Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monteverdi Choir, The English Baroque Soloists, Gardiner

Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monteverdi Choir, The English Baroque Soloists, Gardiner

Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monteverdi Choir, The English Baroque Soloists, Gardiner
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Composer: Johann Sebastian Bach
Conductor: John Eliot Gardiner
Orchestra: The English Baroque Soloists
Performer: Anthony Rolfe Johnson
Performer: Ruth Holton
Performer: Stephen Varcoe
Performer: The Monteverdi Choir
Edition: Music CD
CD Release Date: 2000-10-10
Music Label: Archiv Produktion
Soundtracks:
  1. Wachet auf, ruft uns die Stimme - BWV 140: 1. Chorale: 'Wachet auf, ruft uns die Stimme'
  2. Wachet auf, ruft uns die Stimme - BWV 140: 2. Recitative (Tenor): 'Er kommt, er kommt, der Braut'gam kommt!'
  3. Wachet auf, ruft uns die Stimme - BWV 140: 3. Aria - Duet (Soprano, Bass): 'Wann kommst du, mein Heil?' - 'Ich komme, dein Teil'
  4. Wachet auf, ruft uns die Stimme - BWV 140: 4. Chorale (Tenors): 'Zion hort die Wachter singen'
  5. Wachet auf, ruft uns die Stimme - BWV 140: 5. Recitative (Bass): 'So geh herein zu mir'
  6. Wachet auf, ruft uns die Stimme - BWV 140: 6. Aria - Duet (Soprano, Bass): 'Mein Freund ist mein!'
  7. Wachet auf, ruft uns die Stimme - BWV 140: 7. Chorale: 'Gloria sei dir gesungen'
  8. Herz und Mund und Tat und Leben - BWV 147: First Part - 1. Chorus: 'Herz und Mund und Tat und Leben'
  9. Herz und Mund und Tat und Leben - BWV 147: First Part - 2. Recitative (Tenor) 'Gebenedeiter Mund!'
  10. Herz und Mund und Tat und Leben - BWV 147: First Part - 3. Aria (Countertenor): 'Scame dich, o Seele, nicht'
  11. Herz und Mund und Tat und Leben - BWV 147: First Part - 4. Recitative (Bass): 'Verstockung kann Gewaltige verblenden'
  12. Herz und Mund und Tat und Leben - BWV 147: First Part - 5. Aria (Soprano): 'Bereite dir, Jesu, noch itzo die Bahn
  13. Herz und Mund und Tat und Leben - BWV 147: First Part - 6. Chorale: 'Wohl mir, dass ich Jesum habe'
  14. Herz und Mund und Tat und Leben - BWV 147: Second Part - 7. Aria (Tenor): 'Hilf, Jesu, hilf, dass ich Jesum habe'
  15. Herz und Mund und Tat und Leben - BWV 147: Second Part - 8. Recitative (Countertenor): 'Der hochsten Allmacht Wunderhand'
  16. Herz und Mund und Tat und Leben - BWV 147: Second Part - 9. Aria (Bass): 'ich will von Jesu Wundern singen'
  17. Herz und Mund und Tat und Leben - BWV 147: Second Part - 10. Chorale: 'Jesus bleibet meine Freude'

Music reviews of Bach - Cantatas BWV 140, 147 / Holton, Chance, Rolfe Johnson, Varcoe, The Monteverdi Choir, The English Baroque Soloists, Gardiner

Music Review: Excellent
Rating: 5 Stars

Issued in the year 2000, this compact disc was a small contribution to the promotion of the Monteverdi Choir cantata tour. Together with the English Baroque Soloists, they performed all the surviving church cantatas by Johann Sebastian Bach during the course of 2000, on the liturgical days for which they were composed, in different churches around Europe and US. Gardiner talks a little about this endeavor in the line notes: "Bach is probably the only composer whose musical output is so rich, so challenging to the performer and so spiritually uplifting to performer and listener alike, that one would gladly spend a year in his exclusive company."
In 1731, based on a hymn by Philipp Nicolai, Wachet auf, ruft uns die Stimme, Bach wrote a chorale cantata with the same title. The text is based on the parable of the ten virgins in the prescribed Gospel reading, Matthew 25: 1-13. Of the seven sections, the first and the last as well as the middle fourth are chorales. Interestingly enough, the middle one, Zion hört die Wächter singen, is for tenors and orchestra. Furthermore, the intermediate pairs of sections are similar in the way that each of the groups begins with a recitative and ends with an Aria/Duet for soprano and bass soli. The duets represent the conversation between Jesus (bass) and the Soul (soprano), while the middle chorale is the song of the watchmen from the Song of Songs.
Initially composed in 1716 for a service in the Weimar chapel on the fourth Sunday in Advent, Cantata BWV 147 was revised by the composer in 1723 for the Feast of the Visitation of the Blessed Virgin Mary. Divided into two parts, sung before and after the sermon, this cantata uses five of Salomo Frank's original verses to which Bach added recitative texts in order to make the text more relevant to the Feast. The text takes Mary's words as the paradigm for personal Christian proclamation and encourages the congregation to bear witness to Christ freely with "heart and lips, thy whole behavior" (Herz und Mund und Tat und Leben). The final chorale is the famous Jesus bleibet meine Freude, a reiteration of the one ending the first part, Wohl mir, dass ich Jesum habe, later on transcribed for keyboard by Myra Hess as the extremely profound and noble Jesu, Joy of Man's Desiring.
It's been said that the importance of Gardiner's performances consist of the use of authentic instruments and as a consequence the whole sonority changes mostly because of the lowered tuning (a'=415 Hz). However, the critics don't always remember the quality of the musicians who, at least in these versions of Bach's 140 and 147, are exceptional, from the soloists to the orchestra and chorus members. The tempi and the dynamics altogether with the phrasing and the musical expression are well determined by the musicians led by John Eliot Gardiner. We should remind the reader that those parameters were hardly notated in Bach's time, fact that has determined so much confusion in time. The bouncy articulation and the happiness of the singing or playing lines make this recording a fresh and even modern interpretation of these two masterpieces of the musical world.
I left at the end a word about the cover presentation of this compact disc. The picture strikes the viewer with a contrasting black and white image of two different worlds, or if you wish, different eras. The present is the background, dark (night), on a city street, where the details are intentionally fuzzy suggesting maybe the diffuse life of contemporary people. However, in the center of the viewer's attention, the bright 1748 E.G. Haussmann painting of Bach on the case of a double bass reveals the clarity and serenity of a disappeared time. And it looks like we, the viewers (read the listeners), feel closer to that world because we can just "see" the stillness of the moving double bass.
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