It’s supposed to be spring, but the snow is falling heavily outside, and, after an extraordinarily long winter the formerly abstract concept of depression is assuming a more personal presence with every passing minute. Then, you hear Dorothee Mields singing “Ich esse mit Freuden mein weniges Brot” (I eat my meager bread with joy), and somehow your dimmed spirit is lightened and uplifted–and you realize once again the transcendent power of Bach’s music. (Perhaps it’s no surprise that this cantata’s theme is to be happy with what you have!) Even this practical, functional music can bring light and life to all who listen–and certainly also to those who sing and play it.
The cantatas featured on this program–first-rate performances all–span the years 1716 to 1727, and those who wish to explore changes in style or practice will have much to indulge their interest. But for the pure listener these four cantatas also offer tremendous variety of voices, instrumental color and texture, and plentiful examples of Bach’s uniquely imagined and integrated melody and obbligato parts.
The three-section opening chorus of BWV 95, which joins two chorales by means of an almost oddly interrupting tenor recitative, is one of Bach’s most curious, fascinating, unusual, and surprising cantata choruses–well worth hearing several times by itself; but also worth a repeat or two is Mields’ tenderly sung “Valet will ich dir geben”, her melody (which many church-goers will recognize as the tune to “All glory, laud, and honor”–in triple meter) accompanied by two oboes d’amore in one of those inimitable Bachian obbligatos.
Also notable are bass Thomas Bauer, his rich, confident voice particularly compelling in “Gute Nacht…” from BWV 27, tenor Hans Jörg Mammel in the difficult “Ach, schlage doch bald” aria and delicate “Welt! deine Lust ist Last!” recitative, and alto Matthew White in the poignant aria “Komm, du süße Todesstunde” (here the original Weimar version with two recorders). And by programming the earliest cantata last (BWV 161), we’re left hearing one of Bach’s more delightfully, perfectly scored choruses that makes something inside us dance every time we hear it. The sound is fittingly intimate but with plenty of body and resonance appropriate to bring out the natural qualities of instrumental and vocal timbres. Exceptional! [4/11/2008]
