Johann Sebastian Bach (1685-1750)
Cantatas
Was Gott tut, das ist wohlgetan (BWV 99)
Bleib bei uns, denn es will Abend werden (BWV 6)
Herz und Mund und Tat und Leben (BWV 147)
Dorothee Mields (soprano), Alex Potter (alto), Guy Cutting (tenor), Peter Kooij (bass)
Collegium Vocale Gent/Philipp Herreweghe
rec. 2023, The Arsenal, Metz, France
Texts and translations included
Reviewed as a stereo 16/44 download from Outhere
PHI LPH041 [63]

Philippe Herreweghe has made a name by his performances of cantatas by Johann Sebastian Bach. Although he has a wide repertoire, spanning the period from the Renaissance to the 20th century, he is still considered a Bach specialist, and in his performing and recording activities he regularly returns to Bach’s œuvre. The latest recording includes one of Bach’s most famous cantatas: Herz und Mund und Tat und Leben.

Was Gott tut, das ist wohlgetan was one of the most beloved hymns in the Protestant Germany of Bach’s time, a fact attested to by its inclusion in three of his cantatas (BWV 98, 99 and 100). They date from 1724, 1726 and the 1730s respectively. The present disc opens with BWV 99, which was performed on 17 September 1724, the 15th Sunday after Trinity. It was part of the chorale cantata cycle 1724/25. As in all such cantatas, the first and last stanzas are included unaltered, the first in the form of a chorus, the second as a harmonized chorale setting. The inner verses are paraphrased to be set as recitatives and arias.

The Gospel of the day was from Matthew 6, which is part of the Sermon on the Mount. The reading focused on Jesus’ saying that his disciples should not worry or be of little faith. The hymn fits the Gospel, as the first stanza says: “He is my God who in time of trouble well knows how to uphold me; therefore I will just let him rule.” The trouble in the life of man is then exposed in the libretto: it includes three references to the cross, although this is never mentioned in the text of the hymn. The tenor aria says: “Do not shake, despondent soul, when the cross’s cup tastes so bitter to you”. In the duet, the penultimate section, the cross is mentioned twice.

The opening chorus is set as a concerto movement. The chorale melody is in the soprano which should be supported by a horn. Apparently this is omitted here; I don’t hear a horn and the list of players in the booklet does not mention a horn player. Notable in this piece are the obbligato parts for transverse flute and oboe d’amore, which return in the duet. Apparently, Bach had a skilled flautist at his disposal, as the flute has an obbligato part in the tenor aria, in which the text is illustrated by chromaticism. Guy Cutting delivers an expressive performance in which he emphasizes the key words “bitter” (A) and “Gift” (poison; B). The alto, having sung a recitative, then is joined by the soprano in a duet, which is about the bitterness of the cross each Christian has to bear, but which in the end is beneficial. Again, chromaticism is used to illustrate the content of this duet. The voices of Dorothee Mields and Alex Potter blend wonderfully.

On 2 April 1725, the second day of Easter, the cantata Bleib bei uns, denn es will Abend werden was performed. It should have been part of the chorale cantata cycle, but it was not, as at Easter Bach broke off this cycle for unknown reasons. The opening chorus is not the first stanza of a hymn, but rather a dictum, a quotation from the Bible, in this case from the Gospel of the day: Luke 24, vs 13-35, the story of the two disciples on their way to Emmaus. Jesus joins them, but they don’t recognize him. When they have arrived in Emmaus, they ask him to stay with them to have supper. Their eyes are opened, and they recognize him, but he disappears. The author of the libretto is not known; the uses this episode to dwell on the subject of darkness versus light. The opening chorus is followed by an alto aria, which closes with the phrase: “Remain, oh remain our light, for darkness falls”. The fourth section is a bass recitative: “Darkness has gained the upper hand in many places”. It is followed by an aria for tenor: “O Jesus, let us look unto you so that we do not walk in the way of sinners. Let the light of your word shine brightly for us (…)”.

The opening chorus, in which the voices are accompanied by two oboes, oboe da caccia and strings, includes a fugue. In the alto aria falling figures illustrate the image of darkness. It is followed by a chorale, which has the form of a chorale arrangement – Bach later included an organ transcription of Ach bleib bei uns, Herr Jesu Christ in his Schübler Choräle. In the cantata, the cello piccolo has an obbligato part, which is excellently played by Ageet Zweistra. The chorale melody is sung unaltered, and Dorothee Mields rightly performs it in an instrumental fashion. Alfred Dürr, in his comment on this cantata, mentions the head motif of the tenor aria, which has the form of a cross, which was undoubtedly intentional.

Herz und Mund und Tat und Leben is one of Bach’s most beloved cantatas. The closing chorus has become world-famous through Myra Hess’s piano arrangement. It is one of those cantatas which had its origin in pre-Leipzig time. In Weimar, where Bach was organist and concertmaster from 1708 to 1717, he composed a cantata for the third Sunday in Advent; the text comprised a chorus, four arias and a chorale. In Leipzig Bach returned to this cantata, but he had to change the text in some places, as it was intended for performance at the feast of the Visitation (2 July 1723); in Leipzig no cantatas were performed between the first Sunday of Advent and Christmas. An unknown librettist adapted the text for the feast of the Visitation, added recitatives, and two chorales. It is divided into two parts, which were to be performed before and after the sermon respectively.

As this cantata is very well-known, not much need to be said about it. The basic scoring is for four voices, strings, trumpet, two oboes, bassoon and basso continuo. The trumpet participates in the two hymn settings, and has an obbligato part in the last aria, ‘Ich will von Jesu Wundern singen’, for bass. Peter Kooij and trumpeter Alain de Rudder are a perfect match. Kooij effectively uses the strength of his voice, but never exaggerates. Each of the next three arias also has an obbligato part: oboe d’amore in the alto aria ‘Schäme dich, o Seele, nicht’, violin in the soprano aria ‘Bereit dir, Jesu’, and cello in the tenor aria ‘Hilf, Jesu, hilf’.

BWV 147 is one of the most-frequently recorded cantatas, and this performance has quite some competition. However, as one may expect from Philippe Herreweghe, this is one of the best available. In fact, each of the three cantatas gets an incisive performance. The four soloists are outstanding, both technically and stylistically. They give much attention to the text, which is always clearly understandable, and fully explore the moments where the text is graphically illustrated in the music. The recitatives receive a rhetorical interpretation, with just enough rhythmic freedom. Listen to Alex Potter in ‘Der höchsten Allmacht Wunderhand’, BWV 147). The chorales in BWV 147 are performed at a good tempo; some performances tend to make them too Romantic by taking an unnaturally slow tempo. The obbligato parts are excellently executed.

Philippe Herreweghe’s Bach discography is impressive. Given the quality of this latest release, one can only hope that he will remain safe and healthy, and delight us with further recordings of Bach’s cantatas.

Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen

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