In the interest of filling musical/historical holes, certain composers who have long remained in the dark shadows cast by their more brightly shining contemporaries occasionally enjoy deserved exposure. Listeners often benefit from these efforts, which at least are in some way illuminating and at best reveal some true masterpieces. While there are no unqualified masterpieces here, there are some worthy pieces that represent an important stage in the development of the Gospel and chorale cantata that would reach its pinnacle in the hands of J.S. Bach a generation later. Johann Schelle (1648-1701) served as Thomaskantor in Leipzig for the last 25 years of his life, a post that Bach was to take over in 1723, continuing the tradition of weekly cantatas whose vernacular text settings (rather than Latin) Schelle is credited with establishing. Apparently Schelle, whose reputation as a composer was considerable, was instrumental in refining the form of these church works for voices and instruments, and in the selections heard on this disc we can easily find evidence–albeit rather raw–of the materials from which later composers (primarily Bach) would build their immortal structures.
While Schelle’s cantatas show almost none of Bach’s elegance and profound creative power, there are moments of brilliance, as in the charming soprano duet in Nun lob mein Seel den Herren, the skillfully woven contrapuntal texture of Eructavit cor meum (for 20 parts, including 10 voices, strings, two trumpets, and three trombones), and the expertly written alto solo in the vocal concerto Ah! Quam multa sunt peccata. The “big number” is Schelle’s setting of popular verses from Psalm 103, Lobe den Herrn, meine Seele. Scored for 25 parts–two choirs and orchestra–it effectively balances all of these forces to allow not only the festive character of the text to shine but also to more delicately illustrate the meaning of the words with clever use of solo voices alternating with chorus.
Roland Wilson and his La Capella Ducale and Musica Fiata singers and instrumentalists give solid, energetic, involving performances–the period orchestra in particular is impressive for its lovely ensemble sound, clear articulation, and some exceptional trumpets. The five vocal soloists–who essentially are part of the 10-voice choir–are all competent singers whose technical abilities are varied but more than adequate for the relatively modest demands of this music. CPO completes the package with clean, vibrant sound that places the singers and orchestra in an intimate yet pleasingly resonant setting.
