Week 27
(30 April – 5 May 2013)
Recording:
Karl Richter, Münchener Bach-Chor/Orchester; Edith Mathis, soprano; Julia Hamari, alto;
Peter Schreier, tenor; Dietrich
Fischer-Dieskau, bass
Turns out that studying Ludwig Bach’s little
cantata (the cantata formerly known as BWV 15) a couple weeks ago made more
sense than I realized at the time. Ludwig utilized texts by his
employer, Ernst Ludwig, Duke of Saxe-Meiningen, and he did this for obvious reasons; however, the
Duke’s writing demonstrates a deep religious conviction as well as unexpected
poetic skills. Sebastian Bach, who performed about eighteen of his cousin’s
works in Leipzig in 1726, must have been immediately taken with some of the Duke’s
words, which undoubtedly were in sympathy with his own beliefs and intellect. And considering
some of the material J.S. had to work with,
it’s no wonder that he was inspired to compose upon encountering such lines as
Herr,
deine Güte reicht, so weit der Himmel ist,
und deine Wahrheit langt, so weit
die Wolken gehen.
So he extracted some of the texts for his own use, and one of
the results was BWV 17.
This cantata is a song of praise: the verb preisen is
prominently used in the first four movements, and in the coro and soprano aria becomes
a focus through its setting as a melismatic passage. The cantata is also string-centric: although in the opening sinfonia the
strings combine with two oboes, the latter are absent throughout the
rest of the piece until doubling the soprano in the chorale. The coro is a tight and demanding construction: it’s a definite keeper as a potential anthem – running under 4 minutes
– and it contains some tricky melismas that don’t always go in the expected direction.
The end of the coro appears to be a fugue, but on the entrance of the third
voice (soprano) J.S. interrupts the progression with a line of variant material and suddenly it’s
contrapuntal celebration. It’s fun to sing.
The material of the opening coro was later used in the Missa in G major (BWV 236) as the basis
for the Cum sancto spiritu movement.
Similar to his method with the larger Mass
in B minor, Bach collected movements of various pre-existing cantatas to
construct the final Missa. In the
subject movement, he adds some detail that facilitates the change of language
as well as the intent of the text. When I initially
heard the Richter cantata performance, I figured that the fast tempo of the coro was not something
more recent conductors would choose – wrong! Herreweghe in the Missa is just as fast, and I eventually listened to two other recordings of BWV 17, Rilling and Suzuki, both of whom were equally energetic with this movement. It takes a
nimble ensemble to execute this music in either the cantata or missa version.
The alto recitative has an interesting sequence where the
elements Luft…Wasser…Firmament…und Erden, are musically portrayed. I opted for
not using a passing tone on the two eighth notes of Erden – you want it to be
grounded, after all. This nice solo moment also contains an excellent exercise
for non-German speakers in M.9: die er ihr in den Schoss gelegt. When you can
easily and correctly sing these vowel sounds so a listener can distinguish them
– you are on the way to mastering German diction.
The soprano aria could be
extracted for recital use, but this is not one I will ever be doing, Baroque pitch or
otherwise. Although its E4↑G#5 range may not indicate it, this is for a high soprano since the tessitura lies high, and even a lyric soprano will sound strained. The vocal
part is highly instrumental and joins two obbligato violins in weaving a lovely
tapestry depicting wonder at God’s works that surround us. Note the orchestral
answer to the question Wie (M. 40) (which is obscured in the piano-vocal score),
it’s a wonderful touch. This is a very
attractive piece, but rhythmically difficult.
Likewise,
the tenor aria requires a lighter, higher voice. A great technical exercise occurs on the
sixteenth note passage in M. 44-45: the difficulty is to maintain smooth, even sixteenths while negotiating the ascending pitches of the melisma. Here Peter Schreier demonstrates why he was so
renowned as a Bach singer. With forward momentum, ease of vocal production and
perfectly blended tone, he arrives at the destination without apparent effort. It's
a model which many can emulate but few will attain. As evidence: either of the
other recordings I used this week – valiant efforts to be sure, but just a bit short
of the mark. This aria would be a wonderful choice (for the right voice) for
recital or church use. It is joyous and heartfelt, with wonderfully delicate string writing. In comparing the latest-and-greatest
interpretation of period performance by Masaaki Suzuki (recorded in 2009) with Karl Richter’s
more robust modern-instrument version, I find that I’m glad I have them both!
Two vastly different approaches, but somehow both work.
The
baritone recitative, similar to the alto solo in BWV 5, provides no concealment
for the singer – it becomes a personal statement. Some may find Fisher-Dieskau overly mannered as a Baroque soloist, but for my money, when he sings Lieb, Fried, Gerechtigkeit - it is the voice of a man who through his life experiences knows the value of these words.
The chorale is a verse from a
hymn by Johann Graumann, a Lutheran pastor, reformer and “humanist”, who
amassed a library of more than a thousand books which he bequeathed to the city
of Konigsberg upon his demise in 1541. Can you imagine what it must have been to own that many books in
the early 16th century? It would have been unimaginable wealth, monetarily and intellectually. The
Graumann collection was one of the foundations of the library of the
University of Königsberg, founded in 1544, and probably best known as the alma mater of Immanuel Kant. Shortly after the 400th anniversary
of its founding, the University and most of the surrounding city were bombed
into ruins by the Allies. The library was destroyed.
But both Graumann and Bach had
already anticipated this: Gott weiss, wir sind nur Staub. We - men and our
creations - are in the end only dust. Sooner or later the
edifice of this music and the aspirations behind it will also fall. Whether it will be to the depredations of time or to the vicissitudes of history remains to be seen. But to me it is inconceivable
that anyone who can meet and experience this music on humanist terms could be part of its destruction, indirectly or otherwise. Bach provides a litmus test of one's humanity.
For practical reasons, I have attempted
to stick to the original plan of finishing a cantata by Sunday and then taking
a break before opening the next one – it gives the mind a chance to reset.
However, last Sunday was rainy and depressing, and having just come off the
celebratory BWV 16, but bombarded by bad news from every corner of the globe, not least our own troubled nation, I couldn’t resist seeking refuge for a few minutes and skimming
over BWV 17. As the marvelous opening chorus
sped by, Schreier nailed his tenor aria, and FiDi intoned the self-reflective words of the final recitative, it occurred
to me yet again how miraculous all this is. Almost any other composer would consider the score I held in my hands
to be their masterpiece, but it was all in a
week’s work for J.S. Bach.