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Cantata BWV 166
Wo gehest du hin?
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of April 15, 2026 (5th round)
Cantata BWV 166, ‘Wo gehest Du hin?’’ by Rudolf Lutz (OVPP) compared to 5 other HIP recordings. |
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Frits V. Herbold wrote (April 15, 2026):
The BCW shows 29 interpretation so far, beginning with early renditions from the 19sixties and ending with newer recordings available on YouTube (not discussed here because of poor sound quality).
BWV 166 is the 13th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, April 18, 2008 - two days before the respective Sunday of Cantate in that year. 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.
Exceptionally, I am including Gustav Leonhardt’s recording in this discussion, since this is the only recording of movement 3 (Chorale, S) with a perfect boys voice. Also, the vocal soloists Paul Esswood and Kurt Equiluz are favorites of mine. Normally, I don’t include the Harnoncourt-Leonhardt cycle in these discussions because of the – IMHO – too large size of the choirs used.
Scoring: see KB, NBA: I/12 and Bach Digital Bach-Digital
Remarks:
1. The scoring mentioned in Bach Digital: Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Oboe, Violine I, Violine II, Viola, Basso continuo is misleading since the original parts only contain one voice per part (‘a 4 voci’) for both solo and choir movements. This is also a good argument to perform this cantata as OVPP rendition of the choir parts.
2. The NBA I/12 with its ‘Kritischer Bericht’(critical report) was published in 1960 (Alfred Dürr) meaning that it was available to all conductors discussed here.
3. Although the original score is only available as a copy from the inheritance of Frans Hauser’s collection, the original parts are well preserved from the collection of Bach’s son Carl Philipp Emanuel.
4. In the ‘Kritischer Bericht’, Dürr shows that a second obligate instrument is missing in movement 2 and suggests a solo violin to be played together with the oboe. He also mentions the musical connection with Bach’s Trio BWV 584, who’s sources were used in his reconstruction, used by most of the recordings discussed here. Koopman is the only exception, using an oboe da caccia instead of the violin in his own reconstruction (see below)
5. The original Leipzig key is in B Flat Major (German B!) played at the Leipzig ‘ Kammerton’ of a’ = 415 Hz. The key of the finale chorale is in g minor, the parallel (or relative) key to B Flat Major. All the HIP / OVPP recordings discussed play according to this original setting.
Introduction Cantata BWV 166 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘This cantata originated during Bach’s first year in Leipzig and was first performed on 7 May 1724. The anonymous librettist refers to the Sunday Gospel, which opens with the words ‘But now I go to Him who sent me, and none of you asks me, “Where are you going?” ‘. The librettist takes up this question, attaching personal significance to it. Thus whereas the opening movement could be understood simply as a biblical quotation, in the following aria we hear, ‘Man … where are you going?’ Here, the question ‘Where?’ is no longer put to Jesus but rather to each individual Christian. The other movements are also associated with these ideas. A chorale— the third verse of the hymn Herr Jesu Christ, ich weiß gar wohl by Bartholomäus Ringwaldt (1582)— prays for true faith; the following recitative-aria pair warns against the joys of the world; and the concluding chorale— the first verse of the hymn Wer weiß, wie nahe mir mein Ende by Ämilie Juliane of Schwarzburg-Rudolstadt (1686)— prays to God for His support at the end of life’s earthly path.
Remark: total times vary significantly between the fastest at 14:31 (Koopman) and the slowest 17:53 (Leonhardt).
Mvt. 1: Basso solo B, Oboe, Strings and BC
Introduction by Alfred Dürr: ‘Bach’s composition underlines the ideas of the librettist through his style of setting in the opening movement. The words ‘Where are you going?’ are assigned to the bass voice, which from of old served as the vox Christi, so that the movement is heard not just as a quotation from the Sunday Gospel, but as Jesus’s questioning of his people and of each individual. Formally, the movement belongs to a group that lies somewhere between aria and arioso; and no doubt for good reason, Bach gave it no classificatory designation.’
Remark: total times don’t vary significantly between 1:26 (Suzuki) and 1:59 (Leonhardt and Gardiner).
Leonhardt (01 & 02 -1987): Dutch bass-baritone, Max (Rudolf) van Egmond (see BCW) has a vast experience singing in many recordings from the Harnoncourt-Leonhardt cycle as well as many other conductors (e.g. with Kuijken in recordings of the St. Mathew and St. John passion music’s). I am a huge fan of his dark timbre and technical perfection. This is a very intimate rendition considering a string section using 4 voices per part. The oboe is very well played and the BC sounds relatively ‘ light’ with 2 violoncellos, violone and chest organ. The slower tempo of 1:59 sounds adequate to me. One of my first choices.
Koopman (10-1998): the same goes for German bass-baritone, Klaus Mertens, (see BCW) with his exceptional technique and ‘warm’ baritone timbre. Despite the faster tempo of 1:35, this also sounds adequate. Oboe and strings are similar to Leonhardt’s performance but I don’t believe Koopman uses the ‘full’ BC mentioned in the BCW and liner notes (2 violoncellos, double-bass, bassoon and lute. I can only hear one violoncello, a double-bass and the chest organ (played by Koopman himself). As for movement 4, it is also among my first choices.
Leusink (01 & 02 – 2000): Dutch bass and conductor Bas Ramselaar (see BCW) sings in most recordings of the Leusink cycle, and I like his performances mostly! He has a good technique and clear diction and I like his ‘light’ timbre. I guess that Leusink didn’t use his full strings section (a total of 32!) nor all of his BC instruments (also mentioning violas da gamba, lutes and bassoon). The chest organ is prominent here, but I also hear violoncellos and a double-bass. The oboe playing is fine and the tempo is identical to Koopman’s and sounds good. Among my first choices, also for movement 4.
Gardiner (05-2000): English bass-baritone, Stephen (Chistopher) Varcoe (see BCW) sounds very similar to Ramselaar in this recording, although somewhat ‘wobbly’. Both strings and BC are very delicate in this movement. I belief Gardiner also didn’t use his full string and BC section (nor the 2 oboes mentioned in the BCW). Not my first choice, neither for movement 4.
Suzuki (06 & 07-2001): Swiss bass-baritone, Stephan MacLeod (see BCW) comes very close to Koopman in timbre and I like his interpretation here (and in movement 4!). This Is the fastest tempo of all other recordings discussed here and too exaggerated IMHO. Oboe, strings and BC (organ played by Suzuki himself?) are very well played and relatively ‘light’ as in most other recordings. Among my first choices.
Lutz (04-2008): German baritone, Markus Volpert (see BCW) belongs to a newer generation of excellent Bass soloists. He many of Lutz’s recordings and I am a huge fan of his clear, technically perfect voice / timbre and good German diction. As often with Lutz, he chooses a minimal – very transparent orchestration (one violin I and II, one viola and only violoncello and organ played by Lutz himself. The average tempo sounds perfect. Certainly my first choice, also for movement 4.
Ranking (also for movement 4): (1) Lutz, (2) Koopman, (3) Leonhardt, (4) Leusink, (5) Suzuki, (6) Gardiner.
Mvt. 2: Aria T, Oboe, Violino solo and BC
Introduction by Alfred Dürr: ‘The second movement, whose complete scoring for oboe, solo violin, and continuo was first reconstructed in the Neue Bach-Ausgabe (I/ 12, 1960) is of exceptional beauty. In the middle section, Bach strikingly depicts ‘going’ and ‘Staying’ by means of rising scale figures and long-held notes respectively. ‘
Remark: total times don’t vary significantly between 5:27 (Koopman) and 7:37 (Gardiner)
Leonhardt (01 & 02 -1987): Kurt Equiluz (see BCW) is one of my long favorite Bach tenors with his characteristic polished and warm timbre, excellent technique and German diction. Leonhardt follows Dürr’s reconstruction with oboe and solo violin (performed by Lucy van Dael) as obligato instruments. The organ is played by Leonhardt himself in this movement, accompanied by violoncello and violone. I am probably biased, but this rendition is among my first choices.
Koopman (10-1998): German tenor, Christoph Prégardien (see BCW) has a well-established experience, including conductors Georg Christoph Biller, Christophe Coin, Nikolaus Harnoncourt, Philippe Herreweghe among many others. His technique, diction and timbre places him among Bach’s top tenors IMHO. Unfortunately Koopman chooses a very fast tempo and his own reconstruction with oboe and oboe da caccia as obligato instruments (instead of oboe and solo) doesn’t sound as convincing as Dürr’s. Another differentiation is the use of the harpsichord in the BC, played by Koopman himself. Not bad but not my first choice.
Leusink (01 & 02 – 2000): German tenor, Knut Schoch (see BCW) also performed with Kuijken and sings most of the tenor parts in the Leusink cycle. He has a good diction but I am not a fan of his sometimes ‘shrill’ timbre, especially in the higher registers. Leusink follows Dürr’s reconstruction and a I guess that Leusink didn’t use his full strings section (a total of 32!) nor all of his BC instruments (also mentioning violas da gamba, lutes and bassoon) as in movement 1. The chest organ is prominent here, but I also hear violoncellos and a double-bass. The oboe playing is fine and the tempo sounds adequate. Not bad, but not my first choice.
Gardiner (05-2000): English tenor, James Gilchrist (see BCW) reminds the voice of previously discussed Knut Schoch (see above) and also sounds too ‘shrill’ for my taste. Gardiner also follows Dürr’s reconstruction for both obligato instruments. I can hear the harpsichord in the BC, probably together with violoncello and double-bass. Also not bad, but not my first choice either.
Suzuki (06 & 07-2001): Japanese tenor, Makoto Sakurada (see BCW) has a remarkable voice / timbre and surprisingly good German diction. This rendition also follows Dürr’s reconstruction and sounds very transparent with a ‘light’ BC consisting of violoncello, double-bass and chest organ played by Suzuki himself. I like both tenor solo and tempo. Among my first choices.
Lutz (04-2008): German tenor, Gerd Türk (see BCW) also known from many cantata interpretations with Konrad Junghänel and Koopman completed his training by studying Baroque singing and interpretation with René Jacobs and Richard Levitt at the Schola Cantorum Basiliensis. He is also among one of my preferred Bach tenors (also as evangelist). The minimal orchestration with oboe and solo violin (following Dürr) and ‘light’ BC with violoncello, violone and Lutz himself playing the chest organ makes this a very crystalline and transparent rendition, certainly one my first choices together with Equiluz / Leonhardt.
Ranking: (1) Leonhardt = (2) Lutz, (3) Suzuki, (4) Koopman, (5) Gardiner, (6) Leusink
Mvt. 3: Chorale S, Strings in unisono, BC
Introduction by Alfred Dürr: ‘In the following chorale, no. 3, the hymn melody, sung in unadorned long notes by the soprano, is surrounded by a vigorous unison of violins and violas. The whole movement thereby acquires a somewhat severe quality in accordance with the character of the text.’’
Remark: total times don’t vary significantly between 2:24 (Koopman and Leusink) and 2:52 (Leonhardt)
Leonhardt (01 & 02 -1987): this is the only recording with a boy soprano, Christoph Wegmann (Soloist of the ‘Tölzer Knabenchor’, see BCW) who’s performance here is nothing short of perfect, even in the higher register of the chorale melody. This is one of the reasons I included Leonhardt in this discussion. Strings (total number not clear) but probably reduced) and BC (violoncello(s)?, violone and chest organ are very transparent and crystalline. The chosen tempo is relatively fast but sounds ok; one of my first choices.
Koopman (10-1998): Koopman takes this movement much faster and uses the sopranos choir section instead of a S soloist for the chorale melody. Strings and BC are comparable to Leonhardt’s. also among my first choices, although I believe that Bach performed this cantata only with soloists (see original parts above). Among my first choices.
Leusink (01 & 02 – 2000): English soprano, Ruth Holton (see BCW) is one of my favorite sopranos with her typical ‘ boyish’ timbre and good diction in the chorale melody. The instrumental accompaniment sounds somewhat blurred (too many strings?) but the BC is also ‘ light’ (probably not using all the instruments mentioned in the BCW). The tempo sounds right. Also among my first choices!
Gardiner (05-2000): Gardiner also follows Koopman and uses the soprano choir section for the choral melody. Strings and BC are both ‘ light’ and very transparent. The average tempo sounds adequate. Also among my first choices
Suzuki (06 & 07-2001): again, as with Koopman and Gardiner, Suzuki also uses the soprano choir section for the choral melody. Strings and BC are equally ‘ light’ and very transparent as in most recordings discussed here. The tempo is average and sounds well. Also among my first choices
Lutz (04-2008): Norwegian soprano, Guro Evensen Hjemli (see BCW) sings mostly in Lutz’s soprano choir section but performs also as soloists in many other cantatas of the Lutz cycle, as in this case. A nice touch here is the fact that Lutz places her at the pulpit, far above the rest of the performers which creates an acoustical (and visual) difference. His strings and BC are minimal: only 2 violins I and II and a viola as strings; violoncello, violone and organ (played by Lutz himself) in the BC. Also one of my first choices because of tempo and transparency.
Ranking: a ranking is not easy , since I like most of the soloists, with preference for (1) boy soprano Christoph Wegmann with Leonhardt, (2) Ruth Holton with Leusink and (3) Guro Hjemli (with Lutz). I like all renditions with choir (Koopman, Gardiner and Suzuki equally.
Mvt. 4: Recitativo B and BC
Introduction by Alfred Dürr: ‘By contrast, the following recitative and aria, nos. 4– 5, especially the latter, strike an essentially more cheerful note, regardless of the fact that they are supposed to warn against the joy of the world.
(Ranking see movem2)
Mvt. 5: Aria A, Strings, Oboe and BC
Introduction by Alfred Dürr: ‘By contrast, the following recitative and aria, nos. 4– 5, especially the latter, strike an essentially more cheerful note, regardless of the fact that they are supposed to warn against the joy of the world. The aria, whose dance character is unmistakable, doubtless portrays in its shaking figures the laughter of good fortune, which is also to be heard in the long coloraturas* and trills of the voice. With the typical indifference of the baroque musician, Bach here takes advantage of all possibilities for pictorial representation of the ‘affects’,* even though they are contradicted or dismissed by the text. A broad contrast is thereby achieved between the opening movements and the second half of the work: their opposing affects correspond with the textual opposition between heaven and earth.’
Remarks: tempos vary almost a full minute between 2:55 (Gardiner) and 3:49 (Leonhardt)
Leonhardt (01 & 02 -1987): as much as a appreciate English counter-tenor, Paul Esswood (see BCW) in most of his performances with the Harnoncourt-Leonhardt cycle, I don’t like this interpretation here IMHO, his voice / timbre / coloraturas as well as the instrumental accompaniment (strings and BC) sound ‘fuzzy’ / ‘ blurred’ and ‘washy’ . Not my first choice.
Koopman (10-1998): Austrian Bernhard Landauer (see BCW) is one of the foremost counter-tenors of a newer generation(DOB 1970). Excellent technique (coloraturas), German diction and pleasant timbre makes it one of my favorites CT’s. I am not sure if Koopman uses his full string section (and / or lute) in his BC, while he plays the chest organ himself, but this rendition sounds very ‘fresh’ and transparent. One of my first choices
Leusink (01 & 02 – 2000): Dutch counter-tenor, Sytse Buwalda (see BCW) is not my favorite CT. Although he has made musical appearances all over Europe and worked with renowned conductors such as Frans Brüggen, Gustav Leonardt and Sigiswald Kuijken, I am not a fan of his somewhat ‘shrill’ timbre and he isn’t perfect in the higher coloraturas in this movement. The instrumental accompaniment, including BC and average tempo sound well, but this Is not my first choice for CT.
Gardiner (05-2000): English counter-tenor, Robin Tyson (see BCW), also a relatively young artist was a choral scholar at King's College Cambridge before joining the Royal College of Music for post-graduate study. I like his performance, although Gardiner’s tempo here is too fast IMHO. The strings and BC also sound very transparent, but this is not my first choice.
Suzuki (06 & 07-2001): English counter-tenor, Robin Blaze (see BCW) is an experienced CT and sings many alto parts wit Suzuki. I like his timbre and technique. Strings and BC also sound ‘light’ and transparent. Suzuki himself plays the chest organ. Among my first choices.
Lutz (04-2008): Swiss counter-tenor and former boy soprano, Terry Wey (see BCW) also one of the younger generation CT’s has a perfect technique in the coloraturas, good German diction and a very pleasant timbre. Lutz uses his minimal string section (1 violin I and II each and 1 viola) and his BC is also light with one violoncello, one violone and Lutz playing the chest organ himself. One of my first choices.
Ranking: all alto parts discussed here are performed by counter-tenors: (1) Lutz, (2) Koopman, (3) Suzuki, (4) Gardiner, (5) Leonhardt and (6) Leusink.
Mvt. 6: Ckorale, S, A, T, B, Instruments and BC
Introduction by Alfred Dürr: ‘After this dance-like aria, the solemnity of the concluding chorale, with its prayer ‘Just make my end be good’, is all the more striking.’
Leonhardt (01 & 02 -1987): the BCW informs both choirs (Tölzer Knabenchor with Chorus Master Gerhard Schmidt-Gaden, S & A voices and Collegium Vocale Gent, with Chorus Master Philippe Herreweghe, T & B voices). I am a great fan of boys choirs, but not of its sizes used in in the Harnoncourt-Leonhardt cycle. Not my first choice.
Koopman (10-1998): although Koopman uses around 4-5 voices per part, his chorale sounds slightly more transparent than with Leonhardt. Not bad, but not my first choice.
Leusink (01 & 02 – 2000): the problem with Leusink’s choir is the same as with Leonhardt, far too many voices per part IMHO. But here there is not much transparency and the whole choir sounds ‘washy’. Probably my last choice.
Gardiner (05-2000): the entrance of the choir with a similar size as with Koopman and Suzuki is very ‘piano’ followed by a slow crescendo and an exaggerated ‘forte’ on line 4 ‘Mein Gott ….’. This is not the way I appreciate Bach’s chorales and certainly not my first choice.
Suzuki (06 & 07-2001): with 4 voices per part and (as opposed to Gardiner) a ‘continuous’ singing of all lines, this rendition matches my taste regarding tempo and transparency. After Lutz (OVPP), my first choice.
Lutz (04-2008): Lutz choose a OVPP setting which makes a lot of sense considering Bach’s original parts (see comments above). Interestingly, this is the only movement in which Lutz doesn’t play the organ while conducting, resulting in a BC of only violoncello and violone. With the minimal (3) string instruments in unisono, the very transparent and good singing makes this my first choice.
Ranking: (1) Lutz, (2) Suzuki, (3) Koopman, (4) Leonhardt, (5) Gardiner and (6) Leusink |
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