Album. Released in 2012.
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Bach Collegium Japan’s task of recording all bach cantatas has reached Volume 51, which turns out to be a colorful collection generously filled with occasional sacred works.
These are outdoors from most of Bach’s sacred cantatas, and are not part of the Sunday and Festival Cycles of the Church, but although little is known about the cases of his original performances, apart from the fact that they were commissioned privately through rich patrons, director Masaaki Suzuki and his perfected forces pay them at least as much affectionate attention as usual.
Perfectly trendy and language, the performers and breathe Bach’s music as immediately as if it had been composed yesterday.
The album’s first cantata, BWV 195, is a cheerful combination of trumpet and drums, written in the final years of Bach’s life for what will be the luxurious wedding celebrations.The orchestra is one of Bach’s largest, composed of pairs of flutes and oboes.as well as 3 trombones.
Suzuki and his company revel in the wonderful forces: the opening and final movements are filled with festive bubbling, while maintaining their same surveillance and buoyancy as ever and their choral singing clean and desicciated.
The BWV 195 also stands out through a remarkably progressive bass air.With a score imbued with love oboes and Scottish jovial rhythms, the musical language of the last 1740s has a strange resemblance to that of Bach’s sons.to the glorious effect of cascading flutes on a soprano recitative.
At the other end of the scale, the gently meditative BWV 157 funeral cantata is written for modest camera forces with a quartet of one-on-one singers, a sensitive mix made through Japanese musicians with radiant beauty.
There are no stars among the vocal soloists (soprano Hana Blazikova, countertenor Damien Guillon, tenor Christoph Genz and bass veteran Peter Kooij), but there are also no weak links, each offering forged performances, taking solos with aplomb and running as a team.
The stories of the other two cantatas here, BWV 192 and 120a, are equally delicious, making this last volume one of the show’s joyful highs to date.
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bis
August 2012
Sweden
Hybrid SACD
BIS-1961