Bach Cantatas from St Gallen

The Bach lover of the 21st century is spoilt for choice as far as the number of recordings of his cantatas is concerned. No less than five complete recordings - if we confine ourselves to performances with period instruments - are available: Harnoncourt/Leonhardt, Leusink, Koopman, Suzuki and Gardiner. The latter two only recently finished their respective projects. To those one can add a large number of recordings of individual cantatas. Two conductors need special mention: Philippe Herreweghe and Sigiswald Kuijken. Their purpose is not the recording the whole cantata output, but a considerable number of cantatas are available on disc under their direction. We should not forget to mention the many recordings of solo cantatas by individual singers.

Even so, there is not that much chance to hear Bach's cantatas in public concerts. If such concerts take place it is mostly as part of a Bach festival, but in regular concert series taking place during the course of a year one won't see cantatas by Bach programmed that often. That was the main incentive for a project which takes place in Switzerland under the responsibility of the Bach Stiftung St. Gallen. I had read about this undertaking, but not heard any recording. Recently I received five CDs and three DVDs with recordings from this project. Rather than writing a review of these discs - many more are available right now - I decided to give my impressions on the basis of these recordings.

Let me start with quoting from the booklets of these discs what this project is all about. "Despite the wealth of Bach recordings available, the concert experience remains vital to musical appreciation. In the interest of sustaining this tradition, musician Rudolf Lutz and private banker Konrad Hummler resolved in 1999 to re-interpret Bach's complete vocal works - first and foremost his over 200 cantatas - in a new concert cycle. The project, which will span approximately 25 years, is privately funded by the J.S Bach Foundation of St. Gallen".

From these words we may gather that its main purpose is not so much adding another complete cycle to what is already available. It is the live performance of a cantata which is the core of the project. Every month one cantata is performed. This explains that the project will take much time until its completion.

The concerts take place in the Evangelische Kirche in Trogen, a village near St Gallen. Every concert begins with an introduction of the cantata. Rudolf Lutz, the musical director, explains the peculiarities of the music from the keyboard, and the theologian Karl Graf explains the theological and biblical aspects. Then the cantata is performed twice; the two performances are separated by a lecture, called "Reflections". The speakers are people with various backgrounds, artists, scientists, economists or politicians. One could compare these lectures with the sermons in St Thomas' in Bach's time. There is quite a strong difference between them, though. The speakers - at least those I have heard - take distance from the spiritual world in which Bach's cantatas were written. It seems unlikely that these lectures are helpful in bringing the world of Bach's cantatas closer to a modern audience.

When I received the CDs and DVDs I was surprised to see that each DVD includes only one cantata, even if it is very short, like Cantata 54 which lasts less than 13 minutes. However, this is not all: the DVDs also include the introduction and the lecture. Only one of the performances is included. The introduction is very interesting, but unfortunately the DVDs omit any subtitles. As a result they won't appeal to those who don't understand German. I can't imagine Bach lovers purchasing a DVD with 12 minutes of music just to see how the singers and players perform it. They will be more interested in the CDs which contain three cantatas each.

I have the impression that they are more or less put together at random. I can't see any direct connection between the cantatas on a single disc, neither in regard to subject nor scoring nor the time of composing. It also seems that Lutz has avoided to take a position in regard to the subject of the number of singers which should be involved. "The ensemble varies according to the work in question: some cantatas require a choir of up to 20 voices while others are complemented only by soloists (...)". The choice seems to be based on Rudolf Lutz's personal views regarding a specific cantata rather than on historical sources. I can't imagine any source indicating the need of 20 voices.

There is a tendency of late to perform and record Bach's cantatas with a large organ instead of a small chamber organ. That is, for instance, the case in the project of the Gesualdo Consort Amsterdam and Musica Amphion. That practice has not been applied here, which can be explained from the fact that every performance takes place in the same church. Its organ is a late 19th-century instrument and obviously not suitable for performances of baroque music.

These issues justify my conclusion that this project doesn't and will not provide any new insights in regard to performance practice. That is not meant as criticism; it is just not the purpose of this project. However, it could be an important factor for those who may consider purchasing the discs which document the performances in this project. It seems that these are especially worthwhile for those who have attended the concerts. That goes even more for the DVDs.

However, for many that will not be decisive. They would like to have more than just one interpretation, and I can imagine that more than average Bach lovers who have more than one complete recording in their collection - maybe even all of them - will seriously consider collecting these discs as well. In their interest I will give my impressions of the performances on the basis of the discs and DVDs which I have heard.

Let me first say that I was almost never completely disappointed about any cantata. One of the strengths is the choir which is very good. The singing is lively and the performances show a good understanding of the idiom. The voices blend well, but sometimes I noted a lack of transparency, especially in those choruses in which the polyphony is rather dense. That could well be partly due to the acoustic, which isn't bad but probably less than ideal. Moreover, a choir of 20 singers is too large.

The orchestra is also good; the instrumental solo parts are always played very well. However, in some cases the performances don't quite bring what one would expect. The aria 'Die schäumenden Wellen' from Cantata 81, for instance, is too feeble. It also happens now and then that specific features which are mentioned in the introduction are hardly noticeable in the actual performance.

As only one cantata is performed every month it is almost inevitable that the soloists differ from one performance to the other. Whether the involvement of soloists is just a matter of coincidence or the result of deliberate decisions is something I can't tell. Some of the soloists belong to the elite of early music singers, like María-Cristina Kiehr, Makoto Sakurada - who also participated in the recordings by the Bach Collegium Japan - and Wolf Matthias Friedrich. Others were unknown to me. Again, I am generally pleased about the way the solo parts are performed. There are some weak spots, and I don't appreciate every single voice that much, but that is also a matter of taste. Some arias come off better than others, but the far majority is at least alright.

It is no surprise that the best-known singers deliver the best performances. María-Cristina Kiehr participates in the performance of Schmücke dich, o liebe Seele (BWV 180). She gives a fine account of the recitative and ensuing chorale; the aria 'Lebenssonne, Licht der Sinnen' is one of the best I have heard. The German soprano Ulrike Hofbauer is equally impressive: she sings the demanding aria 'Gelobet sei der Herr' (BWV 129) admirably and sings beautifully in the duet from Am Abend aber desselbigen Sabbats (BWV 42). Her partner is the tenor Bernhard Berchtold, a singer who was new to me, but who made a generally good impression, for instance in 'Jesu, laß durch Wohl und Weh' (BWV 182). I have already mentioned Makoto Sakurada; he gives a fine performance of 'Unser Mund und Ton der Saiten' from Cantata BWV 1, but considering his experience in Bach I was a bit surprised that his pronunciation was less than perfect.

Another seasoned performer is the bass Wolf Matthias Friedrich who is a specialist in German vocal music. His contributions confirm his skills, for instance in 'Wer bist du' (BWV 132). He effectively explores the sharp edges of the aria 'Schweig, aufgetürmtes Meer' in Cantata BWV 81. Another new name was Markus Volpert, a singer who deserves to keep an eye on. He makes a very good impression in these recordings. A good example is the recitative and ensuing aria 'Jesus ist ein Schild der Seinen' (BWV 42).

The altos are a rather mixed package. The male alto Markus Forster sings his aria in Cantata BWV 22 well, but I am disappointed by his performance of Cantata BWV 54 (Widerstehe doch der Sünde) which is short on expression. That is also due to the instrumental contribution; the liner-notes refer to "penetrating bow strokes" but I didn't really notice them. Forster's colleague Jan Börner - also someone I didn't know before - has a nice voice as he proves in Cantata BWV 63. The contralto Roswitha Müller gives a good interpretation of her aria in Cantata BWV 81. I don't understand, though, why she sings with much vibrato, whereas she doesn't use any at all at long notes on the words "schläft" and "hoffen". If she can avoid it, why doesn't she do so? Her colleague Claude Eichenberger (whose name is several times given as "Eichberger") has a voice I don't find particularly attractive. There is nothing wrong with her singing in Cantata BWV 35 (Geist und Seele wird verwirret), but there is also nothing in her interpretation which really struck me. I am more impressed with Margot Oitzinger who gives a very good speech-like interpretation of the aria in Cantata BWV 34; both her diction and the amount of expression are excellent. The duet 'Wir eilen mit schwachen, doch emsigen Schritten' (BWV 78) is one of the highlights of these discs; here Oitzinger is joined by Julia Neumann. Their voices blend perfectly; the tempo is well-chosen and the rhythmic pulse comes off very well. Lastly I would like to mention another singer I didn't know, the soprano Eva Oltiványi. I am not impressed by her singing in Cantata BWV 132, but in Cantata BWV 1 she delivers a very beautiful rendition of the aria 'Erfüllet, ihr himmlischen, göttlichen Flammen', in excellent partnership with the oboe da caccia. The difference could well be explained by the difference in time: the former cantata was recorded in 2006, the latter 1 in 2010.

A couple of observations to conclude. The recitatives don't always come off that well. It is a problem I often notice in recordings of baroque vocal music: they are not speech-like enough and the singers don't take enough rhythmical freedom. In some chorales the organ plays short interludes between the phrases, probably suggesting the participation of the congregation. There seems to be no evidence, though, that this was indeed practised in Leipzig. In Cantata BWV 54 Rudolf Lutz felt that a chorale was missing, so he delivered a chorale setting of his own making. I can't see any reason for that, and the change in style between the cantata and his chorale damages the overall result.

One can only greatly appreciate the efforts of the performers and the people who make this project financially possible. There are much worse ways to spend your money. The artistic standards are highly respectible: on every disc which came my way I have heard at least a couple of things which I greatly enjoyed. Bach lovers are well advised to investigate this project. For more information take a look at the site of the J.S. Bach Foundation St. Gallen.

Composing is no contest

It seems there are some people who don't like the music of Johann Sebastian Bach. But I don't think anyone denies his greatness. He is generally considered one of the greatest composers in history. There are more who are almost unanimously admired, like Monteverdi, Mozart and Schubert. But others may have had an important place in history, they are nevertheless controversial as the quality of their compositions is concerned. One of them is George Frideric Handel.

Not a few musicians of fame never perform his music. Gustav Leonhardt, for instance, has stated several times that he is overrated and that his music is rather superficial. Early in his career he has recorded some of Handel's harpsichord suites, and he participated in a recording of Handel's wind sonatas by Frans Brüggen and Bruce Haynes. But otherwise he has stayed away from Handel.

Likewise Philippe Herreweghe, although having recorded many of the most important sacred works of the 17th and 18th centuries, has never conducted sacred music by Handel. I am not aware of any statements in regard to Handel from Herreweghe, but I can imagine him having the same views as Leonhardt.

Recently a Dutch newspaper published an interview with the renowned bass Peter Kooy, who often works with Philippe Herreweghe and Masaaki Suzuki. He is happy to be considered a baroque specialist, but still wants to avoid some baroque composers. He mentions particularly Handel, who may have written well for the voice, but whose music is often harmonically not interesting enough and is missing depth.
Everyone is entitled to his opinion, and if a singer doesn't like a composer he does well to stay away from his music. Performing music you don't believe in doesn't make sense and does the composer, the audience and the interpreter an ill service.

At the same time it is questionable whether it makes any sense to compare composers. One can debate ad nauseam whether Bach is a better composer than Handel or than Telemann, but in my view that is pretty useless. Composers certainly preferred a style of composing, but their oeuvre also reflects the circumstances in which they lived and worked. It may be fascinating to speculate what kind of music Telemann had written if he had been appointed Thomaskantor in Leipzig instead of Bach. But we will never know. And had Bach become a representative of the German Enlightenment if he had been Musikdirektor in Hamburg? It is anybody's guess.

Telemann was once considered a composer of rather lightweight music, mainly written for amateurs. That judgement was based on that part of his chamber music which was printed in the early days of the re-emerging interest in baroque music. In recent times other parts of his oeuvre have been explored and it has been recognized that there is more to him than was prevously thought.
We now know that he was able to write in the 'learned' style mostly associated with Bach, and that he had thorough knowledge of the German tradition of counterpoint and did indeed compose in that style. But he mostly did not, because he composed for audiences which didn't ask for such music. And as he embraced the ideals of the Enlightenment in regard to educating people with music he aimed at giving his clientele what it was asking for.

Likewise, Handel was writing music according to the needs and wishes of the circles he was part of. There is no reason to believe his skills as a composer were inferior to those of Johann Sebastian Bach. After all, every would-be composer - or any musician, for that matter - received a thorough musical education. But why would he write music nobody was interested in? It may be true that most of his music is harmonically less interesting than Bach's, that doesn't mean it is less expressive. There are mores ways to express affetti than harmony alone.

Peter Kooy doesn't like opera very much. That is fair enough; he is not the only one. And it is true that a singer who doesn't like opera has little business in Handel's music. Most of his oratorios may have biblical subjects, stylistically they are not that much different from his operas. And the chamber cantatas are a kind of pocket-size operas.
But that is no reason to dismiss Handel as a composer. In his operatic music, whether secular or sacred, he reaches great heights of expression. In particular many of his duets are hard to surpass in that respect.
And even outside the operatic works there are some treasures in Handel's oeuvre. As much as I personally prefer Bach over Handel, I definitely wouldn't like to miss Messiah or Israel in Egypt - two monuments of sacred vocal music -, or his organ concertos.

In my view any composer should be judged on his own merits. Composing is no contest. Comparing composers of different backgrounds and judging them out of their context is basically unhistorical. It doesn't do them any justice, not even the one who comes out on top.

A Passion in English

Passiontide has come. That means that in many places Passions, and in particular the two Passions by Johann Sebastian Bach, are going to be performed. The recording industry doesn't let this time of the year pass by unnoticed either. One of the most recent releases is a recording of Bach's St Matthew Passion by the ensemble Ex Cathedra, directed by Jeffrey Skidmore (Orchid Classics).

This ensemble has made several fine recordings, but mostly of lesser-known repertoire. From that perspective a recording like this may come as a surprise. It is the recording of a live performance on Good Friday 2009. The peculiarity of this performance is that Bach's Passion is sung on an English text, in a new translation by Nicholas Fisher and John Russell. "Their aim was to use language close to that currently spoken", according to the liner notes. The Bach expert John Butt is very enthusiastic about the translation, something which I find incomprehensible.

I don't understand the reasoning behind such an undertaking. The booklet says that the translators believe a translation like theirs "would more effectively communicate the Passion narrative". It is worthwhile to translate the lyrics of the original as accurately as possible, in order to communicate the content to an audience which doesn't understand German. But in this case the translation is meant to be sung on Bach's music. And that causes all sorts of problems.

In many respects we notice here the same problems as in Ton Koopman's reconstruction of Bach's St Mark Passion. Here the problems are even greater because of the difference in language. In general the music and the English text just don't match. In some recitatives there are more notes than text, and parts of the text have to be repeated. Bach never does so in his recitatives. Often the problem is solved by melismas on syllables or words - again, something Bach hardly ever does in his recitatives. In other cases the problem is the opposite: there is too much text for the music, and that is 'solved' by splitting a note into two.

The effect of the repetition of "bin ich's" by the various voices, representing the disciples (no 9) is strongly reduced in the translation: "Lord, is it me?" The power of the closing word "schlug" in the chorus "Weissage uns, Christe, wer ist's, der dich schlug" is taken away as in the translation the last note has to be split on the words "struck you" (no 36).

There are also a number of passages where images in the original text have disappeared. The accompanied recitative 'Du lieber Heiland du' (no 5) has been translated in such a way that the picture of the believer dropping a tear on Jesus' head has disappeared and with it the connection to the woman pouring ointment on Jesus' head.

Bach's text also contains connections which are not specified and left to the 'informed believer'. An example is the picture of the dove in the accompanied recitative 'Am Abend da es kühle war' (no 64), where Bach just suggests a connection to the dove returning to Noah after the Flood. The translators felt the need to spell it out: "At evening homeward turned the dove. Her olive-leaf showed floods receding". In the closing chorus 'Wir setzen uns mit Tränen nieder' the translation says: "At your grave, O Jesu blest, may we in our sad dejection find the hope of resurrection". But the St Matthew Passion doesn't refer to the resurrection, at least not in the free poetic texts. And that is not without a reason.

There is more, like the fact that some accompanied recitatives don't rhyme, that the translation is inconsistent in using "me" and "us" in these recitatives and that the translation of a number of chorales moves too far away from the original. I could go on, but I'll save that for my forthcoming review on Musicweb International and on musica Dei donum. I'll also explain there why the performance - apart from the issue of the language - is pretty dreadful.

Sure, in many ways the translators have done a fine job and there are several passages where they have translated the original quite well. But this translation is meant to be sung on Bach's music, and there it fails to convince.

As a matter of fact Bach's St Matthew Passion is every inch German, and the English translation violates the very character of Bach's music. The two languages are pretty much each other's opposites. This recording show once again: English is English and German is German and never the twain shall meet.