Johann Sebastian Bach (1685-1750) 
The First Cantata Year, Volume 8: Cantatas from Sunday Estomihi to Easter Sunday
Jesus nahm zu sich die Zwölfe, BWV 22
Du wahrer Gott und Davids Sohn, BWV 23.2
Himmelskönig, sei willkommen, BWV 182
Der Himmel lacht! Die Erde jubilieret, BWV 31.2
Erfreut euch, ihr Herzen, BWV 66.2
Gaechinger Cantorey/Hans-Christoph Rademann
rec. live, March 2023, Stiftskirche, Stuttgart, Germany (BWV 22, 23.2); February 2024, Johanneskirche, Stuttgart, Germany (BWV 182); April 2024, Bachkirche, Arnstadt, Germany (BWV 31.2, 66.2)
German texts & English translations included
Hänssler Classic HC23032 [2 CDs: 110]

In May 1723, Johann Sebastian Bach was appointed Thomaskantor in Leipzig where he was responsible for preparing the choirs of four Lutheran churches: the Thomaskirche, Nikolaikirche, Neue Kirche and Peterskirche. Displaying uncommon zeal, in that first year from the first Sunday after Trinity, Bach immersed himself in composing cantatas. Many were new works, while others had been written previously and reworked for Leipzig; Bach’s oeuvre in the genre is arguably the greatest legacy by any composer and this project, titled VISION.BACH, marks the 300th anniversary of Bach’s appointment in Leipzig.

Hans-Christoph Rademann, academy and artistic director of the Internationale Bachakademie Stuttgart, is undoubtedly in awe of the productivity and unmatched quality of J.S. Bach’s achievement. He directs the Gaechinger Cantorey ensemble which was re-formed in 2016 as a mixed choir and baroque orchestra and uses historical performance practice, in performances of all 62 cantatas from that church year from Sunday Estomihi to Easter Sunday in chronological order. This latest release, volume 8 in the series, is a double album featuring five cantatas on Hänssler Classic.

For his application for kantor at the Thomaskirche, Bach had been sent two texts by the city council for him to set which resulted in BWV 22 and BWV 23. The first cantata is the ‘audition, or test piece’ Jesus nahm zu sich die Zwölfe (Jesus gathered the Twelve to Himself). Some believe that Bach, mindful of the council’s conservative taste, was careful when writing BWV 22 to make it compact and not too virtuosic, theatrical, or technically difficult. The anonymous Biblical text features Luke’s Gospel and the closing chorale verse by Elisabeth Cruciger. Here, Jesus prophesies the agony he will endure in Jerusalem. His disciples accompany him but do not know what will occur. The striking alto aria Mein Jesu, ziehe mich nach dir (My Jesus, draw me after You) is sung by Marie Henriette Reinhold, accompanied by a mesmerising obbligato oboe part. Tenor Patrick Grahl is joyous yet still pious in the jubilant, dance-like aria Mein alles in allem, mein ewiges Gut (My all in all, my everlasting good), one of Bach’s most popular arias, which announces a follower’s joy in his own salvation.

BWV 23 was Bach’s second ‘audition piece’, Du wahrer Gott und Davids Sohn (You true God and Son of David) which concerns Jesus and his disciples travelling to Jerusalem. On the road, a blind beggar asks Jesus for help and is healed. Bach adapted the first version of the cantata written in Cöthen by adding a further chorale. The sorrowful opening movement, Du wahrer Gott und Davids Sohn (You true God and Son of David), a duet for soprano and alto voicing the blind man’s cry for mercy, makes a significant impact. Talented soloists Catalina Bertucci and Marie Henriette Reinhold are accompanied tellingly by a pair of oboes. Concluding the cantata is the majestic chorale arrangement Christe du Lamm Gottes (Christ, Lamb of God) with words written by Martin Luther and known as the German Agnus Dei. 

Bach wrote Himmelskönig, sei willkommen (King of heaven, thou art welcome), BWV 182 for Weimar in March 1714 as a single cantata set to a text by Salomon Franck marking both the Feast of the Annunciation of the Virgin Mary and Palm Sunday. In March 1724, he revived the work for his new post at Leipzig and expanded the orchestration. Joy is unconfined as Jesus enters Jerusalem and greeted as a king by his disciples who are unaware that in a few days he would die on the cross. Three arias are sung in succession: first, Starkes Lieben (Strong Compassion), its text by Salomon Franck relating how the saviour will sacrifice himself for humanity’s salvation, is sung steadily and with clear tone by bass Tobias Berndt, accompanied by strings. Next is the poignant alto aria Leget euch dem Heiland unter (Lay besides the saviour) with single recorder accompaniment. Expressive countertenor Alex Potter is in imperious form imploring all followers to devote their lives to the saviour. Then comes Jesu, laß durch Wohl und Weh Mich auch  mit dir ziehen! (Jesus, through weal and woe, let me go with you) a commendable tenor aria with organ continuo, in which Patrick Grahl excels.  

The second CD opens with the cantata Der Himmel lacht! Die Erde jubilieret (The heavens laugh, the earth exults in gladness), premiered on Easter Day at Weimar in 1715. Bach revised it and it received its premiere in St. Nicholas Church; it is numbered here as BWV 31.2. Celebrating Jesus’ resurrection, this Easter Day cantata has been described by Craig Smith (founder of Emmanuel Music) as ‘majestic’ and by Nicholas Kenyon (J.S. Bach specialist and author) as a ‘huge paean of rejoicing.’ All the arias celebrate the resurrection of Jesus Christ from the dead three days after his crucifixion. Standing out is the bass aria Fürst des Lebens, starker Streiter (Prince of Life, mighty warrior) with cello and continuo sung so confidently by bass-baritone Matthias Winckhler. Accompanied by strings, tenor Patrick Grahl sings his aria Adam muss in uns verwesen (Adam must decay in us) joyously and Miriam Feuersinger excels in the glorious soprano aria Letzte Stunde, brich herein (Final hour, break forth), accompanied by the oboe, in the manner of a duet. Her lovely soprano is imbued with innocence.

The final cantata on the set is Erfreut euch, ihr Herzen (Rejoice all ye spirits), BWV 66.2, written for Easter Monday 1724. It was probably based on a missing secular cantata or ‘serenata’ Der Himmel dacht auf Anhalts Ruhm und Glück (Since heaven cared for Anhalt’s fame and bliss), BWV 66.1, from 1718 at Cöthen, of which only a fragment survives. The notes for this release describe Bach’s choice of texts for BWV 66.2 as intended to contrast ‘a debate between hope (tenor part) and fear (alto part)’ expressing two contrasting responses to the blackness of the grave, a metaphor for belief in Jesus’ resurrection. Matthias Winckhler sings the bass aria Lasset dem Höchsten ein Danklied erschallen (Let a song of thanks ring forth to the Highest) a heartfelt thanks to God for his perpetual mercy. A real highlight is the duet for tenor (hope) and alto(fear) Ich furchte zwar/nicht des Grabes Finsternissen (I do/do not fear the darknesses of the grave). Accompanied by continuo and an excitable part for solo violin, Patrick Grahl and Alex Potter are in splendid form and their voices are well differentiated. 

Hans-Christoph Rademann’s mixed choir is chamber size with maximum of four voices per register and incorporates the small group of first-rate soloists. I appreciate Rademann’s somewhat quicker tempos, which complements the music. There is a strong sense of unity and understanding between the players and vocalists of Gaechinger Cantorey. Suitably reverential, these period informed performances convey an undeniable confidence resulting from having lived closely with Bach’s music and texts. I have reported favourably on concerts with Rademann directing and once again he achieves impressive results that radiate clarity and firmness of purpose. The playing is thoroughly enjoyable and the sound of the original instruments very attractive. 

This series of 23 live concerts that Rademann is conducting with the Gaechinger Cantorey is being recorded in churches in Stuttgart and the surrounding area. One performance was recorded in the Stiftskirche (BWV 22, 23.2) and the other in the Johanneskirche (BWV 182). I notice that the Bachkirche at Arnstadt, over 150 miles away from Stuttgart, was also used for two of the works (BWV 31.2, 66.2). The sound engineers have consistently achieved first class sound. Sung German texts with English translations are included in the accompanying booklet.

This series goes from strength to strength.

Michael Cookson

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Vocal soloists
Catalina Bertucci, soprano (BWV 22, 23.2)
Miriam Feuersinger, soprano (BWV 31.2, 66.2)
Marie Henriette Reinhold, mezzo-soprano (BWV 22, 23.2)
Alex Potter, alto (BWV 182, 66.2)
Patrick Grahl, tenor (all Cantatas)
Tobias Berndt, bass (BWV 22, 23.2, 182)
Matthias Winckhler, bass (BWV 31.2, 66.2)