shrill IMHO. Britain’s bass-baritone Michael George, see BCW reminds Mertens, but the dialogue character of this combination sounds too overdone. The obligato violino piccolo (or violin, since ether is no mention of a piccolo in the liner notes) is almost inaudible. Among my last choices.
Leusink (01 & 02-2000): Ruth Holton (see BCW), one of my favorite soprano voices, with her ‘boyish’ timbre and slim declamation sings even better here compared to her recoding with Gardiner 1 (see above). This makes her a perfect match / mix with the excellent voice and also relatively ‘slim’ timbre of Dutch bass, conductor and music teacher, Bas Ramselaar, see BCW. The violino piccolo (not detailed in the liner notes) is probably played by Laura Johnson (see Discogs) . At the top of my first choices.
Gardiner 2 (11-2000): Scottish soprano, Susan Hamilton, see BCW is a noted soloist specializing in Baroque and Contemporary music. She sings regularly in Britain and Europe with the Dunedin Consort, Collegium Vocale, Florilegium, The King’s Consort, Monteverdi Choir, The New London Consort, The Ricercar Consort and A Sei Voci, and has appeared at major International Festivals in Europe, Japan, Australia and the USA. She performed Bach’s cantatas also with Koopman, Paul McCreesh and Herreweghe (among others). She has a very peculiar timbre, not exactly boyish as Holton but also relatively ‘slim’ and very transparent with good German diction. A very good combination and perfect dialogue with English baritone, Peter Harvey, see BCW who I also consider one of my favorite bass soloists. The discreetly played violino piccolo is not mentioned in the liner notes; I suppose this instrument is played by violinist Maya Homburger (see BCW). Among my first choices.
Koopman 2 (06-2001 [Mvts. 2, 5]; 11 & 12-2001 [Mvts. 1, 3, 6-7]; 10-2003 [Mvt. 4]): French soprano, Sandrine Piau, see BCW has also worked with Herreweghe and Kuijken among others. Technically perfect although somewhat shrill in the higher registers. She combines well in this dialogue with the ‘soft’ and warm voice of German bass-baritone, Klaus Mertens, see BCW. The violino piccolo part is probably also played by Margaret Faultness, see Koopman 1. Among my first choices.
Thomas Folan (11-2005): Canadian soprano, Anne Harley (see BCW) performs a very equilibrated dialogue with Dutch bass-baritone, Max van Egmond, see BCW, a very experienced Bach bass soloists. The violino piccolo is played by Martin Davids (see Musica Omnia Website). Also among my first choices.
Rudolf Lutz (11-2008): young Spanish soprano, Núria Rial, sings frequently with Lutz, has a very refreshing, clear and transparent timbre, mixing very well with German baritone, Markus Volpert, see BCW, also a very promising soloist of a new generation. The dialogue character is well performed here combined with a perfect playing of the violino piccolo by concertmaster Chiara Banchini, see BCW. At the top of my first choices.
Suzuki (09-2011): very young Czech soprano, Hana Blažíková, see BCW also performed with Pieter Jan Belder and Herreweghe (among others). She reminds me of Rial (see above) with her very enjoyable slim and almost boyish timbre and combines perfectly with Dutch bass, Peter Kooij, who performs in many recordings with Suzuki and Herreweghe. This is certainly one of the best combinations for this dialogue duet. The discreet violino piccolo (not detailed in the liner notes) is probably played by leader and first violin Natsumi Wakamatsu, see Discogs. Among my first choices.
Kuijken (12-2011): Korean soprano, Yeree Suh, see BCW has also performed with Koopman and Herreweghe (among others) and performs with a very slim, clear and transparent voice combining perfectly well with Belgian baritone, Jan van der Crabben, see BCW, an experienced bass soloist in Bach’s cantatas. The violino piccolo is played very professionally and probably Kuijken himself, although this is not confirmed in the liner notes, otherwise very detailed. Also among my first choices.
Christoph Spering (02&03-2019): well-known German soprano, Dorothee Mields, see BCW has sung many Bach solo parts with Pieter Jan Belder, Frans Brüggen, Thomas Hengelbrock and Herreweghe, including passion music’s and masses. She joins the handful of boyish timbres of Bach sopranos, sounding very transparent and mixing very well German baritone, Tobias Berndt, who reminds me of Mertens. This is also a perfect combination. According to the liner notes, the violino piccolo is played by Elisabeth Weber (see Eilsabeth Weber Website). Also among my first choices.
Ranking:
Best: Lutz, Suzuki, Kuijken, Christoph Spering, Gardiner 1, Jeffrey Thomas, Leusink, Gardiner 2, Koopman 2, Thomas Folan
Average: Rifkin, Greg Funfgeld, Blanche Honegger Moyse, Heinz Hennig, Koopman 1
Last: Saulius Sondeckis, Stephen Cleobury
Movement 4: Chorale, T, Strings in unisono and BC
Introduction by Alfred Dürr: ‘The central chorale (verse 2 of the hymn) is set as a trio, by contrast with the two chorale-based outer movements. The chorale melody, sung by the tenor in a slightly embellished form, is incorporated line by line within a thematically independent instrumental texture in which violins and violas unite in a powerfunison over an unthematic continuo part. The accessible instrumental melody has rendered this chorale arrangement extremely popular. Bach himself later transcribed it for organ as the first of the six so-called Schübler Chorales (BWV 645).’
Remarks:
· I commented already on my preference for the tenor soloist, who sing the chorale melody in this trio. My preferences are the same. The transparency of unisono violin playing varies with the size of the string section, see my comments in movement 1.
· Total times vary a full minute between the fastest at 3:20 (Koopman 2 and Thomas Folan) and the slowest 4:28 (Blanche Honegger Moyse).
Ranking (same as movement 2):
Best: Lutz, Suzuki, Rifkin, Greg Funfgeld, Blanche Honegger Moyse, Jeffrey Thomas, Heinz Hennig, Koopman 1, Kuijken, Christoph Spering, Stephen Cleobury, Koopman 2, Thomas Folan
Average: Gardiner 1, Leusink, Gardiner 2
Last: Saulius Sondeckis
Movement 5: Recitativo B, Strings with Violino Piccolo and BC
Introduction by Alfred Dürr: ‘ Now the Bridegroom takes the Soul as His bride. The string accompaniment of the recitative, no. 5, highlights the significance of this moment for the Christian and also serves the purpose of textual illustration, as in the unusual harmonic sequences on the words ‘And delight your troubled eye’.’
Remarks:
· I commented already on my preference for the bass soloist in movement 3. My preferences are the same. The transparency of the string and violino playing varies with the size of the string section, see my comments in movement 1.
· Total times vary slightly between the fastest at 1:13 (Kuijken) and the slowest 1:37 (Greg Funfgeld).
Ranking:
Best: Lutz, Suzuki, Kuijken, Christoph Spering, Gardiner 1, Jeffrey Thomas, Leusink, Gardiner 2, Koopman 2, Thomas Folan
Average: Rifkin, Greg Funfgeld, Blanche Honegger Moyse, Heinz Hennig, Koopman 1
Last: Saulius Sondeckis, Stephen Cleobury
Movement 6: Aria Duetto, S, B Oboe I solo, BC
Introduction by Alfred Dürr: ‘The following duet, no. 6, gives expression to the joy of the united pair. Like the third movement, it is a pure love duet, cheerful and dance-like, yet so deeply felt in musical terms and of such consummate artistry that its relaxed mood brings with it no lowering of artistic intensity. Here again, earthly happiness in love and heavenly bliss are blended into a unity. In any account of Christian mysticism in great art this cantata should not go unmentioned.
Remarks:
· I am commented already on both S and B soloist in movement 3. The same ranking is valid also here.
· Total times vary slightly between the fastest at 5:05 (Gardiner 1) and the slowest 5:49 (Saulius Sondeckis).
Ranking:
Best: Lutz, Suzuki, Kuijken, Christoph Spering, Gardiner 1, Jeffrey Thomas, Leusink, Gardiner 2, Koopman 2, Thomas Folan
Average: Rifkin, Greg Funfgeld, Blanche Honegger Moyse, Heinz Hennig, Koopman 1
Last: Saulius Sondeckis, Stephen Cleobury
Movement 7: Chorale S, A, T, B , Instruments and BC
Introduction by Alfred Dürr: ‘Bach wrote the plain four-part concluding chorale in antiquated minim notation. With the high pitch of the chorale melody in the soprano and its octave doubling in the violino piccolo, this setting uses earthly means in an inimitable manner to give symbolic shape once more to the bliss anticipated by the Christian in the heavenly Jerusalem.’ Footnotes not included.
Remarks:
· My comments are the same as for movement 1, either HIP (full choir) or OVPP. My ranking is also the same.
· Total times vary over a minute between the fastest at 1:17 (Lutz) and the slowest 2:13 (Saulius Sondeckis).
Ranking: based on the transparency of all choir parts and instrumental clarity I prefer both OVPP renditions with Rifkin and Kuijken. A ranking for the HIP recordings is not easy, and I like equally: Lutz = Gardiner 1= Jeffrey Thomas = Henz Henning = Koopman 1 = Stephen Cleobury = Gardiner 2 = Koopman 2 = Thomas Folan = Suzuki = Spering. Not my taste are: Saulius Sondeckis, Greg Funfgeld, Blanche Honegger Moyse and Leusink |
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