One week after the Leipzig debut of Bach’s lengthy though admittedly lackluster cantata BWV 75 (type Q6232 in Search Reviews) he offered an even lengthier and far more interesting work, Die Himmel erzählen die Ehre Gottes (The Heavens declare the glory of God) BWV 76. The grander subject matter notwithstanding (BWV 75 solemnly dealt with how mortal poverty in this life was essential to an immortal afterlife), Bach offers far more expressive opportunities for vocal soloists and instrumentalists alike. For example, in the fifth-movement aria “Fahr hin, abgöttische Zunft!” (Go away you guild of idolators!) newcomer bass Chiyuki Urano fares very well, his voice maneuvering easily through several varied and dramatic moments, including two abrupt pauses that are effectively heightened by trumpet, strings, bassoon, and organ. Also, unlike the brass-deficient BWV 75, Bach now generously scores numerous parts for trumpet and “clarino” (a bygone instrument, reconstructed for this recording, that likely had the characteristics of both a trumpet and a horn), which are expertly performed by Toshio Shimada. Even when Bach opts for leaner instrumentation, as he does in the 10th-movement aria “Hasse nur, hasse mich recht” (scored only for tenor, cello, and organ), he achieves an emotional level rarely heard previously and certainly nowhere in BWV 75. Tenor Gerd Türk aptly performs this dramatic aria with great vigor and conviction.
For the fourth Sunday after Trinity Bach composed Ein ungefärbt Gemüte (An open mind) BWV 24, a shorter and more concise work, though it features many inspired moments. For example, the opening aria is a lively affair with sprightly orchestration and superb singing from countertenor Robin Blaze. In the choral sections we hear Bach extending himself famously: the third-movement “Alles nun, das ihr wollet…” features inordinately frenzied polyphony throughout and a stirring central section scored for soloists, all ravishingly propelled by orchestration that anticipates the famed Magnificat Bach would compose later that year (a work that incidentally receives an outstanding performance by the Bach Collegium Japan on BIS 1011).
Though less animated, Ihr Menschen, rühmet Gottes Liebe (Ye people, glorify God’s love) BWV 167 also has much to offer, including a heart-rending third-movement duet “Gottes Wort, das truget nicht” (God’s word does not deceive) where soprano Midori Suzuki and countertenor Blaze complement each other wonderfully–especially when Bach accelerates the tempo three minutes into the piece. Highly recommended.
