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Cantata BWV 35
Geist und Seele wird verwirret
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of October 17, 2026 (5th round)
Cantata BWV 35 ‘Geist und Seele wird verwirret’ by Rudolf Lutz compared to 17 other HIP recordings. |
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Frits V. Herbold wrote (October 17, 2026):
The BCW shows 54 recordings so far for this solo cantata for the 12th. Sunday after Trinity, starting with early recording from the 50ies (Karl Ristenpart) and 60ies (Max Thurn, Hermann Scherchen, Kurt Thomas and Helmut Rilling (not discussed here) and ending with very recent renditions (2024), many of them only available on YouTube. From these, I am only commenting on Jos van Veldhoven with the ‘Nederlandse Bachvereniging’, because he also uses a church organ (St. Martin's Church, Groningen, the Netherlands), see below.
BWV 35 is the 27th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, August 28, 2009 – as usual two days before the 12th. 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/20 | BC: A BC: A 125 and Bach Digital: Bach Digital:
Alt solo, Oboe I, Oboe II, Taille, Violine I, Violine II, Viola, Orgel obligato, Basso continuo
The Bach Digital page has links to two performances of this cantata on YouTube, one with Van Veldhoven and Netherlands Bach Society another with Kay Johannsen. I am including comments on the former, because this is a rendition using the magnificent church organ of the St. Martin's Church, Groningen, the Netherlands.
Remarks:
1. The NBA I/20 with its ‘Kritischer Bericht’ (critical report) was only published in 1985 (Klaus Hofmann and Ernest May), meaning that it was only available to conductors after Helmut Rilling (not discussed her), not to Harnoncourt and starting with Chiara Banchini (see below).
2. Fortunately both original score and (11) original parts are extant today and give us a good insight in Bach’s original performance materials.
2 Key and Pitch. All recordings discussed here are performed in d Minor at the Leipzig Cammerton pitch of a’ = 415 Hz or at the modern pitch of a’= 440 Hz.
3. Temperament. Since some of the organ obligato parts discussed recordings are performed on church organs (see Hartmut Haenchen, Leusink, Jan Katzschke, Klaas Stok, Damien Guillon and Jos van Veldhoven) these follow different temperaments (informed at each discussion below). Lutz is an exception – unfortunately he doesn’t use the church organ but nevertheless uses temperaments by Young and Valotti.
4. Regarding the original violin I and II parts, both also have doubletted parts, meaning that in this case Bach probably used at least two of each instruments.
5. Regarding the original taille parts: some of the discussed recordings use original taille instruments, others an oboe da caccia and in one case an English horn. See a comparison of these instruments at Jstor. Below I will comment on each instrument used for this part in the discussed recordings below.
6. As usual in Leipzig, the organ obligato part is annotated at the Leipziger Chorton of a’= 465 Hz. and plays two halftones lower – in the key of c minor. Some recordings use an additional chest organ and/or harpsichord in the BC, a choice of the conductors, since there are no real indications that Bach did the same – maybe only in his rehearsals.
Introduction Cantata BWV 135 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The text of this cantata, by the Darmstadt court librarian Georg Christian Lehms, closely follows the Sunday Gospel. The miracles of God, of which the people speak ‘with joyful shouts’, are so great— so we are told in the first aria— that when they consider them, their spirits and souls grow dumb in bewilderment. The following recitative mentions the healing of the deaf and dumb, recorded in the Gospel reading, still more directly: ‘To the deaf You give hearing, to the dumb, restore their speech’. The conclusion of the biblical narrative forms the basis of the second aria—‘ God has done all things well’— and the text of this movement continues with a reference to Lamentations 3.23: ‘His Love, His faithfulness are renewed for us every day’. Part II, probably performed after the sermon, opens with a sinfonia, followed by the recitative ‘Ach, starker Gott’ which presents the application : it applies the text to the Christians of the assembled congregation, for whom likewise God may open their ears and loosen their tongues so that they may praise Him and prove themselves to be His children and heirs. This inheritance of God’s Kingdom is the true goal of Christian life, and accordingly the libretto ends with an expression of the wish to be freed very soon from the ‘yoke of pain, rich in woe’ of this earth in order to sing a ‘joyous Alleluia’ to God with all the angels. Lehms’ s libretto of 1711 is a genuine ‘cantata’ in the terminology of the time, since it eschews biblical words and chorale in favor of madrigalian verse throughout. In his setting, written for 8 September 1726, Bach follows his textual model, dispensing with a choir and assigning all the vocal music to one alto singer— that year he evidently had an exceptionally able alto at his disposal. In the absence of a choir, the role of the orchestra is all the more significant. As in various other cantatas of that year, Bach here reused an existing concerto, probably composed at Cöthen. Indeed, the cantata is a particularly valuable piece of evidence for that work, since the original, probably a concerto for oboe and strings, is lost, surviving only in the form of a nine-bar fragment from an unfinished arrangement as a harpsichord concerto (BWV 1059). In the cantata, obbligato organ takes the place of the original solo instrument.’
Remarks:
· Total times vary around 4 minutes between the fastest at 23:52 (Klaas Stok) and slowest 27:19 (Jos van Veldhoven).
Movement 1: Concerto (Sinfonia), Organo obligato, Oboes I and II, Taille, Strings and BC
Introduction Cantata BWB 35,1 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’):
‘Part I opens with the first movement of the concerto, and Part II with what is believed to be its finale. Whether the aria ‘Geist und Seele wird verwirret’, no. 2, should be considered an arrangement of the slow middle movement is uncertain but not impossible. Since the original concerto is lost, the extent of the alterations made in the movements concerned cannot be established with any certainty. However, the reinforcement of the strings by two oboes and taille, which allows one or other of the instrumental groups to rest occasionally, may well be new in the cantata version (the unfinished harpsichord transcription requires only one oboe).
Remarks:
· I am commenting on the organ obligato part and all other instruments in this movement.
· Total times vary around a minute; the fastest at 5:57 (Leusink) and slowest at 5:04 (Andrzej Mysiński).
Harnoncourt (02 & 04 1977): when the complete Harnoncourt / Leonhard cycle was launched in 1971, I was very disappointed to hear that they did use a great church organ – which would have been really HIP. Equally, the (IMHO) far too big choirs (not the case in this solo cantata without choir parts) didn’t really reflect the size of Bach choirs at the main churches in Leipzig. At the other hand, they brought us the first original instruments (or copies thereof, see the ‘Concentus Musicus’ at BCW) and very detailed liner notes, describing their origin, as well as soloists like Paul Esswood and Kurt Equiluz with their new ‘slimmer’, non-operatic and intimate timbres and technical perfection, including some of the soprano and alto boy’s voices. The original instruments, with their ‘warmer’ tones (especially the woodwinds) and their professional performers gave us a completely new hearing experience! In this first movement, Harnoncourt employs a reduced strings section of 3 first, 2 second violins and one viola; two oboes from 1720, oboe da caccia from around 1724 (as taille instrument) as well as contemporary BC instruments (in this movement bassoon, violoncello and violone. Unfortunately – as commented above – the main feature of this concerto – the organ obligato part is performed with a chest organ. Nevertheless, this is a very ‘fresh’ , joyous and transparent interpretation, with a relatively good volume of the chest organ. Among my fist choices, although not at the top.
Chiara Banchini (09-1987): the baroque ‘Ensemble 415’, see BCW uses a similar string section of 4 first, 3 second violins and one viola. The liner notes mention 3 oboes, meaning that one of is probably an oboe da caccia playing the taille part. They also mention about the organ: ‘ we wish to draw the listener’s attention to the fact that the occasional slight kicking noises in this recording are produced by the hand operated bellows of the organ. This leads me to believe that a great / pipe organ is used here , since modern chest organs usually use electric blowers instead. But I really can’t be sure; the volume of this organ sounds very similar to Harnoncourt’s rendition. Also among my fist choices, although neither at the top.
Hartmut Haenchen (05-1994): the chamber orchestra ‘ Kammerorchester Carl Philipp Emanuel Bach’ (see: BCW) uses 3 first and 2 second violins and 2 violas. The liner notes mention 3 oboes, probably one of them being a oboe da caccia playing the taille part. The real hit here is the use of the Peter Migendt organ, the so called Amalia Organ (completed in 1755, and last restored in 1960), see details (only in German) at: Wikipedia. This instrument is tuned today with a non-equal temperament according to Kirnberger III,2 at a pitch of a’= 430 Hz, according to the link above, 14 Hz below the modern pitch of a’= 440 Hz. I am not sure how this difference in pitch between the organ and the instruments as well as the Kirnberger temperament for the woodwinds has been handled, but this rendition sounds perfect with its powerful and vigorous organ playing. Among my first choices.
Andrzej Mysiński (12-1994): the Concerto Avenna (see BCW), specializes in the interpretation of Baroque music, using the means of articulation, dynamics and color, as well as the controlled vibrato and tempo realizations typical of the period. The contrast of Baroque sound aesthetics with contemporary instrumentation results in unexpected and surprising effects, approval of admired by listeners, and criticized and regarded controversial by critics. The liner notes inform some of the instrumentalists, but not the size of the all strings, nor both oboe’s and a taille instrument, but confirms the use of a chest organ for the obligato parts as well as a harpsichord (and a second chest organ? - for the BC, together with violoncello and double-bass (no bassoon!). Nevertheless this is a vivid and transparent rendition – probably a little too fast - of the concerto. Average in my ranking.
Herreweghe (07-1997): the instruments of the Collegium Vocale Gent (see BCW), used original source material, which they subjected to detailed study, and made use of authentic period instruments. The relatively large string section plays with 5 first, 4 second violins and 2 violas, as well with 2 oboes (oboe I performed by Marcel Ponseele) and an oboe da caccia as taille. The obligato organ is played on a chest organ; it is not clear if a second chest organ and a harpsichord are both playing the continuo (with 2 violoncello, double- bass and bassoon). As usual with Herreweghe, this movement sounds very transparent, crystal clear and technically perfect, although not as joyous as in some of the other recordings discussed here. Among my first choices, but not at the top.
Juha Kangas (06-1998): the Ostrobothnian Chamber Orchestra (see BCW), is not exactly a baroque ensemble but equally at home with Baroque and Classical works such as the orchestral suites of Bach, the Concerti Grossi of Handel and the orchestral works of Mozart. In fact, in the early 1980’s the orchestra was the first ensemble in Finland to apply what is now known as the ‘authentic’ approach in performance. and uses, although this recording is performed with modern instruments and at the modern pitch of a’= 440 Hz. The liner notes inform 5 first and 5 second violins and 3 violas, as well with 2 oboes and an English horn as taille. The BC mentions 3 violoncello, 2 double-basses and a bassoon, as well as the organ obligato part played on a chest organ. This can be considered a relatively large orchestra for a Bach cantata and not necessarily HIP. Nevertheless this is also a joyous and crisp performance although the sound of the chest organ could be louder. Not bad, but average in my ranking.
Leusink (10 & 11-1999): the Netherlands Bach Collegium (see BCW), is a baroque ensemble with original instruments: the string section plays with 5 first, 4 second violins and 3 violas. The liner notes mention 3 oboes – probably one of them a oboe da caccia and – interestingly – apart from the church organ of the St. Nicolaschurch in Elburg, the Netherlands, a second chest organ for the BC (played by two different soloists). The BC contains 2? Violoncello(s), double-bass and bassoon. This also a recording played in d Minor at the Leipzig ‘Cammer Thon’ of a’= 415 Hz., so one must assume that the organ is tuned either at this pitch or at 2 semi notes higher (a’= 465 Hz.) and played in c Minor, as in Bach times in Leipzig. Anyway, this is a somewhat ‘restrained’ rendition, not with the expected full church organ volume. Average in mt ranking.
Gardiner (09-2000): the baroque ensemble English Baroque Soloists, founded by Gardiner (see BCW), has a long tradition of playing baroque music. As with Leusink, the string section plays with 5 first, 4 second violins and 3 violas. The liner notes mention 3 oboes (oboe I played by Marcel Ponseele) – probably one of them a oboe da caccia. Regarding the chest organ (made by Robin Jennings), Gardiner had made a notable exception while recording his cantata BWV 146 using the magnificent Trost organ at the castle church in Altenburg, but unfortunately not here. Nevertheless, in this very joyous, crispy and crystal clear interpretation the chest organ played by Ian Watson sounds great! One of my first choices!
Koopman (06-2001): the instruments of the Amsterdam Baroque Orchestra & Choir (see BCW), are authentic as with most new HIP recordings. The string section also plays with 5 first violins, 4 second violins and 2 violas as with Gardiner and the liner notes mention two oboes and 1 oboe da caccia as taille instrument. Apart from 2 violoncellos, double-bass and bassoons, a lute is also mentioned for the BC. This is a very equilibrated and transparent rendition reminding Gardiner. The organ obligato parts (played by Koopman himself) sound louder than most other chest organs discussed here. Also among my first choices.
Helmut Müller-Brühl (06 & 11-2004): for years the Kölner Kammerorchester chamber orchestra (see BCW), has presented young talented musicians of the new generation, both in the ensemble and as soloists as a special request. Many today famous soloists celebrated their first successes with the KKO under the direction of Helmut Müller-Brühl. On the occasion of the Bach year 2000, the ensemble performed the complete orchestral works of J.S. Bach under the conducting of Helmut Müller-Brühl. The BCW informs 6 first, 5 second violins and 3 violas as well as 3 oboes (probably one oboe da caccia). This recording also uses a great positive organ (made by Johannes Rohlf, 1997) and the registers are mentioned in the liner notes (but not its pitch). But in this case, all instruments are playing d Minor at the modern pitch of a’= 440 Hz, including the organ, although its volume is somewhat disappointing. Average in my ranking.
Kuijken (08-2006): with its reduced instruments of the ‘La Petite Bande’ (see BCW), Kuijken uses 2 first, two second violins and 1 viola, very close to Bach’s performances in Leipzig. The liner notes inform 2 oboes and a taille, following the original extant score and parts. The BC only mentions a violone (‘Basse de Violon’) and a positive organ, played by Ewald Demeyere. This is also a very crisp and transparent rendition and among my first choices.
Suzuki (09-2006): the liner notes inform all individual instruments from the Bach Collegium Japan (see BCW): 3 first and 3 second violins and one viola, as well as both oboes and the taille, very close to Bach’s score. The BC comprises violoncello, violone and harpsichord, while the organ obligato parts are played by Suzuki himself. As usual with Suzuki, this is a very fresh, joyous, transparent and clear rendition with a strong and steady volume of the chest organ. Among my first choices, at the very top.
Jan Katzschke (08-2007): the liner notes also inform all participating instruments of the Ensemble Bizzaries (see BCW): only 1 string per part (total 3), 2 oboes and taille and a BC with violoncello, double-bass and bassoon. This recording uses the great ‘Hildebrandt’ church organ at St. Wenzelskirche Naumburg, Saxony-Anhalt, Germany (see Hidebrandet Orgel), according to this link tuned at the Leipzig Chorton pitch of a’= 464 (instead of 465 Hz). This represents the exact situation that Bach’s encountered in Leipzig (but probably with 2-3 strings per part). This means that the organist Jan Katzschke played his instrument at 2 semi tones lower, in c Minor, while all instruments played at d Minor – not really a difficult task, since Bach did this all the time in Leipzig. This very transparent and joyous recording is the closest as one can imagine for a HIP recording. One of my first choices, also at the very top.
Petra Müllejans (04-2008): the instruments of the ‘Freiburger Barockorchester’ (see BCW), are informed in the liner notes: 4 first, 3 second violins and 2 violas as well as 3 oboes, probably one of them an oboe da caccia for the taille part. Interestingly the organ is mentioned only as ‘organ’ but its volume and registers certainly sound like a great organ, although I am not sure. A very forceful and transparent rendition, also at the top of my first choices.
Klaas Stok (10-2008): the period instrument ensemble ‘Concerto d'Amsterdam’ (see BCW) was established in 1991 around baroque violinist and concertmaster Mariette Holtrop. Playing on period instruments, it rapidly emerged as one of the Netherlands' leading ensembles that focus on authentic performances of 17th and 18th century music. The string section has 3 first, 3 second violins and 2 violas. The liner notes inform 3 oboes, probably one of them a oboe da caccia playing the taille part. The BC comprises 2 violoncello, double-bass, bassoon and a harpsichord (apart from the obligato organ). The great church organ of the ‘grote Kerk’ in Dordrecht, Netherlands (see Gartoe Kerk Dordercht), is tuned at the Leipzig Cammerton pitch of a’= 415 Hz and the non-equal temperament according to Kirnberger III. This is a very spirited and joyous interpretation with a very ‘present’ and clear organ sound. Among my first choices.
Lutz (08-2009): The Choir and Orchestra of the J.S. Bach Foundation (formerly: Schola Seconda Practica) (See BCW) was founded by Rudolf Lutz in 2006. The ensemble consists of professional musicians from the whole of Switzerland, southern Germany and Austria. All its members are experienced in historical performance practices and relish the challenge of exploring a contemporary and vital interpretation of J.S. Bach's cantatas. The string section is played with 3 first, 3 second violins and 2 violas. The woodwinds 2 oboes and one oboe da caccia (for the taille part). Unfortunately Lutz doesn’t the organ of the ‘Evangelische Kirche, Trogen’ which would have made a perfect HIP recording. Nevertheless, Lutz organ playing on a chest organ is perfect, in some movement doubled with a harpsichord (see video of individual movements). Among my first choices.
Damien Guillon (11-2011): this is a very interesting interpretation, recorded at the ‘Église Réformée du Bouclier à Strasbourg, France’ and using the magnificent church organ (see Église Réformée du Bouclier à Strasbourg), also tuned at Cammerton a’= 451 Hz. and a temperament according to D. Thomas & L. Meurice (Bazougers). In a similar setup (same location, same instrumentation) one can watch BWV 170 on YouTube (see YouTube). The organist Maude Gratton (see BCW), is sitting with her back to the ensemble (using a mirror?), proving that this is not really a problem. The other instruments comprise (1 violin I, 1 violin II and 1 viola and both oboes and a taille and in the BC violoncello, double-bass and bassoon, as well as a harpsichord (that I can’t hear). The whole movement sounds very transparent with the reduced instruments and a gorgeous organ volume. Also among my first choices.
Jos van Veldhoven (09-2015): I included this live performance, although its only available on YouTube (see YouTube). The video shows 2 oboes and 1 oboe da caccia, and from what I can see 4 first, 3 second violins and 2 violas. The magnificent church organ from the St. Martin's Church, Groningen, the Netherlands is shown in much detail, including the organist (name?) sitting at the three manual (and probably pedal) organ. According to the site Wikipedia, this instrument is tuned similarly to the Leipzig Chorton pitch of a’= 466 Hz and a temperament according to Neidhardt III. I am not sure how van Veldhoven managed the different pitches and temperaments of the woodwinds and strings with this organ, but the easiest explanation is that he proceeded exactly as Bach did in Leipzig, playing the organ at 2 half tones lower than d Minor, c Minor. This recording with the ‘De Nederlandse Bachvereniging’ (see BCW), would be very close to Bach’s original performance. Among my first choices, although the YouTube sound is not ideal for comparing.
Ranking: According to the organ obligato parts I am dividing all these recordings in two groups for my ranking:
Church / Great Or: (1) Damien Guillon, (2) Klaas Stok, (3) Hartmut Haenchen (4) Jos van Veldhoven, (5) 'Maarten Engeltjes, (6) Helmut Müller-Brühl, (7) Leusink
Positive / Chest Organs: (1) Suzuki, (2) Kuijken, (3) Gardiner, (4) Koopman, (5) Petra Müllejans, (6) Lutz, (7) Herreweghe, (8) Chiara Banchini, (9) Harnoncourt, (10) Andrzej Mysiński, (11) Juha Kangas
Movements 2 to 7:
Movement 5 (second part, Sinfonia), Scoring as movement 1
Introduction Cantata BWB 35, 5 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘Part II opens with a ‘presto’ sinfonia in which the obbligato organ takes the lead from the outset, first in dialogue with the orchestra and thereafter as a soloist accompanied by the other instruments. The second section of the movement, which is designed in binary form with repeats, is dominated still more exclusively by the organ, and accordingly the opening theme no longer recurs here in full; its initial bar, however— —pervades the entire movement as its driving force.’
Remarks: Total times vary significantly between the fastest at 3:09 (Lutz) and slowest 5:40 (Hartmut Haenchen).
Ranking: Same as movement 1, see above.
Movement 2: Aria A, Oboes I & II, Taille, Strings, Organo Obligato and BC
Movement 3: Recitativo A and BC
Movement 4: Aria A, Organo Obligato and BC
Movement 6: Recitativo A and BC
Movement 7: Aria A, Oboes I & II, Taille, Strings, Organo Obligato and BC
Introduction Cantata BWB 35, 2, 3, 4, 6 and 7 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
The introductory concerto movement is followed by the aria which, as already mentioned, should perhaps be regarded as the middle movement of the lost concerto. Yet caution is required here. Bach’s autograph score is more heavily corrected than in the preceding movement, and the instrumental groups— woodwind and strings— are often treated independently. Both these observations might support the view that the movement was newly composed, or at least radically altered. In any case, the aria achieves admirably what was required of a composer of the time in the setting of such a text. For the ornamental figuration of the obbligato organ, combined with a most expressive siciliano melody for the other instruments, can easily be understood as a symbol for the miracles of God; and perhaps the rests that separate the phrases of the siciliano theme might even be conceived as a metaphor for growing dumb before such miracles. The recitative no. 3 that follows the two concerto-like movements has a plain, syllabically* declaimed voice part accompanied only by continuo. In the aria ‘Gott hat alles wohlgemacht’, no. 4, the cantata for the first time enters clear major-mode territory. The obbligato organ on this occasion accompanies the voice unaided save by continuo. In place of the rich, figurative embellishment of the previous aria, we now hear a simple, more triadic melody with sequential continuation and a largely motoric rhythm, which together impart a joyfully excited character to the movement and thus to the conclusion of Part I.
The second recitative, no. 6, is, like the first, designed as a syllabically declaimed secco. The concluding aria, no. 7, ‘Ich wünsche nur bei Gott zu leben’ (‘ I wish only to live with God’), is significantly dance-like in character. Moreover, being in C major, it avoids a return to the initial key of the cantata. Only its second section is temporarily overclouded by the minor mode in accordance with the text. Again, the obbligato organ takes a prominent role and thus proves to be the one and only solo instrument of the cantata. After only five bars, it initiates a triplet figuration that remains a determining factor not only for the remainder of the ritornello but for the accompaniment of the vocal passages. This figuration even shifts to the voice at the words ‘Ein fröhliches Halleluja’ (‘ a joyous Alleluia’) and ‘[ Mein martervolles Leben] enden’ (‘ End [my torment-filled life]’).
It is hard for us to understand today that in this work of art Bach can say, as it were, ‘Yes’ to life at the opening, by praising the healing miracles of Jesus, and a still more emphatic ‘Yes’ to death at the close in a prayer for a speedy end to life. Yet it is possible to account for this attitude not only by recalling the ever-present dangers of war and pestilence, nor just with reference to theological commonplaces such as our ‘earthly vale of tears’, however widespread they might have been, but also, surely, in the light of the biblical notion that here we see the activities of God only ‘in a mirror’, but one day we shall see Him ‘face to face’.
Remarks:
· I am only commenting on the alto soloists, as average performances of movements 2, 3, 4, 6 and 7, with focus on timbre (a very personal taste) and the technique in mastering the coloraturas on ‘Ein fröhliges Halleluja’ and ‘Mein martervolles Leben‘ in the last aria. For the organ obligato parts and other instruments see movement 1.
· ‘I think that this is the most difficult part for alto that Bach has ever written, especially the last aria (movement 7)" says countertenor Maarten Engeltjes when talking about singing "Geist und Seele wird verwirret", which he performed together with the Netherlands Bach Society for ‘All of Bach’. This interview was recorded for the project All of Bach in September 2015 at the St. Martin's Church, Groningen, the Netherlands. He also points out that he shares this opinion with many other countertenors, including Andreas Scholl. See YouTube
· Total times for all these movements only vary slightly and aren’t significant for my comments on the alto soloists.
· I am sorting my comments by voice types: 5 mezzo-sopranos, 3 contraltos and 10 countertenors.
Mezzo-Sopranos:
Monica Groop (see BCW) with Juha Kangas (06-1998): has a very clear (almost boyish) timbre and her coloraturas are very perfect without losing any volume after breathing pauses. Among my first choices.
Marianne Beate Kielland (see BCW) with Helmut Müller-Brühl (06 & 11-2004): sounds very close to a contralto voice (sounding slightly deeper) and has a very steady volume as well very secure and steady in the coloraturas. Among my first choices, at the same level of Groop.
Petra Noskaiová (see BCW) with Kuijken (08-2006): sings many alt parts with Kuijken and has a very pleasant timbre and volume. But she is not as stable in her coloraturas which makes me rank her as average.
Bernarda Fink (see BCW) with Petra Müllejans (04-2008): has a pleasant (lower) timbre and steady volume, but her declamation in the coloraturas sound somewhat exaggerated IMHO. Not bad but not at the top of my taste.
Claude Eichenberger (see BCW) with Rudolf Lutz (08-2009): the much younger Swiss mezzo-soprano, Claude Eichenberger has a forceful volume and ‘neutral’ very pleasant timbre. Her mastering of the difficult coloraturas is as good as all other MS’s discussed here. Lutz improvises a relatively long prelude played at the harpsichord before the second recitative, which is a nice touch. This recording gets a first place in my ranking.
Ranking: (1) Claude Eichenberger, (2, 3 and 4) Monica Groop = Marianne Beate = Petra Noskaiová, (5) Bernarda Fink
Contraltos:
Jadwiga Rappé (see BCW) with Andrzej Mysiński (12-1994): I always prefer contraltos to mezzo-sopranos, probably because their darker timbre is closer to men’s altos. This is certainly the case of Rappé one of the best-known singers from Poland. Also the good mastering of thecoloraturas in both arias. Among my first choices.
Nathalie Stutzmann (see BCW) with Koopman (06-2001): has enjoyed a brilliant international career with equal success in the fields of opera, concert, recital and recording. ‘Her dark-grained, expressive singing, with its true contralto depth and richness, has provoked wide admiration.’ This is also certainly the case in this performance; she hasn’t difficulties in mastering the coloraturas in both arias. Also among my fist choices.
Dorothea Zimmermann (see BCW) with Jan Katzschke (08-2007): - this is my favorite recoding for these movements. Her forceful volume and timbre (sounding somewhat higher than both above) as well the perfect singing of the coloraturas in both arias. This is my first choice.
Ranking: (1) Dorothea Zimmermann, (2 & 3) Jadwiga Rappé = Nathalie Stutzmann
Counter-Tenors:
Paul Esswood (see BCW) with Harnoncourt (02 & 04 1977): has been my favorite CT since the launch of the Harnoncourt/Leonhardt cycle. I like his normally very ‘warm’ timbre (not so much in this recording…) and his coloraturas in both arias are technically perfect, although I think that the obligato organ accompaniments are too loud in the forefront. Among my first choices but not at the top.
René Jacobs (see BCW) with Chiara Banchini (09-1987): reminds Esswood, with a slightly higher timbre, (not my taste). His voice is louder and more inf the forefront and his coloraturas are Also among my first choices, but not at the top.
Jochen Kowalski (see BCW) with Hartmut Haenchen (12-1994): is from the same generation of both CT’s commented above. I like his timbre better (warmer and rounded off) and his coloraturas in both arias are perfect. One of my first choices.
Andreas Scholl (see BCW) with Herreweghe (07-1997): called this the absolutely most difficult of Bach’s alto compositions (see above). Nevertheless, he manages the coloraturas in both aria with perfection and his warm timbre is very close to Kowalski. One of my first choices.
Sytse Buwalda (see BCW) with Leusink (10 & 11-1999): I am not a big fan of Buwalda, mostly because of his timbre sounding too operatic in some instances. His coloraturas are not bad, though, helped with a somewhat slower tempo. Average in my ranking.
Robin Tyson (see BCW) with Gardiner (09-2000): from a younger generation has a very neutral and pleasant timbre, at the higher side. His coloraturas are not as steady as with all others discussed above, specially regarding pauses for breathing. Average in my ranking.
Robin Blaze (see BCW) with Suzuki (09-2006): performs in most alto parts with Suzuki and is also perfect here. I like his pleasant timbre and his coloraturas are also perfect despite the difficulties in both arias. Among my first choices.
Maarten Engeltjes (see BCW) with Klaas Stok (10-2008): is also from a younger generation and has neutral pleasant timbre. Technically very steady he masters the difficult coloraturas in both arias fairly well. Among my first choices, although not at the top. A comparison with his second performance with van Veldhoven (see below) is interesting.
Damien Guillon (see BCW) with Damien Guillon (11-2011): is one of my top preferences of a newer generation of CT’s. His forceful but steady volume and very pleasant timbre as well his technique mastering the coloraturas well. Puts him among my first choices.
Maarten Engeltjes with Jos van Veldhoven (09-2015): see above with Klaas Stok. In this second recording he is basically as good as with Stok IMHO, see above. Among my first choices, but not at the top.
Ranking: (1) Andreas Scholl, (2) Jochen Kowalski, (3) Damien Guillon, (4) Robin Blaze, (5) Paul Esswood, (6 & 7) Maarten Engeltjes (both recordings) (8) René Jacobs, (9) Robin Tyson, (10) Sytse Buwalda
Conclusion: I enjoy the growing use of great organs (as did Bach in Leipzig) in many recordings discussed here, bringing these performances closer to ‘real’ HIP. Interestingly, most solo cantata recordings (see also BWV 51, 82 etc.) show a larger number of recordings – probably because many other soloists not performing in full Bach cantata cycles are driven to show their art. As examples Monica Groop and Jadwiga Rappé. |
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