|
Fritz V. Herbold wrote (July 2, 2025):
BWV 132 is the third cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, see also the Bachipidia 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
I am comparing all movements with Lutz (OVPP) and 5 other HIP interpretations: Koopman, Suzuki, Pieter Jan Leusink, Kevin Mallon (Aradia Ensemble) and Gardiner as well one other available OVPP interpretation by Kuijken. I have not found a Herreweghe recording so far, although he participated as chorus master in Gustav Leonhardt’s performance of March 1983, not discussed here. The main differences consist of tempo, instrumental scoring, soloists and choir size. Also, in this case, the BC instruments vary substantially.
I am not going into the already existing discussion about OVPP interpretations at the BCW, but IMHO this intimate and delicate Weimar cantata clearly justifies single voices OVPP interpretations, although the original score mentions separate parts for soloists AND choristers.
Scoring: see KB, NBA I /1 and Bach Digital (Bach Digital)
Remarks: the sources of this cantata are well preserved. Both title of the original score and a fragment of the violone part are autograph and gives us the exact date (1st performance: December 22, 1715 – Weimar), event and original scoring: ‘Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Oboe, Fagotto, Violine I, Violine II, Viola, Violoncello, Basso continuo’. Details are available in the KB of the NBA I/1.
Introduction Cantata BWV 132 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’)
‘This cantata, composed in Weimar, is dated ‘1715’ in Bach’s own hand. For the text, a libretto from Salomo Franck’s cycle Evangelisches Andachts-Opffer, which had evidently been unavailable for the Advent period of the previous year, was now at his disposal. In substance, Franck’s text follows the ideas of the Gospel. Even the reference to Isaiah 40.3– 4 (‘ Prepare the way for the Lord …’), whose paraphrase forms the content of the opening aria, is found in the reading for the day. The priests’ and Lévites’ interrogation of John (‘ Who are you?’), the acknowledgement of Christ, the concept of baptism (‘I baptize with water, but there is One among you whom you do not know’): all these things recur in the cantata libretto, but they are turned into personal, contemporary issues— the individual Christian and the ‘members of Christ’ are addressed directly. Bach’s setting makes use of the chamber-music scoring he favored in 1715: four voices, strings, oboe and continuo (with bassoon). No closing chorale survives, though Franck prescribed for it the fifth verse of the hymn ‘Herr Christ, der einig Gotts Sohn’ by Elisabeth Creutziger (1524). It is likely that, as in Cantata 163 composed four weeks before, a chorale ‘in simplice stylo’ was to end the work, and that it was notated on a loose scrap of paper (the three sheets of the score were full) which has since gone missing, along with the performing parts. For today’s performances, then, the best course of action is to borrow the chorale with the same text from Cantata BWV 164, transposing it into A major.’
Movement 1: Aria Soprano, Oboe, Strings and BC
Remark: this is one of the few arias with a bassoon solo part (apart from the oboe and strings) in the original score. Other examples: BWV 173a (+ violoncello), BWV 149 and BWV 155 (with alt and tenor). I wonder why Ton Koopman and Kevin Mallon (see below) ignore this!
Introduction by Alfred Dürr: ‘In his setting, Bach successfully captures the characteristic warmth of Franck’s verse. The very first aria, with its buoyant rhythm, is of exceptional charm. The soloistic figure-work, the runs and trills of the oboe, are manifestly not far removed from the instrumental concerto; and the extended coloraturas of the soprano make a virtuoso impact. Only in the middle section, where two regular counter subjects are combined with the initial motive, exchanging places with one another, does the movement take on a more serious character, only to break out all the more jubilantly with the cry ‘The Messiah is coming!’.
Koopman (May 1995): the tempo of 5:30 is a good average time compared to the other recordings. Koopman does NOT use a bassoon as solo instrument in this aria, although the bassoon joins the BC in movement 6 (Chorale) together with 2 cellos, violone and organ. In compensation, the oboe is played by the excellent Marcel Ponseele, together with the strings, which make this one of my favorite instrumental accompaniments. The well-known German soprano, Barbara Schlick (see BCW) who also sung many soprano parts with Herreweghe is not my first choice here. Although technically experienced, she is not at her best here and sounds slightly operatic in the higher registers. The BC is played by 2 violoncellos, violone (the liner notes mention Violone & Double Bass?), bassoon and chest organ and sounds very balanced.
Suzuki (July 1997): the tempo of 6:07 is the slowest of all recordings discussed here but still feels adequate, since it allows a better transparency of the instrumental ritornellos (the liner notes mention ‘oboi’ in this movement and ‘oboe’ in the final movement which would suggest 2 or more oboes, but I can hear only one oboe playing. It also mentions a total of 3 oboists; probably 2 instruments in the final movements, see below). The slower tempo also clearly benefits the coloratura parts of German soprano, Ingrid Schmithüsen (see BCW) who’s voice is warm and technically perfect. The BC’s composition is similar to Koopman’s.
Pieter Jan Leusink (September 1999): I included this interpretation mainly because of the performing English soprano Ruth Holton (see BCW), whose ‘boyish’ voice and good technique is outstanding in most of her recordings with Leusink. The tempo of 5:41 is a good average and sounds especially sparkling and joyous, although the string section with 5 first violins, 4 second violins and 3 violas is too ‘heavy’ for my taste. The oboe part is well played (the BCW mentions 4 oboes and I am not sure who is playing the solo part here…). Leusink’s BC is the ‘heaviest’ of all interpretations – also according to the BCW with violoncello, 3? double-bass, 2? bassoons and organ. Leusink sometimes uses the great organ from the ‘St. Nicolaschurch’, Elburg, Netherlands, the site of most of his cantata recordings, but I not sure if this is the case here.
Kevin Mallon / Aradia Ensemble (January 2000): the tempo of 5:54 comes close to Suzuki’s and sounds very similar, although (as Koopman) Mallon does NOT use a bassoon. The BC’s composition is similar to Koopman’s and also sounds light. Canadian soprano, Teri Dunn (see BCW) sounds insecure and shrill in some instances of her coloraturas and is not my first choice. The BC consists of cello, double bass and organ.
Gardiner (December 2000): with 5:47 minutes this is also an average tempo and sounds well. Swiss-born soprano, Brigitte Geller (see BCW) is a prominent soprano with varied experience including as opera singer. I believe she is not in her prime here and not my first choice. Gardiners string section is almost as heavy as Leusink’s, but the oboe soloist is perfect. The liner notes mention two players and I am not sure who is playing here. Gardiner’s BC consists of 2 violoncellos, double-bass, bassoon and both chest organ and harpsichord. I can hear only the chest organ in all movements of this recording.
Lutz (December 2006): the tempo of 5:57 is close to Suzuki’s but sounds more transparent with the minimal string accompaniment (2 violins and 1 viola) of this OVPP performance. Swiss soprano, Eva Oltiványi (see BCW ) also has a renown opera experience. Her coloraturas sound technically perfect, and her overall performance is among my first choices. As in many other recordings, Rudolf Lutz conducts while playing the continuo organ, joined by (depending on each movement) cello, violone. Bassoonist Susann Landert plays her part in this movement but only joins the BC again in the final chorale (see below).
Kuijken (December 2008): with a tempo of 5:08 this is the fastest interpretation of this movement. Also with a minimal string accompaniment (4 violins and 1 viola), with oboe and bassoon sounds very transparent and clear, but the movement is too fast IMHO. Kuijken has a very personal view on the instrumental scoring of Bach’s BC in his cantatas, explained in an additional booklet that accompany his CD Edition 2006 – 2012 recordings, ‘General Introduction – On the Instrumental forces, especially the Continuo Group’. A very interesting reading, although not all Bach scholars may agree with him. Basically, he rejects the use of the violoncello in the BC and uses an 8 foot ‘violone’, considerably larger than today’s cello, called ‘Basse de Violon’ in France, together with a chest organ. Although he has a good bassoon player, they rarely join the BC as can been seen in the many videos available on You Tube.
Blind German soprano, Gerlinde Sämann (see BCW) is technically perfect in her coloraturas in spite of the very fast tempo and also has a more ‘boyish’ voice, very close to Ruth Holton. One of my first choices!
My personal preferences: I clearly prefer the OVPP recordings for this cantata and am dividing my preferences for the 5 HIP and the 2 OVPP recordings as follows, evaluating the soprano voice in the first place:
HIP: (1) Leusink – (2) Suzuki – (3, 4) Gardiner = Mallon – (5) Koopman
OVPP: (1) Kuijken – (2) Lutz
Movement 2: Recitative Tenor and BC:
Introduction by Alfred Dürr: ‘The following recitative, like most of those in Bach’s early cantatas, contains extended arioso passages. The tenor and continuo repeatedly interact in canon or imitation, which is to be understood as a symbol of the Imitation of Christ. Upon the words ‘so that He may be united with you in faith!’ the imitations change into unisons, which may also be understood as textual illustration.’
Remark: since the BC has been discussed before, my preferences vary mainly for the tenor parts.
My personal preferences:
Although I like all tenor parts, there is clear winner here, German tenor, Julius Pfeiffer ( see BCW ) with Lutz. Not as well-known yet as all his colleagues here, his very clear voice and good diction in both seco and arioso parts is very refreshing!
(1) Lutz – (2) Kuijken – (3) Koopman) – (4) Leusink – (5) Suzuki – (6) Gardiner – (7) Mallon
Movement 3: Aria – Bass, Violoncello and BC:
Introduction by Alfred Dürr (without illustration): ‘The aria ‘Wer bist du?’ is set with continuo accompaniment only, but the cello frequently detaches itself from the continuo in a concertante* role (or should the figural part be played by the bassoon also?). The probing repetitions of the initial motive, which dominate the whole movement and from which the vocal melody is also derived, seem to ask again and again, ‘Who are you?’; but the question is here addressed not to John the Baptist but to the individual Christian, the listener. Perhaps the choice of bass for the voice part is not without significance: it is Christ who puts this question to mankind. Musically, the movement is full of audacities in voice-leading, chiefly because the voice often lies below the cello figuration, giving rise to harmonic relationships explained by Spitta in terms of an ‘inverted pedal point’
Remark: the tempos in this movement vary between 2:35 (Leusink) and 3:11 (Kuijken); not remarkable differences. I am evaluating the bass soloist and the violoncello playing.
Koopman (May 1995): well-known and experienced German bass-baritone, Klaus Mertens (see BCW) sings the solo part here as in many other recordings with (among others) Kuijken and Lutz. As expected, he masters the high and low registers perfectly with a ‘warm’ timbre and good diction. The obligato violoncello part is played by the technically perfect Dutch cellist, viola da gamba (viola) player and conductor Jaap ter Linden (see: BCW) and the BC is minimal with chest organ accompaniment only probably played by Koopman himself. The whole movement sounds very inspired and transparent. One of my favorites!
Suzuki (July 1997): Dutch bass, Peter Kooy (the correct spelling in Dutch is Kooij), not less well-known as Mertens and highly professional with a great experience with (among others) Herreweghe and Lutz) is also technically perfect – if not even better that Mertens in this recording. The violoncello is played by Hidemi Suzuki (see: Wikipedia) and the BC only with chest organ (Suzuki himself?). This interpretations sounds even better than Koopman’s (lighter, more transparent and sparkly).
Pieter Jan Leusink (September 1999): Dutch bass and conductor, Bas Ramselaar (see BCW) is at the same level as Mertens and Kooij, and the violoncello is well played by Dutch cellist Frank Wakelkamp (see BCW ) with additional organ in the BC. Unfortunately, the tempo is too fast here IMHO.
Kevin Mallon / Aradia Ensemble (January 2000): Canadian bass-baritone, Thomas Goerz (see BCW), has a dark timbre that reminds the voice of previous discussed Frank Wakelkamp with Leusink. Unfortunately he is not as strong in the lower register: the word ‘Du’ in the second repetition of ‘Wer bist Du?’ is practically inaudible (as also happens with Wolf-Matthias Friedrich with Lutz (see below). The violoncello is very well played by Allen Whear (see Mountain Side Baroque) deceased in 2022, and the BC only with chest organ (Christopher Dawes). IMHO this interpretations lack some of the lightness and inspiration as discussed in the previous recordings.
Gardiner (December 2000): German bass-baritone, Dietrich Henschel (see BCW) , although with good diction and technique sounds too operatic / dramatic in this interpretation. Also, the violoncello – BC combination sounds too ‘heavy’ for my taste. In the liner notes Gardiner confirms violoncello, violone (double-bass), bassoon and organ. Not my first choice!
Lutz (December 2006): As mentioned above, German bass-baritone, Wolf Matthias Friedrich (see BCW ) has the same problem with lower notes as Thomas Goerz. Although his voice is forceful and ‘dark’, he literally swallows the word ‘Du’ in the second repetition of ‘Wer bist Du?’ The BC is played with violoncello, doubass and organ. Not my first choice!
Kuijken (December 2008): the interesting difference here is that instead of the ‘normal’ violoncello obligato, Kuijken plays the what he explains in his liner notes as ‘violoncello or viola da spalda’ (shoulder). Mostly, Makoto Akatsu (see Makoto Akatsu Website) or Kuijken himself play this instrument, also described by music expert Johann Mattheson of Bach’s time (1681–1764). An explanation by Kuijken and his colleague Lucia Swarts (in Dutch with English subtitles) about the origin and how to play van be seen at YouTube . Also, at YouTube, one can see Kuijken playing this instrument hold at his shoulder in the second movement of Cantata BWV 85, see YouTube). A trained ear can clearly hear the distinctive sound in this movement and the BC has the composition as explained above in first movement. Belgian baritone, Jan van der Crabben (see BCW ) who sings most of the bass parts with Kuijken is perfect in this performance and is very secure in both high and low registers. One of my first choices.
My personal preferences:
(1) Kuijken – (2) Suzuki– (3) Koopman) – (4) Leusink – (5) Gardiner – (6) Lutz – (7) Mallon
Movement 4: Recitative Alt, Strings and BC:
Introduction by Alfred Dürr: ‘In the second recitative (no. 4) Bach dispenses with arioso episodes, but it is scored with strings, whose held chords provide a background for the expressive declamation of the voice.’
Remarks: String section sizes and BC see movements above. My preferences for the alto voice are the same as in movement 5 (Aria for alto), see below.
Movement 5: Aria Alto, Violino solo and BC:
Introduction by Alfred Dürr: ‘The fifth movement, an alto aria with concertante solo violin, is characterized by virtuoso string passages, perhaps suggested by the words ‘Christ gave you as new garments scarlet, purple, white silk’.
Remark: all tempos are very similar, around 3:30. Continuo see movements above.
Koopman (May 1995): German counter-tenor, Kai Wessel (see BCW ) sings with clear diction and perfection. His timbre is a matter of taste, but certainly one of my first choices. The violin solo is performed by leader Margaret Faultless, also a perfect performance.
Suzuki (July 1997): Japanese counter-tenor Mera Yoshikazu (see BCW) has a ‘softer’ voice than Wessel but is also perfect as well as the violine solo played by leader Natsumi Wakamatsu.
Pieter Jan Leusink (September 1999): the technique and timbre of Dutch counter-tenor, Sytse Buwalda (see BCW) has been much criticized in the discussions of many other performances with Leusink, but I think he is not bad here, although not my first choice. Although not clearly mentioned in the liner notes, the violino solo part is probably played by concert master John Wilson Meyer, technically perfect.
Kevin Mallon / Aradia Ensemble (January 2000): Canadian counter-tenor, Matthew White (see BCW) is not my first choice; he has a somewhat shrill timbre in the higher registers. The violin solo part is played well by Genevive Gilardeau. Also, the tempo here sounds too slow.
Gardiner (December 2000): English counter-tenor, Michael Chance (see BCW) has a very agreeable timbre and sounds very secure in both high and lower registers. His interpretation is among my first choices. Since the liner notes mention 6 violins, I am not sure who is playing the solo part here, although it sounds as perfect as all the other interpretations discussed here.
Lutz (December 2006): Austrian counter-tenor, Markus Forster (see BCW) has a clear diction, good (boyish) timbre and is very stable in the higher tones. Lutz’s main concert-master Renate Steinmann takes over the violin solo. I am not sure if it is the instrument or the recording technique, but her violin sounds especially clear and has a very full sound. This is clearly my first choice for both altus and violinist!
Kuijken (December 2008): Slovak mezzo-soprano, Petra Noskaiová (see BCW) is the only women’s voice among the other interpretations discussed. She sounds technical perfect but unfortunately there is a slight tremolo in her voice right away from the start of the first text line. The violin part is played perfectly by Kuijken himself. I guess he has a fine instrument with a full and crystalline sound.
My personal preferences are based upon the quality of the alto voices here, although differences are small. All violine solo’s sounds perfect!
(1) Lutz– (2) Gardiner– (3) Suzuki) – (4) Koopman– (5) Kuijken– (6) Mallon – (7) Leusink
Movement 6: Chorale
Introduction by Alfred Dürr: ‘It has already been mentioned that a plain chorale setting was presumably to follow: it could hardly be assumed that Bach would have let his cantata end with a thin-textured aria of this kind.’
As he also already mentioned above: ‘No closing chorale survives, though Franck prescribed for it the fifth verse of the hymn Herr Christ, der einig Gotts Sohn by Elisabeth Creutziger (1524). It is likely that, as in Cantata BWV 163 composed four weeks before, a chorale ‘in simplice stylo’ was to end the work, and that it was notated on a loose scrap of paper (the three sheets of the score were full) which has since gone missing, along with the performing parts. For today’s performances, then, the best course of action is to borrow the chorale with the same text from Cantata BWV 164, transposing it into A major.
Remark: all recordings below follow Dürr’s (and the NBA’s) suggestion for the final chorale.
Koopman (May 1995)’: I like his intimate and transparent choir singing, although his choir with 18 choristers is relatively large and I prefer any OVPP version here.
Suzuki (July 1997): his choir, although slightly smaller that Koopman’s, sound better and one can hear the different voices more clearly, almost as in other OVPP recordings. One of my first choices.
Pieter Jan Leusink (September 1999): his choir is too large (24 choristers), although with boys and men’s voices. It is not transparent enough IMHO.
Kevin Mallon / Aradia Ensemble (January 2000): his tempo is slow compared to all others, but his choir sounds transparent, although not my first choice either.
Gardiner (December 2000): his choir is also large (18 choristers) but his well-trained Monteverdi Choir sounds very professional and transparent.
Lutz (December 2006): Lutz at the organ gives us a well improvised prelude after the last aria leading to the chorale. A nice addition for a change! His OVPP choir is transparent and crystal clear that allows to distinguish the fine harmonies of this chorale.
Kuijken (December 2008): this is the best OVPP performance IMHO. I am not sure if it is the recording technique, but his individual voices stand out better than with Lutz. Clearly my first choice!
My personal preferences:
(1) Kuijken– (2) Lutz– (3) Suzuki) – (4) Koopman– (5) Gardiner– (6) Mallon – (7) Leusink
Overall preferences:
I clearly prefer both OVPP recordings for this intimate Weimar cantata.
(1) = (2) Kuijken = Lutz – (3) Suzuki – (4) Koopman – (5) Gardiner – (6) Mallon– (7) Leusink |
