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Cantata BWV 169
Gott soll allein mein Herze haben
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of June 18, 2026 (5th round)
Cantata BWV 169 ‘Gott soll allein mein Herze haben’ by Rudolf Lutz compared to other early, HIP and OVPP recordings. |
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Frits V. Herbold wrote (June 16, 2026):
This is one of Bach’s 5 solo cantatas for alto voice, with many available recordings.
The BCW shows 57 recordings so far, starting with an early interpretation from June 1959 (Anthon van der Horst - Aafje Heynis) and ending with recent renderings, many only available on YouTube. Exceptionally I am discussing some of these earlier recordings because of the at the time very famous and proficient contraltos (e.g. Aafje Heynis, Maureen Forrester, Eva Bornemann and Janet Baker. These interpretations are timeless and match any comparison to most recent HIP and OVPP recordings. Since this cantata uses a 4 voices chorale only as last movement, many traditional HIP interpreters (e.g. Suzuki, Lutz and Helmut Müller-Brühl) preferred a OVPP version.
BWB 169 is the 17th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, September 19, 2008 - two days before the respective 18th. Sunday after Trinity in that year. See also the Bachipidia Bachipedia 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/24, BC: A 143 and Bach Digital:
Alt solo, Sopran, Alt, Tenor, Bass, Oboe d'amore I, Oboe d'amore II, Taille, Violine I, Violine II, Viola, Orgel obligato, Basso continuo
Remarks:
1. The NBA I/21 with its ‘Kritischer Bericht’ (critical report) was published in 1991 by Matthias Wendt, meaning that it was only available to the conductors starting with Hartmut Haenchen with Jochen Kowalski. Earlier recordings probably used the BGA score and parts.
2. Both original score and parts mention 2 oboes (Hautbois I and II), but as explained in the ‘Kritischer Bericht’ (Critical Report) from the NBA, the lower notes b (German h) and a are not playable on the ‘normal’ oboe at the time. Accordingly, the score published by the NBA has these parts played by oboe d’amore I & II (contrary to the BGA, where they are annotated as oboes I & II)
3. Also, the original sources suggest that the continue part was performed by at least two instruments (tuned in ‘Kammerton’, a’= 415 Hz. Since one of these two parts are figured and mention ‘tasto solo’, one can assume that a harpsichord was meant (which is not usual for the later Leipzig cantatas)..
4. The organ obligato part is only extant in the original score; there is no separate written (transposed) part. If the organ also performed a part in the BC when playing obligato parts (movements 1, 3 and 5) is not known, but not probable.
5. The original Leipzig key is in D Major (ending with movement 7 in the dominant A played at the Leipzig ‘ Kammerton’ a’ = 415 Hz.). All the recent HIP / OVPP recordings discussed here perform according to this original settings, while the early recordings were mostly recorded at the modern pitch of a’= 440 Hz.
Introduction Cantata BWB 169 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘Bach composed this cantata for performance on 20 October 1726. Its scoring is unusual: except for the undemanding final chorale, the vocal music is throughout assigned to solo alto, but this vocal restriction is set against a rich instrumental ensemble made up of three oboes (oboe d’amore I and II plus taille*), strings, obbligato* organ, and continuo. Among the instruments, the obbligato organ is predominant, as in several other cantatas from this period. The librettist is unknown. In substance, the text is linked to the first part of the Sunday Gospel.* Asked which is the greatest commandment of the Law, Jesus replies, ‘You shall love the Lord your God with all your heart, with all your soul, and will all your mind. This is the first and greatest commandment; and the second is alike, namely: you shall love your neighbor as yourself. Hence movements 2– 5 are concerned with the love of God and movements 6– 7 with the love of one’s neighbor. The librettist ingeniously links the introductory arioso-cum-recitative, no. 2, with the aria that follows by prefacing each part of the bipartite recitative with a line of text from the aria. Each portion of the recitative text thus forms an interpretation of the motto that precedes it, and it also ends with the opening line of the aria. Thus the aria no. 3 opens with the lines:
Gott soll allein mein Herze haben, Ich find in ihm das höchste Gut.
God alone shall have my heart: I find in Him the highest good.
And the preceding recitative is articulated as follows:
Gott soll allein mein Herze haben. … (interpretation) …
Gott soll allein mein Herze haben: Ich find in ihm das höchste Gut. … (interpretation) …
Gott soll allein mein Herze haben.
An allusion to 2 Kings 2.11 is found in the second recitative, no. 4. According to Old Testament tradition, the prophet Elijah did not die but was carried off to heaven alive in a fiery chariot. Love for God, the poet wants to say, conquers death itself and lets us partake of God’s Kingdom even here on earth. The second aria, no. 5, is a paraphrase of 1 John 2.15– 16: ‘Do not love the world, nor what is in the world. If anyone loves the world, the Love of the Father is not in him. For everything that is in the world— the lust of the flesh, the lust of the eyes, and the life of pride— is not of the Father but of the world’. The concluding chorale is the third verse of Martin Luther’s hymn ‘Nun bitten wir den Heiligen Geist’ (1524).
Remark: total times vary significantly between the fastest tempo at 21:04 (Harnoncourt – Paul Esswood)) and the slowest 29:46 (Anthon van der Horst - Aafje Heynis).
Movement 1: Sinfonia, Oboe d’Amore I & II, Taille (or Oboe da Caccia or English Horn) Strings, Obligato Organ and BC
Note: The oboe da caccia (literally “hunting oboe”), taille, and English horn are all double-reed woodwinds in the oboe family, but they are not exactly the same — they are related, with the oboe da caccia being the direct ancestor of the English horn.
Introduction by Alfred Dürr: ‘In his composition, Bach made use of an earlier instrumental concerto for two of the movements. We know it as the Harpsichord Concerto in E, BWV 1053, but in its lost original form it was probably intended for a different solo instrument, possibly oboe or flute. The first movement is here employed as the introductory sinfonia, in the key of D and with the organ as obbligato instrument. The tutti instruments are strings, continuo, and (added afresh for the cantata) three oboes. This extended introductory movement in pure da capo form gives the opening of the cantata exceptional weight. However, the following movements are also most elaborately designed.
Remark: total times vary significantly between the fastest at 7:01 (Hartmut Haenchen) and the slowest 9:15 (Karl Ristenpart). Most tempos of all other recordings are around 7:30 and 8:30 minutes.
Anthon van der Horst (06-1956): I am not sure if LP’s or CD’s are still available today. The BCW only mentions a link to YouTube. I was lucky enough to obtain this recording early on. Unfortunately, the liner notes are not very detailed. I am not sure which kinds of oboes are playing here, but the organ part is played with the Church Organ at the St. Janskerk, Gouda, the Netherlands, performed by Albert de Klerk (see Organ Playing Wiki) . Since the key is D Major at the modern pitch of a’= 440 Hz, I believe that this organ is also tuned to modern pitch. The size of the string section seems adequate, although I can only guess the number of 3 first and secondviolins each and 2 violas from two recent pictures (see BCW) . The BC probably is played with violoncello and double-bass, but I can’t hear a second keyboard instrument (harpsichord or second organ). I will always prefer church organ renderings when obligato parts are important, as is the case with this movement and movements 3 and 5. Among my first choices.
Antonio Janigro: (06-1964) some information is available in the liner notes: the use of 3 oboes (without specifying which kind) and the importance of the organ. The BCW link BCW shows pictures of the ensemble, showing - I guess - 1-2 first and second violins and 1-2 violas, apart from violoncello and double-bass. The choir size used in the final chorale is not specified but is definitely not OVPP. See movement 7, below. Regarding the organ (‘Grosse Riegel-Orgel’), I found some information in German sites (e.g. Die große Rieger-Orgel im Wiener Konzerthaus) but there is no mention about the tuning and pitch. The latest restorations were made in 1982 and 2015/16 and I believe they must have tuned the instrument to modern pitch of a’= 440 Hz to allow this recording with the instruments also tuned at modern pitch. The organ is played by Anton Heiller (see BCW). Also among my first choices.
Karl Ristenpart (10-1965): again, there is not much information about instruments and choir size in the liner notes, but the organ part is played at a big organ by classical harpsichordist and organist Gunther Karau. I believe both organ and instruments (Saar Chamber Orchestra) were tuned at modern pitch (a’ = 440 Hz) as in both recordings above. Also among my first choices.
Yehudi Menuhin (07-1966): as above, the liner notes are very scarce: they mention oboes d’ amore and an oboe da caccia for other works in this album but not specifically for BWV 169/1. The organ is mentioned as continuo instrument together with violoncello, double-bass and bassoon. There is no detailed information about the organ itself, very well played by Nicholas Kraemer (see BCW). I believe both organ and instruments (English Chamber Orchestra) were tuned at modern pitch (a’ = 440 Hz) as in all recordings discusses above. Also among my first choices.
Nikolaus Harnoncourt (01 & 02-1987): ironically, Harnoncourt who started the HIP interpretations uses a chest organ, although masterfully played by Herbert Tachezi (see Discogs). The instrument is tuned to the original ‘ Kammerton’ of a’ = 415 Hz, allowing the combination with all other instruments tuned to the same pitch. In his remarks, Harnoncourt mentions: ‘As is so often the case in Bach’s instrumental works, the choice of oboes was left to the performers: the composer did not specify the type. The range of the oboes calls for two oboes d'amore; in specifying a taille, Bach presumably had in mind an oboe da caccia in F. We have enhanced the bass line with a bassoon, which executes the continue part on its own whenever the organ plays solo. - The phrasing, trills and grace notes have been extensively filled in.’. As in most of the other following HIP and OVPP recordings, key (in this case D Major) and pitch are performed at this ‘ Kammerton’, as did Bach himself in Leipzig. The string section with 4 first and 4 second violins and 2 violas is relatively small and transparent. One of my first choices for chest organ.
Robert King (09-1988): the liner notes inform the use of both ‘ obligato organ’ and ‘ chest organ’ as well as a harpsichord. At the same time though, they mention: ‘ With a harmonic requirement for an independent continuo instrument besides the solo organ it seems likely that Bach would have used the harpsichord for this function’ but from what I can hear he uses the harpsichord only in this first movement in the continuo together with violoncello and double-bass whereas in movements 3 and 5 with obligato organ he uses a second chest organ instead of a harpsichord (see below). The string section is very small and intimate with only 2 violins (I & II) and 1 viola. Two oboes d’ amore and one oboe da caccia represent the wood winds. This is a performance at the Leipzig ‘Kammerton’ at a pitch of a’= 415 Hz and in D Major. Among my first choices.
Hartmut Haenchen (05-1994): this is another recording with the great Peter Migendt church organ at the ‘ Kirche Zur Frohen Botschaft, Berlin-Karlshorst, Germany (also known as ‘ Amalien-Orgel’ last restored in 2009/10), tuned to the modern pitch of a’ = 440 Hz allowing the combination with all other instruments equally tuned to modern pitch. From the illustration of the ‘ Carl Philipp Emanuel Bach Chamber Orchestra’ (see BCW) I guess a medium string section with 3 first and 3 second violins and 2 violas. It is not clear if Haenchen uses a second keyboard instrument in this first movement, but I guess not. The usual BC instruments shown in the illustration show a violoncello and a double-bass. I did not find any information about the wood winds, but one can hear the oboes (probably 2 oboes d’amore and oboe da caccia). The obligato organ parts are played by the excellent Raphael Alpermann (see BCW) One of my first choices.
Andrzej Mysiński (12-1994 - 05-1995): this is very ‘fresh’ and joyous rendition of this first movement. Although playing a chest organ, all (3) obligato parts are played in an exceptionally brilliant and transparent style by Jarosław Malanowicz (see: Discogs). Although not detailed in the liner notes, strings sound light (maybe 1-2 instruments per voice) and the kind of oboes are not mentioned. At the other hand, the composition of the BC is detailed for each movement: here we a violoncello, a violone and a harpsichord as second keyboard instrument. Key is D Major at modern pitch of a’= 440 Hz. This is certainly one of my first choices for chest organ obligato and a second keyboard instrument in the BC.
Juha Kangas (06-1998): in this first movement, we have both obligato and BC organs. The obligato church organ from the Kruunupyy Church, Finland (see Organ Index) sounds similarly ‘fresh’ and joyous as above. The string section is larger here: 5 first, 5 second violins and 3 violas. Woodwinds: 2 oboes d’amore and one English horn (instead of oboe da caccia or taille). Apart from a second organ (chest organ?) named ‘continuo organ’ the liner notes also inform 3 violoncellos, 2 double-basses and a bassoon, but I am not sure if they are all playing. Key is also D Major at modern pitch of a’= 440 Hz. Also among my first choices for the recordings with two organs.
Ludwig Güttler (11-1998): here we can hear one of the many famous Silberman – in this case at the Village Church of Crostau, near Dresden, Germany (see Silbermann Orgen Crostau) played by Friedrich Kicheis (see Discogs). Further information from the liner notes: 3 oboes (not specified, but probably 2 oboes d’amore and one oboe da caccia), no details on the size of the string sections; BC consisting of a harpsichord as second key instrument, violoncello, double-bass and bassoon. Although restored many times, the sound of the Silberman organ is still breathtaking and magnificent (see also movement 3, below!). As above, key is D Major at modern pitch of a’= 440 Hz. Also among my first choices for the recordings with church organs and harpsichord as a second keyboard instrument.
Pieter Jan Leusink (10 & 11-1999): one of the main featureof the Leusink cycle I like is the use of the great organ of the St. Nicolaschurch, Elburg, Netherlands (see: Rijksmonumenten.nl), restored In 1983. For some reason, the first movement is played by Vaughan Schlepp (see Challenge Records) whereas movements 3 and 5 are played by Rien Voskuilen (see Discogs). Leusink’s instruments are tuned to the original ‘Kammerton’ in Leipzig (a’= 415 Hz) and the organ is either tuned to the same pitch or at the ‘Chorton’ pitch of a’= 465 Hz, exactly as Bach performed these cantatas at his time. Additional information about used wood winds, string size and composition of the BC (second keyboard instrument?) are not available in the very scarce liner notes, but one can hear a medium size string section, oboes d’amore and a lower oboe instrument, probably oboe da caccia as well as both violoncello(s?), bassoon (?) and double-bass in the BC. I can’t hear a harpsichord as a second keyboard instrument. Among my first choice for the ‘big organ’ performances.
Gardiner (10-2000): since there is no detailed information available in the liner notes, an A.I. research tells us: ‘for the performance of Bach’s Cantata BWV 169 at the Thomaskirche, Leipzig Gardiner did use a portable positive/continuo organ, not the large Sauer church organ.’ and ‘A dedicated instrument was built specifically for the Bach Cantata Pilgrimage 2000: a six-stop continuo organ constructed by Jennings Organs for Sir John Eliot Gardiner’s ensemble.’ I needed to confirm this, since Gardiner had exceptionally used the church organ later in the sinfonia opening of cantata BWV 146 (Trost organ at the castle church in Altenburg). I don’t understand why Gardiner didn’t do the same here at the St. Thomas church, where he could have used one of the two church organs (‘Great Organ’, also known as ‘Sauer-Orgel’ or ‘Small Organ’, also known as ‘Schwalbennest Orgel’). Both organs are still tuned to the original ‘Chorton’ as at Bach’s time but would be easily played at the transposed key of C Major. This would have been ‘the’ HIP recording ‘per se’ considering Gardiner’s ‘original’ instruments tuned at the Leipzig ‘ Kammerton’ of a’= 415 Hz. but not considering the soloist contralto: Nathalie Stutzmann and the women’s choristers in the final chorale. The liner notes and the BCW also mention the use of a harpsichord as well as all ‘common’ BC instruments (2 violoncellos, double-bass and bassoon) as well as the harpsichord as second keyboard instrument. The string section is relatively strong, with 5 first, 4 second violins and 2 violas and the 3 oboes are all present (2 oboes d’amore and oboe da caccia (or taille?). I like this very transparent interpretation, certainly among my first choices.
Koopman (Mvt. 1: 09 & 10-2002 and Mvt. 2-7: 10 & 11-2002). Although Koopman himself plays the organ part, he doesn’t use the church organ of the ‘Waalse Kerk’, Amsterdam, Netherlands where the recording was made. This means we have similar situation as with Gardiner, above. The string and woodwind sections are almost identical as with Gardiner above, but the BC has an additional lute, apart from violoncello(s), violone and bassoon. All instruments are tuned at the Leipzig ‘ Kammerton’ of a’= 415 Hz. and play in D Major. Also among my first choices.
Helmut Müller-Brühl (10 & 11-2004): although not detailed in the liner notes, the organ certainly sounds as a ‘great’ organ played by Harald Hoeren (see Discogs), probably tuned to the modern pitch of a’= 440 Hz. together with all other instruments. This OVPP recording (see movement 7) uses a relatively strong string section and all 3 oboe instruments. The BC consist of 2 violoncellos, double-bass and bassoon but I don’t hear a second keyboard instrument. Among my first choices.
Suzuki (09-2006): regarding the use of the organ, the liner notes inform that Suzuki ‘ felt obliged’ to use the large organ of the Kobe Shoin Women's University Chapel, Japan (played by Suzuki himself). The string section is relatively small with 3 first, 3 second violins and a 2violas and as woodwinds 2 oboes d’ amore and a taille. As a result, this recording sounds very transparent, although I don’t like the sound of this organ compared to other great church organs discussed above. The BC is mentioned as ‘continuo’ , probably with violoncello and violone. No second keyboard instrument is used. Although the pitch of the organ is not mentioned (either also at ‘Kammerton’ or transposed at ‘Chorton’. Among my first choices, but not at the top. By the way, this is also an OVPP recording (see movement 7).
Jan Katzschke (08-2007): as above, Katschke explains in the liner notes the use of the Zacharias – Hildebrand church organ at the ‘ St. Wenzelskirche’ Naumburg, Saxony-Anhalt, Germany. He also points out that this instrument is tuned to the ‘ Chorton’ pitch of a’ = 465 Hz. and that the organist played in the transposed key of C Major, while all other instruments play at the ‘ Kammerton’ of a’ = 415 Hz. This is exactly as Bach did in Leipzig. The string section is minimal here: only one violin I and one violin II and a viola. The oboe instruments are oboe d’ amore I & II and taille; the BC violoncello, double-bass and bassoon. No second keyboard instrument is used. This is also an OVPP recording (see movement 7). The organ sounds great with much ‘lighter’ registers than above with Suzuki. Among my first choices.
Petra Müllejans (04-2008): the key and pitch situation – although not confirmed in the liner notes is probably the same as with Suzuki and Katschke mentioned above. Key is D Major and pitch is at ‘Kammerton’, a’ = 415 Hz. Wolfgang Zerer plays a great organ (not detailed). The string section is relatively strong with 4 first violins (with leader Petra Müllejans), 4 second violins and 2 violas. Three oboes are mentioned but not specified (probably also 2 oboes d’amore and an oboe da caccia (or taille). The BC consist of violoncello, double-bass and bassoon. I like the registers of the organ and transparent instrumental playing. Among my first choices.
Lutz (09-2008): Lutz plays the chest organ himself (while directing); the string section is minimal with 1 violin I , 1 violin II and viola. One can see both oboes d’amore and a taille as woodwinds. The BC with violoncello, violone and bassoon doesn’t use a second keyboard instrument; instead Lutz uses a theorbo. The whole movement is very ‘light’ and transparent. Key is D Major with all instruments tuned to the Leipzig ‘Kammerton’, a’= 415 Hz. This is also an OVPP recording (see movement 7.) and this recording is certainly one of my first choices for chest organ solos.
Julia Schröder (01-2011): see L’ancien couvent des Dominicains. Regarding the organ, there is the following information (translated from French): To sum up: ‘the organ is not explicitly listed as a current instrument, but the old nave of the convent, with its exceptional acoustics, is an ideal place for an organ recital. To find out about upcoming concerts or organ recitals, it is recommended to consult the CDMC program or the official website of the Dominicans. The instrument playing here is certainly a ‘great‘ organ with a very pleasant registering but the liner notes don’t inform any details about this instrument nor any other (string section size, oboes, BC, choir size etc.). But this movement sounds very transparent and joyous. Key is D Major, at the ‘Kammerton’ pitch of a’415 = Hz. Also among my first choices.
Ranking:
With this many variations of the organ instruments playing (chesty- / great- / church organ, second keyboard or not, size of string sections and woodwinds) I don’t feel comfortable giving these discussed recordings a ranking. Basically, I like them all, with slight preferences for Juha Kangas, Hartmut Haenc, Andrzej Mysiński and Juha Kangas, mainly because of the use of great organs. Gardiner’s chest organ (a special construction) also sounds almost as well. I would have appreciated very much a recording with Karl Richter at the great organ from the ‘Herkules-Saal’, Munich, Bavaria, Germany, where he recorded many other cantatas (see BCW), but I haven’t found a recording nor does the BCW mention one for this cantata.
Movement 2: Arioso, Alto and BC
Movement 3: Aria, Alto and BC
Introduction by Alfred Dürr: ‘The second movement several times alternates between arioso and recitative. The motto lines quoted from the following aria, as shown above, are set as arioso, the intervening interpretative passages as recitative. Finally, the opening line is repeated once more at the close, this time in the form of recitative. The following aria, no. 3, in which the alto is accompanied only by obbligato organ and continuo, gives the opening ‘motto’ line, ‘God alone shall have my heart’, a setting that distantly suggests an inversion of the arioso melody, but essentially it constitutes a new invention. These words were clearly conceived by the composer, as well as the librettist, as the essence of the whole cantata, and the entire art of Bach as preacher is manifest in the constantly new light in which they occur in arioso, recitative, and aria. The truly virtuoso organ part of the aria also helps to emphasize their significance.
Remarks:
I am concentrating my discussion on the alto part for both movements. Regarding the obligato organ part in movement 3., see my comments to movement 1, above.
Total times for both movements vary slightly. Movement 2: from slowest: 3:40 (Anthon van der Horst) to fastest 2:08 (Helmut Müller-Brühl); movement 3: from slowest: 3:40 (Pieter Jan Leusink) to fastest 2:08 (Andrzej Mysiński).
Anthon van der Horst - Aafje Heynis (06-1959): When the Netherlands were liberated in May 1945, the jubilation in the Zaan region (North Holland) reached the same unsurpassed level as everywhere else. A man hit on the idea of wheeling his old, brown piano out on to the street. He sat down and began to play a patriotic song, naturally, with bystanders joining in with utmost emotion. Suddenly someone in the crowd cried: “There's a real singer living just nearby. She must join us." A few minutes later some bystanders brought a young lady, somewhat thin, smiling shyly, for she was shy by nature: Aafje Heynis. There were cries of "sing, sing!" Standing by the old piano she began to sing George Frideric Handel's "Dank sei dir, Herr". It became completely still, and people began to weep. Aafje's beautiful timbre, her own emotion, the splendid melody, the greatness of the occasion (freedom after five years of German occupation), all these cast a spell on the dozens of witnesses. "Never again have I been able to sing Handel quite like that", the famous contralto was later to say. See BCW
As a Dutch citizen, I may be biased, but I enjoy this famous contralto voice whenever I have the opportunity to hear her performances. Heynis was born May 2, 1924, in Krommenie, and died December 16, 2015, in Huizen, both cities in the Netherlands.
This LP or CD is difficult to come by today, but one can listen to this recording also on YouTube (YouTube)
Although she performed numerous times in the St. Matthew Passion (BWV 244) I don’t think she is a typical Bach soloist, since she sung many other classic and romantic works with several famous conductors at the time. One can learn to appreciate her relatively low timbre in these 2 movements, although movement 2 is excruciatingly slow in comparison to all other renditions. Movement 3 still seems very slow, but her performance and the obligato organ is one of my first choices for contralto.
Antonio Janigro & Maureen Forrester: (06-1964): Canadian contralto, teacher and administrator, Maureen Forrester (see BCW) was born July 25, 1930, in Montreal and died June 16, 2010, in Toronto, both in Canada. I consider her part of the same generation as Heynis (see above), and her voice has a similar low timbre. Interestingly, movement 2 is accompanied by a harpsichord, whereas the obligato organ accompanies in movement 3. The tempos are more adequate and although Forrester tend sometimes to sound operatic in the higher registers, she is also among my first choices for contralto.
Karl Ristenpart - Eva Bornemann (10-1965): German contralto, Eva Bornemann (See: BCW) was born in 1926, in Wuppertal, Germany. I also consider her part of the same generation as Heynis and Forrester (above) and her lower contralto timbre is also comparable to both but the difference is that she was considered as an excellent J.S. Bach interpreter. I like her stronger and more joyous voice in both movements even better. Certainly one of my first choices for contralto.
Yehudi Menuhin & Janet Baker (07-1966): English mezzo-soprano, Janet Baker (see BCW) would be the 4th contralto singer of the same generation as all 3 mentioned above. There is no definitive public record of the exact year Janet Baker changed from contralto to mezzo-soprano. In fact, her career is consistently described in authoritative sources as beginning and being defined as a mezzo-soprano from her operatic debut in 1956. Clearly her timbre sounds more as a mezzo-soprano than a contralto. The organ is well played as in movement 1. I am not sure why, but I don’t like this interpretation as much as the first 3 discussed above. Not my first choice for contralto / mezzo-soprano.
Nikolaus Harnoncourt - Paul Esswood (01-02-1987) (see I am a huge fan of English counter-tenor, Paul Esswood (see BCW) since he was an important presence in the complete Harnoncourt-Leonhardt cycle and became one o=f the first important and better known counter-tenor singing Bach. This is the first recording with ‘original instruments’ executed at the Leipzig ‘Kammerton’ of a’= 415 Hz, including the chest organ. Among other counter-tenors discussed below this is one of my first choices.
Robert King - James Bowman (09-1988): English counter-tenor, James Bowman, has been one of the world's leading counter-tenors for nearly 30 years; his career spans opera, oratorio, contemporary music and solo recitals (See BCW). His singing comes very close to Esswood’ s and key and pitch are as with Harnoncourt. The obligato organ playing in movement 3 is excellent. Among my first choices for CT’s.
Hartmut Haenchen - Jochen Kowalski (05-1994): German counter-tenor, Jochen Kowalski, is among the most sought after international artists of his specialty (see BCW). He is almost at the same level as Bowman (see above) and I like this performance. Also among my first choices for CT’s.
Andrzej Mysiński - Jadwiga Rappé (12-1994 - 05-1995): contralto Jadwiga (Yadwiga) Rappé was one of the best-known singers from Poland (see BCW). When comparing her voice and timbre with the first contraltos above, she is technically as good as and her ‘leaner’ and clearer timbre sounds even more suitable for Bach. The organ playing sounds very discreet. One of my first choices for contralto.
Juha Kangas - Monica Groop (06-1998): Finnish mezzo-soprano, Monica Groop, is equally comfortable appearing in the world's great opera houses, performing intimate lieder in solo recital, and singing Baroque music with the leading period-instrument ensembles of our time (See BCW). Her timbre as mezzo-soprano sounds technically perfect, especially in the higher registers. The clear obligato organ playing in movement 3 and her strong voice makes this one of my favorite interpretations. Among my first choices for MS’s.
Ludwig Güttler - Elisabeth Wilke (11-1998): German contralto (and Mezzo-soprano), Elisabeth Wilke, studied singing at the ‘Musikhochschule’ in Dresden (see BCW). Comparing with the women’s voice above, she is exactly what I would have expected – an average timbre between contralto and mezzo-soprano. Her technique is perfect and even with the stronger church organ playing the obligato part in movement sounds perfect. Also among my first choices for MS’s.
Pieter Jan Leusink - Sytse Buwalda (10 & 11-1999): Dutch counter-tenor, Sytse Buwalda (see BCW) . Buwalda is an important presence in the complete Leusink cycle. He is not at the same technical level as Esswood, but is timbre is also pleasant. Among my choices for CT’s, although not at the top.
Gardiner - Nathalie Stutzmann ( 10-2000): French contralto and conductor, Nathalie Stutzmann (see BCW) is among the best contralto voices today. Comparing with her colleagues discussed above, she is somewhat disappointing here in IMHO. She sounds somewhat ‘wobbly’ especially in movement 3. Not bad, but not among my first choices.
Koopman - Bogna Bartosz ( 10-2002 [Mvts. 2-7]): Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW) sounds at her best in both movements; I like her technique and especially her timbre – located somewhere between mezzo-soprano and contralto. The obligato organ part in movement 3 is very discreet and transparent. One of my first choices for MS’s.
Helmut Müller-Brühl - Marianne Beate Kielland (10 & 11-2004): Norwegian mezzo-soprano, Marianne Beate Kielland (see BCW). Although both movements are performed in a faster tempo they still sound adequate. This is a very good recording (both movements) and her technique and very pleasant timbre makes this also one of my first choices for MS’s.
Suzuki - Robin Blaze (09-20006): English counter-tenor, Robin Blaze (see BCW) sings most of the alt parts in Suzuki’s cantatas cycle. His voice is technically perfect and his clear and ‘sharp’ timbre is very adequate for Bach’s cantatas. What I don’t like is the relatively strong and loud entry of the (in this case big organ) in both movements 2 and 3. Nevertheless, among my first choices among CT’s.
Jan Katzschke - Dorothea Zimmermann (08-2007): German contralto, Dorothea Zimmermann (see BCW) might not be as well-known as the other contralto discussed here; her timbre sounds closer to a real mezzo-soprano register but is technically perfect. I like this interpretation very much, although both organ continuo (movement 2) and organ obligato parts are ‘fuzzy’ and ‘wobbly’ and too dominant (especially in movement 3. Not among my first choices for contralto.
Petra Müllejans - Bernarda Fink (04-2008): Argentinean mezzo-soprano, Bernarda Fink (see BCW). Her timbre sounds similar to Kielland, but IMHO much better technically. The continuo and obligato parts are more discreet allowing the alto voice come out better at the forefront. One of my first choices for MS’s.
Rudolf Lutz - Claude Eichenberger (09-2008): Swiss mezzo-soprano, Claude Eichenberger (see BCW) is an experienced Bach (and Händel) soloist and her performance here is among my first choices. The continuo part in the first movement is enriched by a theorbo (instead of the chest organ). The obligato organ (played by Lutz himself) sounds ‘light’ and transparent. Among my first choices for MS’s
Julia Schröder - Andreas Scholl (01-2011): German counter-tenor, Andreas Scholl (see BCW) also has a vast experience as alto soloist with other Bach conductors, among them René Jacobs, Gardiner, Reinhard Goebel, Christopher Hogwood, Konrad Junghänel, Robert King, Jos van Veldhoven among many others. This is apparent in his recording with the ‘Kammerorchester Basel’ under Schröder. His voice comes off as very ‘present’(or near the mic?) and the continuo part in movement 2 is also discreet and intimate. His technique is shown even better in movement 3, with an equally intimate organ obligato accompaniment. Among my first choices for CT’s.
Ranking:
As in movement 1 with the organs and organists, the many variations of the contralto, mezzo-soprano and countertenors are too important for a fair rating. But there are slight preferences for each:
Contraltos: Eva Bornemann, Maureen Forrestyer, Aafje Heynis, Jadwiga Rappé
Mezzo-Sopranos: Claude Eichenberger, Bogna Bartosz, Monica Groop
Countertenors: Andreas Scholl, Jochen Kowalski
Movement 4: Recitativo, Alto and BC
Movement 5: Aria, Strings, Obligato Organ and BC
Movement 6: Recitativo, Alto and BC
Introduction by Alfred Dürr: ‘ A plain recitative, no. 4, leads to the second aria, no. 5, ‘Stirb in mir, Welt und alle deine Liebe’ (‘ Die in me, world and all your love’), which is also drawn from the instrumental concerto mentioned above. The organ is again assigned the function of obbligato instrument, and the alto voice part is most ingeniously woven into the existing movement. This aria ought to count as one of the most striking proofs of how a piece can gain rather than lose from its adaptation in the context of a new work. The revised version, grown far beyond the original concerto movement, is undoubtedly one of the most inspired vocal pieces that Bach ever wrote. In the E major Harpsichord Concerto, the movement is designated ‘Siciliano’; in the cantata, it is probably conceived as a dirge for the delights of this world. But what a dirge! Here, celebrated by earthly means, is a passionate submersion in heavenly love. Whereas the call to love God here acquires an exceptionally rich form, even for Bach, the call to love one’s neighbor follows in a brief recitative, no. 6.’
Note: Considering the comments to movements 2 and 3 above, I don’t see a reason to compare the alto parts in these other 3 movements, and my preferences remain the same:
Contraltos: Eva Bornemann, Maureen Forrestyer, Aafje Heynis, Jadwiga Rappé
Mezzo-Sopranos: Claude Eichenberger, Bogna Bartosz, Monica Groop
Countertenors: Andreas Scholl, Jochen Kowalski
Movement 7: Chorale, S, A, T, B, (all) Instruments and BC
Introduction by Alfred Dürr: ‘..in a brief recitative, no. 6, which leads directly to the concluding chorale. Here, the personally uttered decision of the individual Christian to love only God and one’s neighbor is joined by the prayer of the entire congregation that the Holy Spirit may assist them in this love.’
Remark: as always, I prefer the 6 OVPP interpretations for finale chorales (Robert King, Helmut Müller-Brühl, Suzuki, Jan Katzschke, Rudolf Lutz and Julia Schröder) because of the transparency of the harmonies when played by one soloist each. I have a slight preference for Lutz’s interpretation, because of the minimal instruments and resulting even better transparency. |
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