The latest release from John Eliot Gardiner's Bach Cantatas Pilgrimage is, if possible, even more stimulating than the earlier issues. Such is the juxtaposition of works here that we see both the intimacy and grandeur, the joy and the poignancy, of Bach's writing; even more fascinating is the opportunity to hear cantatas written for both large and small ensembles. The interesting mix of works is coupled with insightful performances as always, and I have no reservation in recommending the set both to those who have been following the whole series and those who are happy to listen to a sample in isolation from the other volumes.
The three cantatas for the Twelfth Sunday after Trinity immediately demonstrate these contrasts (although they are all celebratory in mood). 'Lobe den Herrn, meine Seele', BWV 69a, bursts into life with trumpets blazing and the chorus (in rousing voice) proclaiming 'Bless the Lord!'. Gardiner really brings out the invention of the piece, while the Monteverdi Choir is responsive to Bach's treatment of the text. After this jubilant opening written for choir and large orchestra, the tenor aria 'Meine Seele' is a more reflective repose; Christoph Genz is the sensitive soloist. The aria is remarkable for its gentle woodwind accompaniment, which gives three instruments (recorder, oboe da caccia and bassoon) such individualistic melodies that they are almost equal to the vocal line. Similarly imaginative is the bass aria 'Mein Erlöser und Erhalter', here sung with searching beauty by Peter Harvey. The closing chorale returns us to something of the grandeur of the opening, ending the cantata with a resolute spirit.
Possibly my favourite track out of both of these CDs is the Sinfonia to the next cantata, 'Geist und Seele wird verwirret', BWV 35. It is an utter triumph. The Sinfonia has a prominent organ obbligato part, which is played with virtuosic panache by Ian Watson. Gardiner explains that he decided to use the orchestra's portable cabinet organ rather than the larger one resident in the church where the performance took place; not only does this mean that the alto soloist is not drowned out, but the brighter sound of the instrument allows us to hear the contrapuntal patterns of the music more easily. The three alto arias are all spellbinding, thanks to the purity of Robin Tyson's voice, and the absence of a choir in this cantata makes for a strong contrast with the other works around it. The third cantata for this Sunday, 'Lobe den Herren, den mächtigen König der Ehren', BWV 137, is both the briefest of the three and the most uplifting. Indeed, the mood is so light and vigorous that Vivaldi comes to mind when hearing it, rather than Bach. The four soloists all pull their weight, the choir is flexible to the needs of both composer and conductor, and the English Baroque Soloists are as wonderful as ever.
The splendid second disc contains Bach's music for the Thirteenth Sunday after Trinity, and here again we can see several sides to the composer's artistry. The cantata 'Du sollt Gott, deinen Herren, lieben', BWV 77, begins with as complex and rousing a chorus as Bach ever wrote; in Gardiner's performance, one really gets a sense of the growing choral and orchestral textures. The soprano Gillian Keith is the reason for hearing this performance: her exquisitely focussed tone is almost completely free of vibrato (to its benefit), while the sincerity of her delivery of the text of her aria makes its sentiment genuinely moving.
The next cantata, 'Ihr, die ihr euch von Christo nennet', BWV 164, is an example of Bach's mastery of chamber music. Small forces are dedicated to a mere six movements, of which the duet 'Händen, die sich nicht verschliessen' is undoubtedly the highlight, both in terms of invention and of the magical vocal performances by Gillian Keith and Jonathan Brown (bass).
However, the loveliest singing in the entire set of six cantatas comes from 'Allein zu dir, Herr Jesu Christ', BWV 33. Although it begins with a rousing chorus, the alto aria 'Wie furchtsam wankten meine Schritte' is a mesmerising ten-minute portrayal of a Christian's feelings about the burden of sin and Christ's comforting words. The performance by Nathalie Stutzmann is delicate, sensitive and hypnotic.
As if all of this were not enough, the packaging for the Bach Pilgrimage CDs continues to be a model that other record labels would do well to imitate. Extensive notes by Sir John Eliot Gardiner himself inform us both of the background to the works and the performers' approach to them, as well as the settings for the performances (in terms of locations and instrumentation). The layout is excellent, with the hardback covers of the package holding both the CDs and the explanatory notes, texts and translations.
Delivered with care and expertise, this entire enterprise deserves support and admiration.
Links to earlier releases: Volume 22 and Volume 23
External link: Monteverdi Productions