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Cantata BWV 81
Jesus schläft, was soll ich hoffen?
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of February 24, 2026 (5th round)
Cantata BWV 81 by Rudolf Lutz compared to 9 other recent HIP / OVPP recordings. |
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Frits V. Herbold wrote (February 24, 2026):
BWV 81 is the tenth cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen on Friday, January 18, 2008, 2 days before the 4. So. n. Epiphany 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.
I am comparing all movements with 6 other HIP as well as 3 other OVPP recordings.
Scoring: see KB, NBA: I/6, BC: A 39 and Bach Digital at Bach Digital . Original scoring: Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Flauto dolce I, Flauto dolce II, Oboe d'amore I, Oboe d'amore II, Violine I, Violine II, Viola, Basso continuo. Both original score and parts are available and commented in detail in the ‘Kritischer Bericht’( critical report).
Note: the NBA I/6 was published in 1996 and available to all the conductors of the recordings discussed here. Both original score and parts are available and commented in detail in the ‘Kritischer Bericht’( critical report). The voices in the original score are titled ‘a 4 Voci’ but there are no doublets for the voices among the original parts (only for the Violino I). This could indicate that an OVPP performance by Bach is very well possible (see Bach scholars Joshua Rifkin and Andrew Parrot) – if not proved.
Introduction Cantata BWV 81 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’): ‘This work, which belongs to Bach’s first Leipzig cycle of cantatas, was composed for January 30, 1724. The anonymous librettist relies closely on the Gospel text and— like the librettists of the cantatas for the First Sunday after Epiphany— draws his material from the contrast between Jesus hidden (sleeping) and Jesus manifest (actively intervening). Here again, the biblical account is reinterpreted to refer directly to the present situation of the Christian. Confronted by death, I see no help from Jesus (no. 1). The anxious questioning of no. 2, Lord, why do You stand so far off? Why do You hide Yourself in times of trouble?’, is drawn almost word for word from the first verse of Psalm 10. No. 3, meanwhile, compares the predicament of the Christian, overwhelmed by the godless, with the waves of a storm at sea, as recounted in the Gospel for the day. No. 4, a literal quotation from the Gospel reading (Matt. 8.26), brings the turning-point: Christ is only apparently distant, and by means of his absolute command (no. 5) the Christian is saved (no. 6). The concluding chorale— the second verse of the hymn Jesu, meine Freude by Johann Franck (1653)— involves the entire congregation, as it were, in an avowal of trust in God. Bach’s setting is remarkably dramatic, closely resembling the cantatas conceived as a dialogue between the Soul and Jesus. The choir comes together only in the final chorale. The instrumental ensemble includes not only strings and continuo but, in the first movement, two recorders to characterize the ‘Sleeping’ Jesus. In no. 5 their place is taken by two oboes d’amore/ which would have been played by the same musicians: the mastery of several instruments was, for the musician of Bach’s day an essential professional qualification.’
Remark: the total times of the discussed recordings vary from 14:33 (Pieter-Jan Belder) to 17:17 (Herreweghe, 2023). Regarding key, pitch and temperament, all recordings discussed here are performed in e minor at Leipzig’s pitch of a’= 415 Hz (‘Cammerton’) at equal temperament, with the exception of Lutz who uses nonequal temperaments following Young and Vallotti.
Movement 1: Aria A, Recorder I and II, Strings and BC
Introduction by Alfred Dürr: ’ The opening aria employs the typical resources of the time to depict the sleeping Jesus: strings in low register, doubled at the octave by recorders, throbbing pedal notes in the continuo, and low held notes sung by the alto (similar expressive means are employed by Bach in the aria ‘Sanfte soll mein Todeskummer’ from the Faster Oratorio, BWV 249). But the cantata aria is not only a lullaby: it is also a lament, as revealed by its numerous diminished intervals and augmented or chromatic* seconds. And its text frames an anxious question, hence the singer’s not coming to rest on the tonic but closing, with voice raised in pitch, on the second degree in a dominant context.
Remark: the tempos of this movement don’t vary much – all around 4 minutes, the fastest at 3:24 (Pieter-Jan Belder) and slowest at 4:41 (Gardiner 1).
Koopman (March 1998): Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW) sings in many other cantatas of the Koopman cycle and has a vast experience as Bach alto. I like most of her performances. She has a ‘dark’ timbre (very adequate to this aria), good German diction and is technically perfect. The 2 recorders, strings and BC (organ played by Koopman himself) sound very intimate and adequate. Among my first choices for MS.
Gardiner 1 (January 2000): English counter-tenor, William Towers (see BCW) who sings the alto part in many other cantatas of the Gardiner cycle performs exceptional well in this aria. His diction is surprisingly good and his timbre very pleasant, especially in the higher notes. The 2 recorders and strings - although stronger in the forefront – and the BC sound also very intimate/delicate. One of my first choices for CT.
Suzuki (February 2002): English counter-tenor, Robin Blaze (see BCW ) sings as good as good as Towers with Gardiner 1 (see above), also in the higher notes. The instrumental accompaniment sounds very similar to Koopman’s. Among my first choices for CT.
Lutz (January 2008): German mezzo-soprano, Roswitha Müller (see BCW) might not be as well-known as the other MS discussed here. Her diction is perfect but I don’t like her timbre, although her voice is technically perfect. The instrumental accompaniment and ‘light’ BC (only violoncello, violone and chest organ played by Lutz himself) also sounds very adequate with the reduced strings (2 violins and 1 viola). Not bad, but not my first choice for MS.
Sigiswald Kuijken (February 2008): Slovak mezzo-soprano, Petra Noskaiová (see BCW) sings in many recordings with Kuijken and performs well, especially in the lower register in this aria with a very transparent instrumental accompaniment (see liner notes about Kuijken’ s special choice of string instruments) although not my first choice for MS.
Stephan MacLeod (January 2009): French counter-tenor, Pascal Bertin (see BCW) performed with other Bach conductors such as Jordi Savall, Christophe Rousset, Philippe Herreweghe, Marc Minkowski, John Eliot Gardiner, Konrad Junghänel and Thomas Hengelbrock. Has a good German diction and is technically perfect, combining well with the ‘light’ strings and BC, Among my first choices for CT.
Eric J. Milnes (June 2010): German mezzo-soprano, Franziska Gottwald (see BCW) performed also with many Koopman recordings. Her voice and timbre sound somewhat operatic in this aria. Recorders and reduced strings are very transparent and intimate.Not my first choice for MS.
Pieter-Jan Belder (September 2011) Belgian counter-tenor, conductor, organist and percussion player, Marnix De Cat (see BCW) also performed with conductors such as Gustav Leonhardt, Philippe Herreweghe, Jos van Veldhoven and Manfred Cordes. He sounds slightly operatic. Not my first choice for CT.
Gardiner 2 (May 2018): although American counter-tenor, Reginald L. Moble (see BCW), especially the long notes on ‘schläft’ sounds too operatic for my taste. The instrumental accompaniment and BC sound as good as with Gardiner 1 (see above). Not my first choice for CT.
Herreweghe (June 2023): English counter-tenor, Alex Potter`(see BCW) also sounds too operatic in this aria. The 2 recorders, strings and BC are delicate and transparent. Not my first choice for CT.
Ranking: for Bach’s alto parts I always prefer men’s voices (counter-tenors) since these come closer to Bach’s own interpretations. I am not ranking all the mezzo-sopranos here, but Bogna Bartosz with Koopman is a clear winner! For the CT I like them in the following order:
(1) Gardiner 1 = (2) Suzuki, (3) Stephan MacLeod, (4) Herreweghe, (5) Gardiner 2
Movement 2: Recitativo T and BC
Introduction by Alfred Dürr: ’ The tenor recitative, no. 2, also begins with several reproachful questions, which are repeatedly turned upwards by the voice at the cadence. The second half of the movement includes a prayer to be guided upon the right path and harks back to the Feast of the Epiphany in the words ‘Once with a Star You did indeed make wise the Wise Men, neophytes in Christ, as to the righteous) way to travel’. The phrase ‘Ah, lead me by the Light of Your eyes’, represented by a descending scale figure, alludes to Exodus 33.14: ‘My countenance shall go before you, therewith shall I lead you’.
Remarks: tempos vary between 0:55 (Pieter-Jan Belder) and 1:24 (Lutz), all others around 1:00.
Koopman (March 1998): Swiss lyric tenor, Jörg Dürmüller (see BCW) sings many tenor parts in the Koopman cycle has a very pleasant timbre and excellent German diction , very clear with the only accompaniment of the BC (2 violoncellos, 1double-bass and organ, played by Koopman himself). I am not sure if I hear a lute in the BC. One on my first choices.
Gardiner 1 (January 2000): Scottish tenor, Paul Agnew (see BCW) has a extensa repertoire with both Gardiner and Koopman. His interpretation sounds a little exaggerated her and although his voice is technical perfect, I don’t like his timbre. The BC is also similar to Koopman’s. Not my first choice.
Suzuki (February 2002): English tenor, James Gilchrist (see BCW) has also performed in many recordings with Gardiner and has well established name as Bach tenor. The BC is also similar to both discussed above. His performance here is perfect and one of my first choices.
Lutz (January 2008): I consider Austrian tenor, Bernhard Berchthold (see BCW) one of the most important artists from a newer generation. His timbre and technique (see also following aria) is perfect – he reminds me of Kurt Equiluz (see Harnoncourt-Leonhardt cycle) my all-time favorite Bach tenor! With a very light BC (organ played by Lutz himself and violoncello), this is clearly my favorite recording!
Sigiswald Kuijken (February 2008): German tenor, Christoph Genz (see BCW) has sung with many other conductors as Georg Christoph Biller and Gardiner and is a very experienced Bach tenor. I like his perfect diction and timbre. In the BC I can only hear the chest organ, but according to the liner notes Kuijken also employs a ‘Basse de violon’. One of my first choices.
Stephan MacLeod (January 2009): Italian-born tenor, Valerio Contaldo (see BCW) sings most of the tenor parts with Mac Leod. Although technically perfect and with a good timbre, his German diction is not very clear. In the BC I also can hear only a chest organ. Among my first choices.
Eric J. Milnes (June 2010): English tenor, Charles Daniels (see BCW) sounds very similar as Contaldo (see above). The ‘light’ BC seems to be played by chest organ only. Among my first choices.
Pieter-Jan Belder (September 2011): this is another recording with Charles Daniels (see above) but his declamations sound somewhat exaggerated. The BC is stronger here, according to the liner notes with 2 violoncellos, double-bass and also clearly a harpsichord. Not among my first choices.
Gardiner 2 (May 2018): English tenor, Ruairi Bowen (see BCW) might not be as well-known as his colleagues discussed here; he is a member of the Monteverdi Choir and performs in 3 other cantatas with Gardiner. In the following aria he also has some trouble with the coloraturas. His technique and timbre are not bad, but he is not my first choice.
Herreweghe (June 2023): English tenor, Benedict Hymas (see BCW) is surprisingly good performer in this late recording. His coloraturas in the following aria are also perfect. I like his timbre and technique. One of my first choices.
Ranking: I am always biased when commenting on tenor performance in Bach’s cantatas since I compare all of them with my favorite tenor Kurt Equiluz (Harnoncourt & Leonhardt cycle, nor discussed here). Nevertheless there are many good performances in this recitativo and in the following aria). My ranking is:
(1) Lutz, (2) Koopman = (3) Kuijken = (4) Suzuki, (5) Herreweghe, (6) Eric J. Milnes = (7) Stephan MacLeod, (8) Gardiner 1, (9) Gardiner 2, (10) Pieter-Jan Belder
Movement 3: Aria T, Strings and BC
Introduction by Alfred Dürr (without illustrations): ’ The third movement— an aria with strings in an amplified trio texture, led by the first violin— with its striking depiction of a storm, borders closely on the operatic musical literature of the day. In the opening ritornello, the waves piling upon themselves and their torrential descent may be clearly discerned: In the middle section, at the words ‘A Christian should indeed stand like a rock when affliction’s winds go round him’, a sudden calm (marked ‘adagio’) intervenes three times, but then the storm breaks out anew.’
Remarks: tempos vary between 2:41 (Gardiner 2) and 3:21 (Kuijken), all others around 3:00. Since the string parts and BC are very similar in all these recordings, my main interest is the performance of the tenor. Comparing to movement 2 (recitativo) I give them the same ranking as above:
(1) Lutz, (2) Koopman = (3) Kuijken = (4) Suzuki, (5) Herreweghe, (6) Eric J. Milnes = (7) Stephan MacLeod, (8) Gardiner 1, (9) Gardiner 2, (10) Pieter-Jan Belder
Movement 4: Arioso B, and BC
Introduction by Alfred Dürr: ’ The arioso ‘Ihr Kleingläubigen’, no. 4, for bass voice— the vox Christi— and continuo, employs thematic material of such homogeneity that it virtually turns into a two-part fugue* or invention; in fact, the biblical text could easily be added to the continuo part too. What emerges is a ‘Speech’ movement of the most compelling effectiveness. Like the opening movement, it ends with a question: its Phrygian cadence* enables the following aria, no. 5, in which Jesus commands the waves to be at peace, to appear to be a direct outcome of it.’
Remarks: tempos vary between 0:57 (Herreweghe) and 1:39 (Gardiner 2), all others around 1:00. I am only discussing the basso soloists, since the Bc very similar in all recordings.
Koopman (March 1998): German bass-baritone, Klaus Mertens (see BCW) is at his best here as in most of the basso parts he sings with Koopman. His very warm timbre and diction makes it again one of my favorite interpretations.
Gardiner 1 (January 2000): English baritone, Peter Harvey (see BCW) also a well-known basso interpreter with Gardiner has a more forceful volume and slightly different timbre than Mertens above but is also among my first choices.
Suzuki (February 2002): Dutch bass, Peter Kooij (see BCW) is comparable to Mertens, although his timbre is not as ‘warm’ as the former. But his perfect technique also makes him one of my first choices.
Lutz (January 2008): German bass-baritone, Wolf Matthias Friedrich (see BCW) sings many basso parts with Lutz, but I seldom like his performance. Despite his assertive demeanor, he has the habit of ‘swallowing’ lower notes that become barely audible. Not my first choice.
Sigiswald Kuijken (February 2008): Belgian baritone, Jan van der Crabben (see BCW ) also has well established name as basso in Bach’s cantata parts, mainly with Kuijken. His voice has good diction, technique and pleasant timbre. One of my first choices.
Stephan MacLeod (January 2009): Swiss bass-baritone, Stephan MacLeod (see BCW) has vast experience with Bach’s basso parts – he performed with many other well-known conductors as Philippe Herreweghe, Gustav Leonhardt, Reinhard Goebel, Sigiswald Kuijken, Masaaki Suzuki among many others. He has a darker timbre than most of the other basses discussed here. Among my first choices.
Eric J. Milnes (June 2010): Dutch bass, Harry van der Kamp (see BCW) is also at his best here. I like his somewhat ‘reserved’ volume and timbre. His technique and diction are also perfect. Also among my first choices.
Pieter-Jan Belder (September 2011): this is the second recording with Harry van der Kamp (see above) and he sings as well as mentioned above. Also among my first choices.
Gardiner 2 (May 2018): the liner notes inform two basso singers: baritone: Alexander Ashworth (see BCW) as well as bass-baritone: Matthew Brook (see BCW). I guess the latter is singing here and I don’t like his interpretation. Not my first choice!
Herreweghe (June 2023): this is the second interpretation with Peter Koooij (see Suzuki). This recording was made 21 years later and I don’t think he is at his best here, especially in the lower notes. This goes also for the following basso aria (see below). Not my first choice.
Ranking: I like most of the bass soloist here and in the following aria, each with their own characteristics and timbre. My ranking is:
(1) Koopman = (2) Suzuki) , (3) Kuijken = (4) Gardiner 1, (5) Stephan MacLeod, (6) Eric J. Milnes, (7) Pieter-Jan Belder, (8) Gardiner 2, (9) Herreweghe, (10) Lutz
Movement 5: Aria B, Oboes I & II, Strings and BC
Introduction by Alfred Dürr: ’ Like the opening movement, it ends with a question: its Phrygian cadence* enables the following aria, no. 5, in which Jesus commands the waves to be at peace, to appear to be a direct outcome of it. Here again, we encounter a storm aria, but this time the ‘allegro’ raging unison runs of the strings are contrasted with the more tranquil motion of the two oboes d’amore.’
Remarks: I am not commenting on the oboe, string and BC playing, since they are excellent in all recordings discussed here. My ranking for the bass aria is the same as for the arioso above:
Ranking: I like most of the bass soloist here and in the following aria, each with their own characteristics and timbre. My ranking is:
(1) Koopman = (2) Suzuki) , (3) Kuijken = (4) Gardiner 1, (5) Stephan MacLeod, (6) Eric J. Milnes, (7) Pieter-Jan Belder, (8) Gardiner 2, (9) Herreweghe, (10) Lutz
Movement 6: Recitativo A and BC
Introduction by Alfred Dürr:’ The short alto recitative, no. 6, announces restored calm.’
See movement 1, same ranking.
Movement 7: Chorale, S, A, T, B, Oboes I & II, Strings and BC
Introduction by Alfred Dürr (without illustrations):’ And the plain closing chorale lends the cantata’s world of feeling— so far decidedly subjective in character— a more general significance. Finally it is worth drawing attention to the formal symmetry that distinguishes this cantata. The substance of the text divides the work into two parts: life without Jesus (nos. 1– 3) and life with Jesus (nos. 5– 7). At the center is the biblical-text movement, no. 4, in which mankind is addressed by Jesus Himself. This middle movement is surrounded by two storm arias, whereas in the outer movements relative calm prevails, albeit the contrasting calm of distance from God (no. 1) and security in God (no. 7). This symmetry is emphasized by Bach’s choice of key: at the center lies the dominant B minor; the tonic E minor and the relative major G prevail in the other movements; and, in addition, the subdominant (A minor) and dominant (B minor) are touched upon in the recitatives.
Remarks: As pointed out above, the voices in the original score are titled ‘a 4 Voci’ but there are no doublets for the voices among the original parts (only for the Violino I). This could indicate that an OVPP performance by Bach is very well possible (see Bach scholars Joshua Rifkin and Andrew Parrot) – if not proved.
Ranking: I like most of the chorale interpretations discussed here, with a clear preference for the 4 OVPP recordings with (1) Kuijken = (2) Lutz, (3) Stephan MacLeod and (4) Eric J. Milnes. I believe this intimate cantata deserves the clarity and transparency of an OVPP interpretation. |
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