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Cantata BWV 125
Mit Fried und Freud ich fahr dahin
Discussions - Part 6 |
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Continue from Part 5 |
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Discussions in the Week of March 12, 2026 (5th round)
Cantata BWV 125, Rudolf Lutz compared to 8 other recent HIP recordings |
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Fritz V. Herbold wrote (March 12, 20266):
This is a very popular chorale cantata although the BCW mentions ‘only’ 21 different performances. Also, there is only one recording with Gardiner within the ‘Archive Produktion’ series and is one of the few cases where Gardiner did NOT record the same cantata again with his own ‘Soli Deo Gloria’ edition. At the other hand, there are 3 recordings with Philippe Herreweghe (only 1 and 3 discussed here).
BWV 125 is the 11th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, see also the Bachipedia with links to the concert (YouTube), workshop and reflexion. The names of all performers, including all choristers can also be found there. See also my general comments about the Lutz cycle at Rudolf Luts - Discussions Part 1.
Remark: so far (until BWV 81), Rudolf Lutz’s performances always managed to take place on Fridays, 2 days before the respective feast Sundays of the Lutheran Church calendar in the year of his recordings. This time in 2008, February 2 fell on a Saturday and as a consequence, the performance had to be postponed to Friday, February 15 – 13 days later.
I am comparing Lutz with 8 other recent HIP interpretations.
Scoring: see KB, NBA: I/28.1 and Bach Digital Bach Digital.
Remarks:
1. Although Bach’s original score is lost, the original parts are preserved (see KB, NBA: I/28.1) showing doublets for the violin I and II parts as well two BC parts, one transposed (certainly for the church organ) and the other not transposed (probably for the contrabass, and / or bassoon, and or violoncello). Accordingly, one can assume that at least two violin I and two violin II instruments were used at Bach’s first performance in November 1723. Recording the size of the choir, one can assume the use of 2-3 voices per part, as most Bach cantata scholars agree on regarding performances in the second Leipzig cycle. The original parts are named: Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Corno, Flauto traverso, Oboe , Oboe d'amore, Violine I, Violine II, Viola, Basso continuo.
2. The NBA I/28.1 was published in 1994 meaning that it was available at the time of all recordings discussed here
Introduction Cantata BWV 125 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘This work, a chorale cantata from the cycle of 1724– 5, written for performance on 2 February 1725, is based on Martin Luther’s German translation (1524) of the Nunc dimittis, the canticle of Simeon (Luke 2.29– 32). This canticle not only forms a fixed liturgical element in Compline, the last of the canonical day-hours, which was said at the end of the day, but it also forms part of the Gospel* reading for the Feast of the Purification. Luther turns each verse of the biblical canticle into the verse of a hymn. Bach’s anonymous librettist had to expand this hymn in order that it should form an adequate basis for the composition. He retained the two outer verses word for word as usual and amplified the second verse with a troping recitative text to form the third movement. The second movement takes up the themes of the second verse of the hymn in a freely versified form and carries them further: like Simeon, I will set eyes upon Jesus in death, and then He will see me too and allow no harm to befall me. The fourth and fifth movements are a free paraphrase of the third verse of the hymn. The trope*-text in the third movement combines a reference to the ‘Light that lightens the Gentiles’ from the canticle with an allusion to Mark 16.16: ‘He who believes and is baptized shall be saved’. And the fifth movement establishes a link with Romans 3.25 (‘ Christ, for whom God has set forth a Throne of Grace’) referring to God’s act of grace. Still more clearly than Luther’s hymn, then, the cantata text embodies the fundamental elements of the Reformation creed: justification by faith (no. 4) through the action of grace alone (no. 5). Bach’s composition makes us regret that today, due to the abolition of the Marian feasts which were still celebrated in his day, a more frequent opportunity does not arise for performing this remarkable work, which shows the Thomas Cantor at the height of his powers.’
Remarks:
a) all discussed recordings here are performed in e minor at the Leipzig ‘Cammerton’ of a’= 415 Hz, with one exception: Georg C. Biller recorded as usual at the modern pitch of a’= 440 Hz. Temperaments are equal with the exception of R. Lutz who uses nonequal temperaments following Young or Valotti.
b) total times vary significantly between 19:54 (Christoph Spering) to 25:02 (Koopman).
Mvt. 1: Chorale, S with Horn, A, T, B, Traverse Flute, Oboe, Strings and BC
Introduction by Alfred Dürr (without illustrations): ‘The splendid, stirring opening chorus contrasts strings with flute and oboe in its introductory sinfonia. Triplet chord sequences give rise to an extremely dense, highly expressive texture, thematically independent of the chorale, though derived from its initial leap of a fifth (see illustration in book). As in most opening movements of the chorale cantatas, the chorale melody is delivered by the soprano, line by line in long notes, against an orchestral texture with its own theme, as noted above, and supported by the three lower voice parts, which in lines 1, 2, and 5, reinforced by the strings, treat imitatively the instrumental head-motive shown above. In line 3 the vocal substructure treats a related motive in a similar fashion, but lines 4 and 6 (‘ Meek and quiet’ and ‘Death has become my sleep’) are for illustrative reasons accompanied in a mainly chordal texture, sung ‘piano’ and characterized by chromaticism and modulation to distant keys.
Remarks: Tempos vary between 4:23 (fastest, Christoph Spering) and 6:01 (slowest, Suzuki).
Philippe Herreweghe 1 (February 1998): this is a great rendition with a relatively small choir of 4 sopranos, 4 altos, 4 tenors and 5 basses and the instrumental orchestral texture with its own theme with relatively few strings (4 violino I, 4 violino II and 3 violas) both flute and oboe parts (Marcel Ponseele) very well played. According to the liner notes, the BC comprehends 2 violoncellos, double-bass, bassoon and chest organ. The tempo of 5:27 is a good average and sounds adequate. One of my first choices.
Gardiner (February 2000): Gardiners choir and string section sizes are very similar to Herreweghe above, although half a minute faster at 4:57. The similar well played instrumental accompaniment and BC (according to the BCW 2 violoncellos, double-bass, chest organ AND harpsichord) although I cannot hear the harpsichord playing in this first movement. IMHO, this interpretation is as good as Herreweghe (above).
Koopman (March 2001): Koopman’s choir size is slightly larger than both above, but the string section is basically the same as with Gardiner. The tempo of 5:50 is at the slower side compared to both above, but the instrumental playing and BC (2 violoncellos, double-bass and chest organ) are also excellent and I like this interpretation as well as with both above.
Suzuki (February 2005)): This is a SACD recording with an excellent sound on multichannel equipment. Suzuki’s choir and string section sizes are ideal and probably closest to Bach’s own performance. His tempo of 6:01 is the slowest of all other recordings here. Instruments and BC are played in a very transparent way. I cannot hear a harpsichord in this first movement, although the BCW and liner notes mention this continuo instrument. I cannot really decide which of these 4 first recordings discussed here are better, since they are indeed very siin their renditions. I like them all equally!
Lutz (February 2008): Lutz choir size is exactly the same as with Suzuki (3 voices per part) but his strings are very intimate with only 1 violino I, 1 violino II and 1 viola. The BC in this first movement is played by 1 violoncello, double-bass and chest organ and without a bassoon. Although the liner notes inform that Mr. Lutz is both conducting and playing the harpsichord, the latter is only played in movement 4 (see below). Having the video, one can appreciate the beautiful original horn instrument with its threefold windings that doubles the soprano voice. The ‘normal’ oboe is played by Kerstin Kemp, also playing the oboe d’amore in movements 2 and 6. This most intimate and transparent recording and average tempo of 5:29 sets it apart from all others and is clearly among my first choices!
Georg Christoph Biller (January 2010): Biller’s cycle is the only one recorded at the modern pitch of a’= 440 Hz. He also uses the Thomanerchor Leipzig with boys’ and men’s voices in all parts and the all cantatas are performed at the St. Thomas Church in Leipzig. The only thing missing here to make it a real HIP performance is the use of the church organ. According to Christoph Wolff, both organs at the St. Thomas church are still tuned to the original ‘Chorton’ pitch of a’= 465 today, but if all other instruments are playing at a’= 440 Biller would need a very skillful organist to play the BC part transposed a half tone lower, which is not as easy as a full tone lower as in Bach’s performance. I didn’t find a detailed information about the size of choir singing here but assume something around 6 voices per part. Accordingly, this rendition is not as transparent as the recordings discussed above, although the leading soprano voices in the chorale are very clear and technically perfect. For some reason, Biller ignores the original oboe part and uses an oboe d’amore instead. Strings and BC are well played, but this is not my first choice.
Philippe Herreweghe 3 (September 2012): after his first recording from 1998 (see above), Herreweghe performed a second rendition on January 2010, a live broadcast from Nant, in France (not available on YouTube so far). But there is a third recording from September 2012 recorded live in Utrecht (Vredenburg Leidsche Rijn), the Netherlands. Available to hear and see on YouTube: YouTube. I am not sure if the recording technique was inferior or if the sound of this YouTube video is simply bad, but although Herreweghe has a fine choir, this performance sounds too poor to be discussed at all. Certainly my last choice!|
Pieter-Jan Belder (September 2014): I am a huge fan of the ‘Bach in Context’ editions (so far until Volume 5), with the Dutch Gesualdo Consort Amsterdam and the Musica Ampion instrumentalists under the artistic direction of Pieter-Jan Belder because of the IMHO ‘real’ HIP interpretations using the great church organs in the BC (as in the case of Spering, below) as well as a very adequate size of the choir (2 voices per part) and reduced string section (1 violin I, 1 violin II and 1 viola). As expected, the choir and the chorale renditions are very transparent. In this Volume 5 (Actus Tragicus) one can also hear BWV 106 in a superb interpretation, that can also be viewed on YouTube at YouTube. This is one of my first choices.
Note: according to the very detailed liner notes, this rendition is not recorded at the Waalse Kerk (as informed in the BCW) but at the Martinikerk, Groningen, NL, one of the oldest organs in the Netherlands.
Christoph Spering (February 2016): this is the fastest interpretation among all recordings discussed here and IMHO too fast for such a chorale cantata with it complex structure, especially in the opening movement. Nevertheless, the choir of 4 voices per part sound very professional and the instrumental accompaniment is as good as all others discussed here. Probably my before last choice.
My personal preferences:
(1) Jan-Pieter Belder = (2) Lutz, (3) Herreweghe 1 = (4) Gardiner = (5) Koopman = (6) Suzuki, (7) Biller, big gap (8) Spering, (9) Herreweghe 3
Mvt. 2: Aria A, Traverse Flute, Oboe d’Amore and BC
Introduction by Alfred Dürr: ‘No less beautiful is the alto aria, no. 2, in which transverse flute and oboe d’amore play a concertante duet in dotted rhythms and parallel thirds over a tranquil continuo part in legato repeated quavers. Rich suspension figures, appoggiaturas, and other ornaments reveal that an expressive interpretation of this movement lay particularly close to the composer’s heart.’
And
Mvt. 5: Recitativo A and BC
Introduction by Alfred Dürr: ‘A secco recitative, no. 5, leads to the concluding chorale …’
Remarks for movement 2: tempos vary from slowest, 10:26, Koopman to fastest, Christoph Spering. Average times are around 8 minutes. This is one of the longest arias among Bach’s cantatas. I am discussing the alto voices (also taking movement 5 into account) the flute / oboe d’amore and the BC playing.
Philippe Herreweghe (February 1998): German mezzo-soprano (and contralto), Ingeborg Danz (see BCW) is an experienced soloist and well-known from many other performances (Helmut Rilling but also works of the late romantic period (Mahler). Although technically perfect with a good German diction, she sounds somewhat too operatic in some passages, also in the recitativo (movement 5). The very intimate flute / oboe d’amore playing (with Marcel Ponseele?) and the discrete BC (1 or 2 violoncellos?, double-bass, chest organ). Among my first choices for MS.
Gardiner (February 2000): English counter-tenor, Robin Tyson, was a choral scholar at King's College Cambridge before joining the Royal College of Music for post-graduate study. He is one of my favorite counter-tenors and both of his performances in movements 2 and 5 are technically perfect! The instrumental accompaniment are also very transparent and intimate, comparable to Herreweghe above. The liner notes and the BCW mention chest organ AND harpsichord, but I can’t hear the latter playing here. Also one of my first choices for CT.
Koopman (March 2001): Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW) sings many alto parts with Koopman and is perfect here and in the recitative (movement 5). The flute / oboe d’amore concertato is also very intimate, comparable to all 3 recordings above. The BC of 1 or 2 violoncellos?, Double-Bass, Chest Organ (played by Koopman himself) sounds also very ‘light’. Among my first choices for MS.
Suzuki (February 2005)): English counter-tenor, Robin Blaze (see BCW) is a great CT and also performed many recordings with Gardiner, Herreweghe and Leonhardt. His performance in both movements are technically perfect and I like his timbre. The flute / oboe d’amore concertato sounds louder in the forefront. The BC sounds very ‘light’ (1 or 2 violoncellos?, double-bass, chest organ AND harpsichord (the latter not played in both movements). One of my first choices for CT.
Lutz (February 2008): English counter-tenor, Alex Potter (see BCW) also sung many recordings with Herreweghe and Stephan MacLeod. He sounds very similar to Robin Blaze, but I like his timbre better. The flute / oboe d’amore playing is perfect and one can see the ‘light’ BC (only violoncello and chest organ). Probably my first choice for CT.
Georg Christoph Biller (January 2010): German counter-tenor and former boy alto, Stefan Kahle (see BCW) certainly has a long experience with the ‘Thomaner’ choir and is technically perfect here and in movement 5. In a first moment, the instrumental accompaniment sounds different becauthe violoncello is louder and the chest organ is almost inaudible. The flute / oboe d’amore with modern instruments also sounds different but not bad. Also among my first choices for CT.
Philippe Herreweghe 3 (September 2012): French counter-tenor, Damien Guillon (see BCW) is among my favorite counter-tenors but since the recording / sound quality of the YouTube video is really terrible I am not including this recording in my ranking.
Pieter-Jan Belder (September 2014): Swiss counter-tenor and former boy soprano (Choral Schola of the Imperial Chapel in Vienna) Terry Wey (see BCW) might be less-known as CT, but he has sung Bach also with Stephan MacLeod, Rudolf Lutz. As a member of the Gesualdo Consort Amsterdam, he performed in many other recordings with Pieter-Jan Belder. His timbre sounds ‘clear’ and transparent. Among my first choices, also for movement 5.
Christoph Spering (February 2016): German counter-tenor, Benno Schachtner (see BCW) is a relatively young artist compared to all other CT’s above. I like his timbre and diction here, especially in the recitative. The ‘dotted’ rhythms of the flute / oboe d’amore concertante duet sound more ‘staccato ‘here, distinguishing it from other recordings. According to the liner notes, Spering uses the great church organ at the Melanchthon church, Cologne, Germany in most recordings, but I can hear this instrument better in the recitative (movement 5). Also among of my first choices for CT.
Ranking: considering that all CT and MS voices here are technically perfect here, all of them have a distinct timbre that one can learn to appreciate equally. My favorite CT would be Paul Esswood (with Harnoncourt, not discussed here) but I like all interpreters in these recordings and am not comfortable to rank them.
Mvt. 3: Recitativo B plus chorale, strings and BC and BC
Introduction by Alfred Dürr: ‘The third movement, despite its constant alternation between recitative and chorale, is accompanied throughout by a joy motive on the strings in order to show that, now Jesus has come into the world, death is no longer felt as a source of terror but rather as a desirable and joyful end to life on earth. The chorale melody is delivered in a lightly varied form. Only the last line, ‘In death and also in dying’, is extended by two bars, richly decked out with chromaticism and profusely ornamented; and for this line the strings cease their motivically imprinted accompagnato in order to harmonize it in tranquil notes.
Remarks: tempos vary between 1:41 (Christoph Spering) and 2:27 (Koopman). Most are around 2 minutes). I am not commenting on the strings and BC here, but only the bass / baritone soloists.
Philippe Herreweghe (February 1998): Dutch bass, Peter Kooij (see BCW) has a vast experience with all of his recordings with Herreweghe and sounds perfect. I like his warm timbre, similar to Klaus Mertens with Koopman. Among my first choices.
Gardiner (February 2000): English baritone, Peter Harvey (see BCW) sounds more forceful compared to most other recordings and is also among my first choices.
Koopman (March 2001): German bass-baritone, Klaus Mertens (see BCW) is perfect as usual. I like his delicate diction and warm timbre. One of first choices.
Suzuki (February 2005)): this is the second performance of Peter Kooij (see Herreweghe, above) and sounds even better and more mature here. Among my first choices.
Lutz (February 2008): German baritone, Markus Volpert (see BCW) is among the younger soloist; his timbre reminds Koopman but is more forceful. One of my first choices.
Georg Christoph Biller (January 2010): German baritone, Matthias Weichert (see BCW) was a member of the Thomanerchor Leipzig from 1965 to 1974 I like his timbre and intonation / declamation. Also among my first choices.
Philippe Herreweghe 3 (September 2012): As in his first recording, the bass part is also sung by Peter Kooij – almost 15 years later, but since the recording / sound quality of the YouTube video is really terrible I am not including this recording in my ranking.
Pieter-Jan Belder (September 2014): Dutch bass, Harry van der Kamp (see BCW) has worked with conductors such as Nikolaus Harnoncourt, Frans Brüggen, Ton Koopman, Gardiner, Kuijken and Herreweghe. He has an excellent technique and I like his timbre. Among my first choices.
Christoph Spering (February 2016): German baritone, Thomas E. Bauer, received his basic musical training as member of the Regensburger Domspatzen, also a renowned boys choir. He also performed Bach works with Herreweghe and Kuijken. Although this movement is performed too fast, he has a good technique and a relatively ‘dark’ timbre. Not my first choice because of the exaggerated tempo.
Ranking: as above (movement 2), I like all these interpretations with their specific timbres and declamations and a ranking wouldn’t be fair IMHO. Christoph Spering would be last - not because of his voice, but because of the tempo.
Mvt. 4: Aria Duetto T & B, violino I and II and BC
Introduction by Alfred Dürr (without illustration): ‘The fourth movement is a thematically unified quintet for first and second violins, continuo, and (in the vocal passages) the two low voices, tenor and bass. Its entire thematic material is stated in the opening six-bar ritornello, namely three motives x, y, and z, which are so disposed in imitative texture that y serves as counterpoint both to the head-motive x in the antecedent phrase and to the continuation-motive z in the consequent phrase: (illustration omitted). The principal section includes four vocal passages a ab a ab, in which a represents an expanded vocal version of the ritornello’s antecedent (see bar 1 above), and b, vocal insertion within the continuation of the ritornello (see bar 3 above). The exceptional inclusion of four vocal passages might perhaps have originated in the text, which tells of ‘the entire circle of the earth’, for according to an old tradition the number four stands for, among other things, the four corners of heaven. The middle section includes several text-engendered groups of motives: imitation and calling motives on ‘Es schallet’ (‘ There sounds’) and held notes, followed by imitation and the closing cadence, on ‘Wer glaubt …’ (‘ Whoever believes …’).
Remarks: tempos vary between 4:35 (Gardiner) and 5:50 (Spering). I am commenting only on the singing, with special attention to the sound of the mix of both lower voices. The violin playing is excellent in all recordings (especially in the case of Lutz, where both violins are played as solo) and the scoring of the BC is mostly identical to movement 2, see above. For the links to the bass soloists, see movement 2 above.
Philippe Herreweghe (February 1998): English tenor, Mark Padmore (see BCW) and Peter Kooij (see above) mix very well in this rendition and their diction and declamation intensity is clear and transparent. Among my first choices.
Gardiner (February 2000): I like Scottish tenor, Paul Agnew (see BCW) and his voice also mixes well with bass Peter Harvey (see above) unfortunately, the tempo is too fast IMHO. Although both are technically perfect, the speed diminishes the quality of diction and drama. Not my first choice.
Koopman (March 2001): Swiss lyric tenor, Jörg Dürmüller (see BCW) is not a goomatch with Mertens (see above). He sounds too shrill and operatic in contrast to the bass. The tempo also is too fast IMHO. Not my first choice.
Suzuki (February 2005)): Suzuki’s tempo is more adequate to this duet. German tenor, Andreas Weller (see BCW) has the same problem with Kooij’ s mature voice as Agnew with Mertens. I like Mertens but Weller also sounds somewhat shrill and operatic. Neither my first choice.
Lutz (February 2008): Lutz managed to unite 3 excellent relatively young men’s voices for all solo parts. German tenor, Andreas Post (see BCW ) combined with bass Volpert (see above). Both sound forceful and technically perfect. Among my first choices, also because of the solo violin’s playing and the very adequate sounding tempo..
Georg Christoph Biller (January 2010): German tenor, Martin Petzold (see BCW) sounds somewhat ‘reserved’, but combines well with bass Weichert (see above) and both are technically proficient. I also find their declamation exaggerated. Not my first choice.
Philippe Herreweghe 3 (September 2012): English tenor, Thomas Hobbs (BCW) may combine well with Kooij (see above) but as in all other movements, the terrible sound quality makes it impossible for me to give it a fair ranking. Not my first choice.
Pieter-Jan Belder (September 2014): English tenor, Charles Daniels (see BCW) has also sung with Gardiner, Rudolf Lutz, Paul McCreesh and Eric J. Milnes. I don’t believe he is at his best here and I don’t think he is a good mix with the excellent Harry van der Kamp (see above). Not bad, but not my first choice.
Christoph Spering (February 2016): German lyric tenor, Sebastian Kohlhepp (see BCW) may not be as well-known as his colleagues in the other recordings but is technically good. The problem here is the mix with bass Bauer (see above). They sound uncoordinated as if each soloist is singing only their own parts. Not my first choice.
Ranking (tenor): I am always very critical with the tenor parts in Bach’s cantatas and other vocal works. As a huge fan of Kurt Equiluz (with the Harnoncourt-Leonhardt cycle, not discussed her)I am very biased. Among all renditions above, I really like only Andreas Post with Lutz and Mark Padmore with Herreweghe.
Movement 5, see above, with movement 2.
Mvt. 6: Chorale, S, A, T, B with instruments and BC
Introduction by Alfred Dürr: ‘A secco recitative, no. 5, leads to the concluding chorale in a plain, four-part choral setting, accompanied by the entire instrumental ensemble.’
Remarks: whenever Dürr uses the words ‘plain chorale’ I think that it sounds as not making justice enough to Bach’s amazing chorale settings. Tempos don’t vary much between 0:41 (Lutz) and 1:18 (both Suzuki and Spering). I like all interpretations equally, with a clear preference for the renditions with the smallest choirs: Suzuki, Lutz and Pieter Jan Belder. |
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