As the detailed liner notes by Bach scholar Christoph Wolff tell us, this collection “comprises the essential repertoire of the cantatas Bach composed for the Christmas season.” It also represents a continuation (of sorts) of Ton Koopman’s Bach cantata project, now on his label Challenge Classics. I say “of sorts” because the recording dates for these 12 cantatas are vaguely identified as 1994-2000, and several of the works included here are already available on existing earlier volumes in the series that originated on Erato. Of course, if you don’t own those Erato discs (or the gradually emerging resissues of them on Challenge) then this nifty 3-disc set makes a generally fine addition to any collection, and aside from its decidedly Christmas-specific texts it stands as a decent survey of Bach’s early work in Leipzig.
As for the performances, the overwhelming joy of this set is in the vividly expressive, dynamic choral singing–enhanced by unfailingly lively, articulate, invigorating orchestral playing. The sound also plays a strongly supportive role in providing faithful clarity and an atmosphere that allows the rich instrumental colors to blossom (a splendid example being the opening of BWV 65). Koopman handles the lightly scored aria accompaniments sensitively–and he’s blessed with some of the best continuo players anywhere. Soloists Marion Verbruggen (recorder), Jaap ter Linden (viola da gamba), and Marcel Ponseele (various oboes) are especially notable.
On the other hand, these performances are highly variable in the quality of the vocal soloists–and considering their rather large role in most of these works, the level of your enjoyment will inevitably hinge on how much you like a given singer. The problems center primarily on the women, particularly the hooty altos Franziska Gottwald and Elisabeth von Magnus, the rather screechy soprano Deborah York, and the inconsistent and slightly unsteady Barbara Schlick and Sybilla Rubens. I don’t mean to imply that these singers’ contributions are hard to listen to–just that I can imagine much better, and we even get a taste of the best in the all-too-brief appearance of soprano Dorothea Röschmann. In her one aria in BWV 64 she shows everyone not only how to sing Bach, but how to sing, period! Her performance is one that will demand many repeats–and it’s an unqualified highlight of this collection.
I should also mention that someone has decided to issue the discs in a nice, sturdy outer box–but with each disc stuck inside one of those dreaded paper envelopes, closed by a glue-coated flap. I suppose this is a cost-saving measure, but it detracts from the quality of what otherwise is a very classy and musically authoritative production. Yes, there is excellent competition in this repertoire, but Koopman is proving that even without his former big-label backing, and even though he may have to sacrifice something in packaging niceties, he compromises not a bit in his musical vision and determination. [10/28/2003]
