As far as his church music is concerned, Johann Christian Bach, the youngest of Johann Sebastian’s surviving sons and often referred to as “the London Bach”, could fairly be identified as the “Roman Catholic” Bach–a meaningful distinction owing to the rest of the family’s deep roots in the Lutheran church. Christian converted to the Roman Catholic faith while studying and working in Italy in the 1750s (he remained there until moving to London in 1762), and it is during this period that he most likely wrote all three of the works performed on this disc. Bach’s Salve Regina, whose Marian text is a traditional part of the liturgy and has been set by countless composers throughout the centuries, features a solo soprano–preferably one with a sizable range and extraordinary technical skill–and an agile, responsive orchestra. Emma Kirkby has been doing this sort of thing for years and certainly is in full command of Bach’s highly florid melodies and integral affective devices. This is music that demands direct, outward expression–a requirement that applies to all of the works presented here–and Kirkby really takes it to her audience with strong, confident delivery and often dazzling virtuosity (the second movement of the Salve regina and the third of the Laudate pueri, for example).
The Laudate pueri is set for tenor and soprano who sing the outer movements together and the inner ones as solos–two for tenor, one for soprano. Like the other works, this is a lively, happy, outgoing piece that employs vigorous and very tuneful orchestral accompaniment. Tenor Markus Schäfer is nearly as accomplished as his vocal partner, although on some of the highest notes his tone spreads and the articulation isn’t as clean. The sections where tenor and soprano sing together are quite wonderful and are well executed through even the trickiest passages. The final motet, Si nocte tenebrosa, is a 17-plus-minute tour de force for tenor, and here Schäfer–and Bach–really shines with clear, ringing tones, smooth legatos, and impressive runs, leaps, and turns. The orchestral writing shows considerable skill in utilizing contrast and color, rhythms are lively, and the melodic material is invariably attractive. The orchestra, led by violinist Michi Gaigg, is a delight to hear, a finely tuned and ideally balanced ensemble whose playing gives real drive and support to the singers–and, in these world premiere recordings, makes a strong case for hearing a lot more from J.C. The sound is exemplary. [8/21/2001]
