When you collect Bach cantata recordings, you just have to accept that the near-infinite programming choices afforded by the combinations and permutations of 200 or so works will unavoidably lead to duplications of repertoire from disc to disc. Of course, you can just go for one complete set, such as the editions from Hänssler or Teldec, but then you’d miss out on some of the best performances, such as those on this new release from Philippe Herreweghe and his Collegium Vocale, arguably the most stylistically consistent and musically reliable interpreters of this repertoire. These three “Trinity” cantatas, two of which fall into the category of “chorale” cantatas, may not be among Bach’s more memorable works in the genre, but they certainly don’t lack for an abundance of engaging moments and profound utterances from the chorus and soloists.
BWV 2 opens with a sumptuous chorus, loaded with chromaticism and driven by a persistent bass line, all of which is filled out by a richly scored orchestra that doubles the voices. The subsequent soprano aria is a typically masterful construction with obbligato violin, sensitively sung by Johannette Zomer, and the later, very difficult tenor aria is handled with ease by Jan Kobow. In Bach’s choral works with orchestra, clarity of texture certainly is among the more critical ingredients for successful performance, and in BWV 20, perhaps the best known of these three cantatas, Herreweghe’s forces meet the challenge of the opening chorus’ dense contrapuntal writing–not to mention the demands of articulating the French-overture figurations–with precision and considerable dramatic impact. Again, tenor Kobow dispatches his tricky aria “Ewigkeit, du machst mir bange” with admirable facility and lovely tone. This cantata also contains two beautifully harmonized settings of the chorale O Ewigkeit, du Donnerwort and a lively soprano/tenor duet that implores its listeners to “cease forthwith to love the world and its sin”.
BWV 176, one of Bach’s shorter cantatas–and not based on a chorale theme–leads with an energetic chorus that folds into a bright, rhythmically buoyant soprano aria, effectively rendered by Zomer, who really grasps the textual implications (a recognition of Jesus’ divinely chosen omnipotence). Although the reference recordings listed above both feature solid and perfectly acceptable performances of cantatas Nos. 2 and 20 (each has different couplings to fill out its program), this one has the edge in terms of exceptionally vibrant, full-bodied sound and impeccable performances from everyone–soloists, chorus, and orchestra. Tempos are sensible, giving expressive freedom to the singers but–as is typical of Herreweghe–always concerned to maintain overall clarity, coherence, and balance. [6/28/2003]
