Bach Cantata series

[marek]

Originally Posted by Stlukesguild

There is just a luscious sensuality to the voice of a singer like Magdalena Kozena or Monica Groop that no 12-year old boy is going to match.

The words "luscious" and "sensuality" clash with Bach's Cantatas IMO. That is what bothers me with Gardiner's recordings. You put the finger on it.

[Florestan]

Originally Posted by marek

The words "luscious" and "sensuality" clash with Bach's Cantatas IMO. That is what bothers me with Gardiner's recordings. You put the finger on it.

I take your point but I think there is middle ground between 'luscious sensuality', if you find that inappropriate, and the severely limited expression (and, indeed, technique) of a treble. Emma Kirkby is the obvious example of that middle ground.
Philidor made a good point to me recently, which is that boys mature physically faster these days, so a prepubescent really doesn't have any life experience; whereas in Bach's day a treble could be up to 17 years old and more likely to have experienced emotions such as grief.

The other argument for using little boys is quite the opposite, of course. That it is their innocence of either the flesh or worldly emotions that makes them angelic. I find this creepy. You shouldn't put children on a pedestal. They are just kids, not messengers of god. It's a sort of mawkish idolatry that I find very unhealthy.

[Philidor]

LOL "luscious sensuality" v. "mawkish idolatry."

I just want to hear the pure lines, the full architecture of the counterpoint, what the old boy actually wrote, without some wretched woman (or man) wobbling away a quarter tone in each direction on every note. If "luscious sensuality" is code for that half tone wobble then something inconsistent is happening at the heart of the Gardiner recordings. An operatic female wobbles away above a (in general) non-wobbling orchestra. It seems odd that one set of musical lines (the players) should be broadly wobble-free while another set (the vocal soloists) are wobble-infused.

[marek]

Originally Posted by Florestan

(...) boys mature physically faster these days, so a prepubescent really doesn't have any life experience; (...)

My point was Gardiner vs. most other recordings; not female sopranos vs. boys.

That said, I also had mentioned that I have a lot of respect for Gardiner's recordings. For live performances, they are pretty perfect. And the endeavour in itself is impossible to criticise.

[Stlukesguild]

The words "luscious" and "sensuality" clash with Bach's Cantatas IMO.

That's where I beg to differ. Bach was no sterile castrato and while his music certainly explores the spiritual and the intellectual side of human experience, it needs not be dry or without any sensuality or concept of the flesh. I have long thought that cantata 140, especially is a masterful expression of the erotic... especially the duet between the bridegroom and the bride. And let's face it... in Shakespeare's age it was quite common to employ only male actors... even in the roles of the female characters... but somehow I'm just not into the concept of Juliette... or even Lady MacBeth... as some guy in drag.

The other argument for using little boys is quite the opposite, of course. That it is their innocence of either the flesh or worldly emotions that makes them angelic. I find this creepy.

Indeed. And if I wish to head in that direction, I'll take the countertenor any day.

[stephen w]

Originally Posted by Philidor

LOL "luscious sensuality" v. "mawkish idolatry."

I just want to hear the pure lines, the full architecture of the counterpoint, what the old boy actually wrote, without some wretched woman (or man) wobbling away a quarter tone in each direction on every note. If "luscious sensuality" is code for that half tone wobble then something inconsistent is happening at the heart of the Gardiner recordings. An operatic female wobbles away above a (in general) non-wobbling orchestra. It seems odd that one set of musical lines (the players) should be broadly wobble-free while another set (the vocal soloists) are wobble-infused.

On the theme of being able to hear what he actually wrote, I recently found interesting this passage from Taruskin's Music in the Seventeenth and Eighteenth Centuries, Class of 1685 (II), pp 370 - 372:

' There is another side to this as well, when Bach seems deliberately to engineer a bad-sounding performance by putting the apparent demands of the music beyond the reach of his performers and their equipment. . [Cantata BWV 179,Siehe zu, dass deine Gottesfurcht, Liebster Gott] .. is scored for a (boy) soprano and two oboi da caccia or "hunting oboes", ancestors of the modern English horn. The aria begins and ends in A minor, but the middle section weirdly modulates ever "flatward", so that it makes its final cadence in C minor.

Not only is the flatward modulation symbolic of catabasis, or "falling" in the theological sense (as the sharpened modulation symbolises anabasis or elevation), the specific key chosen for the cadence also puts the instruments in a harmonic range where they are simply incapable of playing in tune, especially when playing, as Bach forces them to do, in their lowest, least tractable range. The boy, too, is asked to descend to the very bottom of his range and even beyond, where he loses all tonal support. The whole performance will inevitably come out sounding loathsome and disgraceful. And these are the words (adapted from the prophet Habbakuk): "My sins sicken me like pus in my bones; help me, Jesus Lamb of God, for I am sinking in deepest slime."

Nowadays ,with instruments that have gone more than a century of adaptation and with no strictures to prevent a secular performance by a well-trained mezzo-soprano, the technical demands of the aria could be easily met. But would the performance thereby become a better one? Or would an important part of the religious message of the piece - that humans are helpless and hopeless in their fallen state - be lost for the sake of mere sensory gratification? '

[Florestan]

That is a really illuminating insight. Thanks, Stephen.
The trouble is, of course, what modern audience would put up with a performance that sounded horrible?
Ironically, I have seen Gardner do something a bit like this in the St John Passion. At the Proms performance in 2008, in the aria 'Zerfliesse mein herze', the soprano made a deliberate sort of long staccato sobbing sound on the last syllable of 'Mein Jesus ist Tot'. It was deliberately a rather ugly and discordant sound, but very expressive.

[haydnguy]

Originally Posted by stephen w

On the theme of being able to hear what he actually wrote, I recently found interesting this passage from Taruskin's Music in the Seventeenth and Eighteenth Centuries, Class of 1685 (II), pp 370 - 372:

' There is another side to this as well, when Bach seems deliberately to engineer a bad-sounding performance by putting the apparent demands of the music beyond the reach of his performers and their equipment. . [Cantata BWV 179,Siehe zu, dass deine Gottesfurcht, Liebster Gott] .. is scored for a (boy) soprano and two oboi da caccia or "hunting oboes", ancestors of the modern English horn. The aria begins and ends in A minor, but the middle section weirdly modulates ever "flatward", so that it makes its final cadence in C minor.

Not only is the flatward modulation symbolic of catabasis, or "falling" in the theological sense (as the sharpened modulation symbolises anabasis or elevation), the specific key chosen for the cadence also puts the instruments in a harmonic range where they are simply incapable of playing in tune, especially when playing, as Bach forces them to do, in their lowest, least tractable range. The boy, too, is asked to descend to the very bottom of his range and even beyond, where he loses all tonal support. The whole performance will inevitably come out sounding loathsome and disgraceful. And these are the words (adapted from the prophet Habbakuk): "My sins sicken me like pus in my bones; help me, Jesus Lamb of God, for I am sinking in deepest slime."

Nowadays ,with instruments that have gone more than a century of adaptation and with no strictures to prevent a secular performance by a well-trained mezzo-soprano, the technical demands of the aria could be easily met. But would the performance thereby become a better one? Or would an important part of the religious message of the piece - that humans are helpless and hopeless in their fallen state - be lost for the sake of mere sensory gratification? '

Ah, perhaps this is a good place to start! (Cantata BWV 179). I have the Harnoncourt set sitting right next to me. I will give it a listen!

[stephen w]

Progress so far, with my cantata exploration...





1. Liebster Gott, wenn werd' ich sterben?, BWV 8 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Robin Tyson (Alto), Katherine Fuge (Soprano),
Thomas Guthrie (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 18 Minutes 38 Secs.
Language: German

2. Wer weiss, wie nahe mir mein Ende, BWV 27 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Thomas Guthrie (Bass), Katherine Fuge (Soprano),
Robin Tyson (Alto)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 14 Minutes 21 Secs.
Language: German

3. Jauchzet Gott in allen Landen, BWV 51 by Johann Sebastian Bach
Performer: Niklas Eklund (Trumpet), Malin Hartelius (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists
Period: Baroque
Written: 1730; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 16 Minutes 36 Secs.
Language: German

4. Christus, der ist mein Leben, BWV 95 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Katherine Fuge (Soprano), Thomas Guthrie (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 18 Minutes 5 Secs.
Language: German

5. Was Gott tut, das ist wohlgetan, BWV 99 by Johann Sebastian Bach
Performer: Malin Hartelius (Soprano), William Towers (Countertenor), Marten Root (Flute),
Peter Harvey (Bass), James Gilchrist (Tenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 16 Minutes 43 Secs.
Language: German
Notes: Our Beloved Lady Church, Bremen, Germany (09/05/2004 - 09/06/2004)

6. Was Gott tut, das ist wohlgetan, BWV 100 by Johann Sebastian Bach
Performer: Peter Harvey (Bass), Marten Root (Flute), James Gilchrist (Tenor),
Malin Hartelius (Soprano), William Towers (Countertenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: circa 1735; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 21 Minutes 1 Secs.
Language: German

7. Warum betrübst du dich, mein Herz?, BWV 138 by Johann Sebastian Bach
Performer: James Gilchrist (Tenor), William Towers (Countertenor), Peter Harvey (Bass),
Malin Hartelius (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 17 Minutes 3 Secs.
Language: German

8. Komm, du süsse Todesstunde, BWV 161 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Robin Tyson (Alto)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1715; Cöthen, Germany

From ArkivMusik:
The first cantata we hear is BWV 138, another cantata from the first Leipzig cycle and a "highly original experimental work." It opens with a deeply poignant chorus that mixes chorale and recitative. Hard on its heels, separated only by a recitative, comes another chorus that combines chorale and recitative, but this is very different in style from its predecessor. Eventually the mood of the cantata becomes more optimistic and Gardiner and his forces convey this change well.

BWV 51 is a cantata that Gardiner has recorded before, a studio recording from 1983 for Philips. Then his soloists were Emma Kirkby and trumpeter Christian Steele Perkins. His tempi for the outer movements were decidedly on the fast side in 1983 and are pretty similar on this occasion – indeed, his view of the whole cantata seems very consistent. The first movement goes off like a rocket. Malin Hartelius, another singer new to me, is equal to all the demands placed on her by Bach and Gardiner jointly and she’s partnered brilliantly by trumpeter Mike Harrison. In fact, though I’ve always liked the 1983 recording I find I prefer Miss Hartelius’s reading to Emma Kirkby’s as she sounds to me to have a slightly fuller voice. She’s beautifully expressive in the recitative and then gives us some exquisitely poised singing in the aria, ‘Höchster, mache deine Güte’. The concluding Alleluia aria is marvellously lively. Overall, this is a first rate account of a hugely taxing solo cantata.

BWV 99 and 100 share the same title and are based on the same Lutheran hymn but BWV 99 (1724) only sets two verses of the hymn itself whereas every one of the six movements of the later cantata (1734/5) sets a verse. Some may find Gardiner’s tempo for the chorus with which BWV 99 opens too brisk. Personally I think it’s refreshingly bright and well suited to the words. There’s only one solo aria in the piece, a demandingly chromatic tenor aria with a busy flute obbligato. James Gilchrist sings it with his usual intelligence and light, ringing tone. Later we hear a duetto in which a pair of voices and a pair of obbligato instruments interweave contrapuntally. The performers here articulate and inter-relate their individual lines moist skilfully.

BWV 100 requires a larger orchestra. The opening chorus, which is musically similar to its counterpart in BWV 99, is once again taken briskly. There are no recitatives in this cantata but the soloists are all challenged. The demanding alto/tenor duet, which is placed second is well done by Gilchrist and William Towers. The following aria, for soprano, is nicely sung but the ear is drawn irresistibly to the hugely testing, rippling flute obbligato. Peter Harvey projects his bass aria strongly. The penultimate movement is an alto aria and it features a gorgeous oboe d’amore obbligato. William Towers projects the vocal line positively but I’m not quite sure that he achieves the description "lyrical and soothing" that Gardiner applies to the music. However, he still gives a very good account of the piece. The exuberant closing chorale is the same one that we encountered at the end of BWV 75 (Vol. 1) albeit with some slight augmentations to the orchestral scoring.

The cantatas for the Sixteenth Sunday after Trinity reveal Bach at his expressive best and the performances here are fully worthy of the music. In BWV 161 we hear the ghostly zephyrs of a pair of recorders. The evocative sound world is highly reminiscent of the early cantata Gottes Zeit ist der allerbeste Zeit, BWV 106. Robin Tyson is suitably otherworldly in his singing of the heavenly opening aria, ‘Komm, du süsse Todessstunde’, from which the cantata takes its name. Mark Padmore reveals in a booklet note that he’d never sung this cantata before, which enabled him to impart freshness to the music. How I agree. To him falls the heartfelt aria ‘Mein Verlangen’, which he sings with superb ringing tone and great expressiveness. On the day, his performance must have been given added visual impetus for he was positioned on a ledge at the top of a stone stairway where the pulpit should have been. For me, despite the beauties of the opening aria, Padmore makes ‘Mein Verlangen’ the heart of the cantata on this occasion. Sample the marvellous open-throated ring in his voice every time he sings the words "verlangen" or "bald." There’s some nicely delicate singing by the choir in the penultimate movement and then the recorders weave an enchanting counter-melody round the concluding chorale. This is a masterly cantata which here receives a performance to savour.

BWV 27 is another fine work. The opening chorus is a moving lament, punctuated by brief solo passages. The flowing, irresistibly chirpy alto aria, ‘Willkommen! Will ich sagen’ is a delight, enhanced by a marvellous cornetto part. The concluding chorale, rather unusually, is not by Bach but is his slight adaptation of one by a sixteenth century composer, Johann Rosenmüller. It’s a most happy borrowing.

The opening chorus of BWV 8 features some marvellously original wind sonorities. Both the orchestral players and the chorus are on top form. In his notes Gardiner draws an intriguing parallel with Berlioz’s wind scoring in L’Enfance du Christ. Mark Padmore, the pick of a fine bunch of soloists at this concert, sings the aria ‘Was willst du dich, mein Geist, entsetzen’ with exemplary technique. At several points his precise placing of each in a series of high, staccato quaver is most skilful. The bass aria ‘Doch weichet, ihr tollen, Vergeblichen Sorgen!’ is a life-enhancing dance. Here there’s a fine spring in the step of the superb flautist (Rachel Beckett?) and Thomas Guthrie sings it well. We’ve heard little of soprano Katharine Fuge up to now but she’s meltingly lovely at the start of her recitative. A strongly affirmative chorale puts the seal on a splendid performance.

At the beginning of BWV 95 Bach once again demonstrates an original approach to chorales. The short interjections by the solo tenor (Mark Padmore) add another different dimension. Gardiner obtains a sprightly performance and especially relishes the section of the movement, which he describes as having "something of a jam session feel." Mark Padmore delights in the "mesmerising" aria, ‘Ach, Schlage doch bald, sel’ge Stunde’, where we are also treated to some superb wind playing.

-- John Quinn, MusicWeb International




1. Weinen, Klagen, Sorgen, Zagen, BWV 12 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Julian Clarkson (Bass), William Towers (Countertenor),
Brigitte Geller (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1714; Weimar, Germany
Date of Recording: 05/14/2000
Venue: Live Schloss Church, Altenburg

2. Ihr werdet weinen und heulen, aber die Welt wird sich Freuen, BWV 103 by Johann Sebastian Bach
Performer: Brigitte Geller (Soprano), William Towers (Countertenor), Julian Clarkson (Bass),
Mark Padmore (Tenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 05/14/2000
Venue: Live Schloss Church, Altenburg

3. Es ist euch gut, das ich hingehe, BWV 108 by Johann Sebastian Bach
Performer: Stephen Varcoe (Bass), James Gilchrist (Tenor), Robin Tyson (Countertenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 05/21/2000
Venue: Live St. Mary's, Warwick, New York City

4. Sei Lob und Ehr dem höchsten Gut, BWV 117 by Johann Sebastian Bach
Performer: Stephen Varcoe (Bass), James Gilchrist (Tenor), Robin Tyson (Countertenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 05/21/2000
Venue: Live St. Mary's, Warwick, New York City

5. Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 by Johann Sebastian Bach
Performer: William Towers (Countertenor), Brigitte Geller (Soprano), Mark Padmore (Tenor),
Julian Clarkson (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1728; Leipzig, Germany
Date of Recording: 05/14/2000
Venue: Live Schloss Church, Altenburg

6. Wo gehest du hin?, BWV 166 by Johann Sebastian Bach
Performer: Stephen Varcoe (Bass), Robin Tyson (Countertenor), James Gilchrist (Tenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany




1. Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145 by Johann Sebastian Bach
Performer: Daniel Taylor (Countertenor), James Gilchrist (Tenor), Stephen Varcoe (Bass),
Angharad Gruffydd Jones (Soprano), Gillian Keith (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1729; Leipzig, Germany

2. Christ lag in Todesbanden, BWV 4 by Johann Sebastian Bach
Performer: Angharad Gruffydd Jones (Soprano), Gillian Keith (Soprano), Stephen Varcoe (Bass),
Daniel Taylor (Countertenor), James Gilchrist (Tenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1708; Weimar, Germany

3. Der Himmel lacht! die Erde jubilieret, BWV 31 by Johann Sebastian Bach
Performer: Stephen Varcoe (Bass), Daniel Taylor (Countertenor), James Gilchrist (Tenor),
Angharad Gruffydd Jones (Soprano), Gillian Keith (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1715; Cöthen, Germany

4. Erfreut euch, ihr Herzen, entweichet ihr Schmerzen, es lebet der Heiland, BWV 66 by Johann Sebastian Bach
Performer: Angharad Gruffydd Jones (Soprano), James Gilchrist (Tenor), Gillian Keith (Soprano),
Daniel Taylor (Countertenor), Stephen Varcoe (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany

5. Bleib bei uns, denn es will Abend werden, BWV 6 by Johann Sebastian Bach
Performer: Angharad Gruffydd Jones (Soprano), James Gilchrist (Tenor), Gillian Keith (Soprano),
Daniel Taylor (Countertenor), Stephen Varcoe (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1725; Leipzig, Germany

6. Ein Herz, das seinen Jesum lebend weiss, BWV 134 by Johann Sebastian Bach
Performer: Stephen Varcoe (Bass), James Gilchrist (Tenor), Daniel Taylor (Countertenor),
Gillian Keith (Soprano), Angharad Gruffydd Jones (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany




1. Liebster Gott, wenn werd' ich sterben?, BWV 8 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Robin Tyson (Alto), Katherine Fuge (Soprano),
Thomas Guthrie (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 18 Minutes 38 Secs.
Language: German

2. Wer weiss, wie nahe mir mein Ende, BWV 27 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Thomas Guthrie (Bass), Katherine Fuge (Soprano),
Robin Tyson (Alto)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 14 Minutes 21 Secs.
Language: German

3. Jauchzet Gott in allen Landen, BWV 51 by Johann Sebastian Bach
Performer: Niklas Eklund (Trumpet), Malin Hartelius (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists
Period: Baroque
Written: 1730; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 16 Minutes 36 Secs.
Language: German

4. Christus, der ist mein Leben, BWV 95 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Katherine Fuge (Soprano), Thomas Guthrie (Bass)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 10/07/2000
Venue: Live Santo Domingo de Bonaval, Santiago, Spai
Length: 18 Minutes 5 Secs.
Language: German

5. Was Gott tut, das ist wohlgetan, BWV 99 by Johann Sebastian Bach
Performer: Malin Hartelius (Soprano), William Towers (Countertenor), Marten Root (Flute),
Peter Harvey (Bass), James Gilchrist (Tenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 16 Minutes 43 Secs.
Language: German
Notes: Our Beloved Lady Church, Bremen, Germany (09/05/2004 - 09/06/2004)

6. Was Gott tut, das ist wohlgetan, BWV 100 by Johann Sebastian Bach
Performer: Peter Harvey (Bass), Marten Root (Flute), James Gilchrist (Tenor),
Malin Hartelius (Soprano), William Towers (Countertenor)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: circa 1735; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 21 Minutes 1 Secs.
Language: German

7. Warum betrübst du dich, mein Herz?, BWV 138 by Johann Sebastian Bach
Performer: James Gilchrist (Tenor), William Towers (Countertenor), Peter Harvey (Bass),
Malin Hartelius (Soprano)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 09/28/2000
Venue: Live Our Beloved Lady Church, Bremen, Germany
Length: 17 Minutes 3 Secs.
Language: German

8. Komm, du süsse Todesstunde, BWV 161 by Johann Sebastian Bach
Performer: Mark Padmore (Tenor), Robin Tyson (Alto)
Conductor: John Eliot Gardiner
Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir
Period: Baroque
Written: 1715; Cöthen, Germany

************************************************** ***

Listening through all the cantatas is proving a wonderful experience. One of my main new impressions - even though I'm a life-long Bach listener, and thought I knew his music well - is of inexhaustible melodic inventiveness. Fresh melodies just keep pouring out! (Mozart is often spoken of as the composer with the most miraculous ability to write melody, and I now see Bach as equally inventive.)

Favourites so far? - difficult, but perhaps the first two tracks of BWV 7. But because for all good reasons there so often seems to be a melancholy (even grief-imbued) emotional cast to Bach's music, my personal favourite so far is very unusual, the first piece of BWV 8, which seems to evoke sunlit summer woodlands perhaps, with that birdsong in the background; and those distant heavenly voices singing of bliss rather than bleak mortality. I am reminded of Gluck's Elysian Fields...