Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50

Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50

Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50
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Composer: Johann Sebastian Bach
Conductor: Andrew Parrott
Orchestra: Taverner Consort and Players
Performer: Emma Kirkby
Performer: Emily van Evera
Performer: Evelyn Tubb
Performer: Margaret Cable
Performer: Stephen Charlesworth
Performer: Wilfried Jochens
Performer: Howard Crook
Edition: Music CD
CD Release Date: 2000-04-11
Music Label: Virgin Veritas / EMI
Soundtracks:
Music CD 1
  1. Magnificat in D, BWV243: Chor: Magnificat - Taverner Consort & Players/Andrew Parrott
  2. Magnificat in D, BWV243: Aria: Et Exultavit Spiritus Meus - Emily Van Evera
  3. Magnificat in D, BWV243: Aria: Quia Respexit Humilitatem - Evelyn Tubb
  4. Magnificat in D, BWV243: Chor: Omnes Generationes - Taverner Consort & Players/Andrew Parrott
  5. Magnificat in D, BWV243: Aria: Quia Fecit Mihi Magna - Simon Grant
  6. Magnificat in D, BWV243: Duetto: Et Misericordia - Caroline Trevor/Howard Crook
  7. Magnificat in D, BWV243: Chor: Fecit Potentiam - Taverner Consort & Players/Andrew Parrott
  8. Magnificat in D, BWV243: Aria: Deposuit Potentes - Howard Crook
  9. Magnificat in D, BWV243: Aria: Esurientes Implevit Bonis - Caroline Trevor
  10. Magnificat in D, BWV243: Chor: Suscepit Israel - Taverner Consort & Players/Andrew Parrott/Emily Van Evera/Evelyn Tubb/Caroline Trevor
  11. Magnificat in D, BWV243: Chor: Sicut Locutus Est - Taverner Consort & Players/Andrew Parrott
  12. Magnificat in D, BWV243: Chor: Gloria Patri - Taverner Consort & Players/Andrew Parrott
  13. Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Lobet Gott In Seinen Reichen - Taverner Consort & Players/Andrew Parrott
  14. Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Der Herr Jesus Hub Seine Hande Auf - Wilfried Jochens
  15. Lobet Gott In Seinen Reichen, BWV11/249b: Recitativo: Ach, Jesu, Ist Dein Abschied Schon So Nah? - Stephen Charlesworth
  16. Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Ach, Bleibe Doch, Mein Liebstes Leben - Margaret Cable
  17. Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Ward Aufgehoben Zusehends - Wilfried Jochens
  18. Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Nun Lieget Alles Unter Dir - Taverner Consort & Players/Andrew Parrott
  19. Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Da Sie Ihm Nachsahen/Recitativo: Ihr... - Wilfried Jochens/Stephen Charlesworth/Margaret Cable
  20. Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Jesu, Deine Gnadenblicke - Emma Kirby
  21. Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Wenn Soll Es Doch Geschehen - Taverner Consort & Players/Andrew Parrott
  22. Nun Ist Das Heil Und Die Kraft, BWV50: Chor - Taverner Consort & Players/Andrew Parrott
Music CD 2
  1. Christ Lag In Todes Banden, BWV4: Sinf - Taverner Consort & Players/Andrew Parrott
  2. Christ Lag In Todes Banden, BWV4: Versus I: Christ Lag In Todes Banden - Taverner Consort & Players/Andrew Parrott
  3. Christ Lag In Todes Banden, BWV4: Versus II: Den Tod Neimand Zwingen Kunnt - Emily Van Evera/Caroline Trevor
  4. Christ Lag In Todes Banden, BWV4: Versus III: Jesus Christus, Gottes Sohn - Charles Daniels
  5. Christ Lag In Todes Banden, BWV4: Versus IV: Es War Ein Wunderlicher Krieg - Taverner Consort & Players/Andrew Parrott
  6. Christ Lag In Todes Banden, BWV4: Versus V: Hie Ist Das Rechte Osterlamm - David Thomas
  7. Christ Lag In Todes Banden, BWV4: Versus VI: So Feiren Wir Das Hohe Fest - Emily Van Evera/Charles Daniels
  8. Christ Lag In Todes Banden, BWV4: Versus VII: Wir Essen Und Leben Wohl - Taverner Consort & Players/Andrew Parrott
  9. Osteroratorium, BWV249: Sinf - Taverner Consort & Players/Andrew Parrott
  10. Osteroratorium, BWV249: Adagio - Taverner Consort & Players/Andrew Parrott
  11. Osteroratorium, BWV249: Chor: Kommt, Eilet Und Laufet - Taverner Consort & Players/Andrew Parrott
  12. Osteroratorium, BWV249: Recitativo: O Kalter Manner Sinn! - Emily Van Evera/Caroline Trevor/Charles Daniels/David Thomas
  13. Osteroratorium, BWV249: Aria: Seele, Deine Spezereien - Emily Van Evera
  14. Osteroratorium, BWV249: Recitativo: Hier Ist Die Gruft - Caroline Trevor/Charles Daniels/David Thomas
  15. Osteroratorium, BWV249: Aria: Sanfte Soll Mein Todeskummer - Charles Daniels
  16. Osteroratorium, BWV249: Recitativo: Indessen Seufzen Wir - Emily Van Evera/Caroline Trevor
  17. Osteroratorium, BWV249: Aria: Saget, Saget Mir Geschwinde - Caroline Trevor
  18. Osteroratorium, BWV249: Recitativo: Wir Sind Erfreut - David Thomas
  19. Osteroratorium, BWV249: Chor: Preis Und Dank - Taverner Consort & Players/Andrew Parrott

Music reviews of Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50

Music Review: IF THEY'RE GOOD ENOUGH, THEY'RE ENOUGH
Rating: 5 Stars

This is a very well planned pair of discs of Bach choral works. It also seems to me a very well performed set, as I shall try to explain. However the first thing that a review needs to make clear is that there is no `chorus' other than the solo singers themselves, not more than 5 in any one work. Anyone who cannot tolerate this style of performance presumably need read no further.

It is not, to be candid, my own favourite way of doing things. Nevertheless it has sound academic credentials, presented first by Professor Joshua Rifkin and put into practice in his own recordings. These have never convinced me to any great extent, but I have remained open-minded about the issue, and now I'm glad I have, because Parrott and his collaborators here are much more persuasive. The instrumentalists are a `period' ensemble, and although I'm only aware of knowing two of the soloists the two are Margaret Cable and the great Emma Kirkby, and they are in good company here. The main difference that I find from Rifkin is that Parrott's beat is more flexible and expressive and his tempi are livelier. You might find the Magnificat too fast, and there is certainly an impression that several numbers, (all of which are short in this work), end rather abruptly. My own view is that the Magnificat is not Bach's best composition, if I dare say so. No interpretation so far has ever persuaded me to the contrary, but this one has come nearest to it, and that despite being a one-voice-per-part rendering. I would even have to agree with the claim made in the sketchy liner note that this style helps with clarity and distinctness in Omnes generationes, which can easily turn into a pea-soup of constant word-repetition and dense imitative counterpoint. I am sure that Bach intended the kind of illustrative effect that so impressed the reverential Donald Francis Tovey, but illustrative effects are not Bach's thing at all in my opinion. If you want to hear how large-scale word-repetition can be astoundingly Handeled within the baroque style try To Thee Cherubim in the Dettingen Te Deum.

The rest of the set consists of one cantata, one fragment of a lost cantata, and the `oratorios' for Easter and the feast of Ascension. The two `oratorios' are just modified cantatas, rather longer than the average and using a larger orchestra than usual. The Ascension effort (Lobet Gott) has suggestions of the two Passions in the recitatives for an Evangelist tenor, very idiomatically done by Wilfried Jochens. It was the opening chorus of this piece that convinced me of the one-voice-per-part approach. The chorus is a majestic effort, and it would be ruined by a scrawny tone. Five voices, if they are the right voices, will do the thing full justice. It is not the same voices in the other choruses, but it is the same effect. They are enough because they are good enough.

The Easter oratorio starts with two sizeable instrumental movements, given with distinction by Taverner Players. Most listeners will, I expect, be particularly struck by a very long soprano aria Seele, deine Spezereien, 10 whole minutes of it. The singer is Emily van Evera, who in fact handles most of the soprano solo work throughout. She is not as individual in tone as Dame Emma is, but she is an assured professional, as indeed are they all. There is also one cantata from the standard canon, the early and solemn Christus lag in Todes Banden. This makes an impressive start to the second disc, with a very effective account of the opening sinfonia in particular, and this performance provides a very interesting foil to the Gardiner account in his great Pilgrimage series. Gardiner is no enthusiast for the one-v-p-p school, and although I am basically on his side I hope he will not view my indecision too unfavourably.

The other item is a fragment, from Bach's Leipzig period like most of his cantatas and similar. It is a majestic three-and-a-half-minute chorus celebrating some triumph of good over evil. This is much the tone of the other items except for Christus lag, and I found that the generally optimistic note, offset by just one of the works, made the set seem well planned and the items well chosen. Whether they have completely won me over I don't know, and it certainly does not amount to an outright conversion, but they have taken me a long way with them. The recordings are good too (1989 and 1993), and although the liner note is vestigial it is still informative up to a point, and I have certainly seen a lot worse. The value offered is excellent, but of course it all starts from a base of some of the most sublime music in the world. Play and sing it with conviction sympathy and understanding and you can suit yourself from there on regarding the precise details of voices per part.
More Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50 free music reviews:
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Description of Bach: Magnificat, BWV 243; Easter Oratorio, BWV 249; Lobet Gott, BWV 11; Christ lag, BWV 4; Nun is das Heil, BWV 50

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