In the early 1950s Dietrich Fischer-Dieskau began what would become a long and distinguished career as one of his generation’s foremost Bach interpreters. By 1981, when he and his wife Julia Varady made this recording for Philips, his declining vocal abilities apparently didn’t prevent him from continuing to deliver the kind of infectious, exuberant performances that established that reputation and endeared him to so many listeners. While his highly declarative, animated characterizations are impressive, in the more famous arias, such as the Coffee Cantata’s “Hat man nicht mit seinen Kindern” and the Peasant’s “Dein Wachstum sei feste”, he really lets loose, sounding as if he’s trying to prove that he’s still the Fischer-Dieskau of old!
Varady, on the other hand, is fine–but given the competition she’s somewhat less successful. She occasionally holds notes and fluctuates dynamics unnecessarily (her rendering of “Unser trefflicher, Lieber Kammerherr” being the extreme example here) in a manner wholly uncharacteristic of Baroque fashion. Also, compared to Emma Kirkby (L’Oiseau-Lyre) or even Elly Ameling (Deutsche Harmonia Mundi) she strikes a far less convincing coffee addict/bride-to-be in BWV 211 or impolite wench in BWV 212.
Unlike our soloists, Neville Marriner and the Academy of St. Martin in the Fields were in their prime and making many of their finest recordings during this period. They sound great, delivering spirited, energetic performances thoroughly in keeping with the often-humorous burlesque nature of these settings. Philips’ early digital sound is very good. Recommended with reservations.
