Recording: Vol. 13 - Das Kantatenwerk: Ton Koopman, Amsterdam Baroque Orchestra and Choir; Deborah York, soprano; Paul Agnew, tenor; Klaus Mertens, baritone
And away we go! You probably have never heard this cantata, even if you've listened to a lot more Bach than I have. But the hymn tune on which the opening chorus and chorale are based, and which gives the work its title, may be familiar. And it's absolutely worth not only repeated listens but more frequent concert programming as well (although I may end up saying that about each and every cantata). Joyous music - it's a fantastic way to start the project, and Amsterdam Baroque's recording sparkles.
A confession: although I don’t want this project to be an exercise in comparing recordings, I was enjoying the music so much I broke down and bought the Karl Richter version with the Munich Bach Choir and Orchestra (recorded in the mid-1960’s). More than thirty years separate the two recordings: the style for Richter is full-throated singing and downright lusty playing (although never sacrificing clarity and accuracy) – completely different from the historically-informed Koopman performance, which is invigorating but has the refined restraint that is now the standard in baroque performance. However, Richter has three of the greatest Bach soloists ever – Edith Mathis, Ernst Haefliger and Dietrich Fischer-Dieskau. And the recording quality is surprisingly good.
So I may be broke before I’m six months into this project, but for perceptive ears, you can get as much instruction from several dollars of MP3 files than hundreds spent in coaching. Ms. Mathis’ Erfüllet, ihr himmlischen, göttlichen Flammen is a full minute slower than Deborah York’s, but it is sensuous and flowing. Even at the slower tempo she handles the long melismatic phrase (the one that occurs in every Bach aria and gives us fits) with calm, focused, uninterrupted sound. Well, it’s something to work towards. Koopman’s faster tempo is typically what is preferred now, and Ms. York handles it superbly, with great attention paid to matching the rhythms of the accompanying oboe da caccia (I suspect the earlier recording uses an English horn – in either case it’s a wonderful part for a double-reed player). The result is exactly what you should aim for as a vocal chamber musician. She also provides a model of tasteful ornamentation and phrasing. But if you don’t have the technique and the lightness in the voice to make it seem effortless at the faster tempo, it will sound panicked.
The later recording uses baroque tuning (A = 415 Hz) which makes that aria more accessible for me by effectively bringing it down a half-step. I admit I was flailing at the high Ab (not at all the same as a Wagner Ab) so it was nice to get that out of there. It’s a great study piece, teaching all the skills you can develop through singing Bach: stamina, precision, flexibility, and uniformity of the voice. And if you have a friend that plays English horn, it would be an excellent and different recital piece (IMSLP has an edition prepared by Canadian composer Michel Rondeau with the oboe part separately notated.)
The tenor aria could be used any time, in a church service or for a recital – the text is not specific to any liturgical event – but it is technically very challenging. Haefliger attacks the music with a full but pure tone. His precision, diction, and vowel sounds – especially the awkward sustained vowel in könig – make his interpretation one any singer, not just a tenor, can profitably study. Copy everything and you will do just fine.
Although the cantata was originally written for the Feast of the Annunciation, the Nicolai chorale tune is associated with Epiphany. Our church music this Epiphany Sunday morning had unexpected connections – the opening organ voluntary was Buxtehude’s interpretation of the chorale (BuxWV 223), and we sang Mendelssohn’s “Behold a star” which contains the chorale. So coincidentally I have been inundated with this music, quite apart from the Bach version.
Any time I need a pick-me-up, this cantata will be one of the works I put on the CD player. I wish I had more time to spend with it, as I’m just scratching the surface of not only Bach’s music but all the connections with the history of the hymn tune. But the point of this project is basic familiarization: perhaps I’ll be lucky enough to have the time and opportunity at some later date to revisit this work in more depth.
Und schmecken auf Erden die himmlische Lust
And taste heavenly delight in our earthly sphere
This cantata certainly provides a taste of heaven. And it’s just the beginning…
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