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Cantata BWV 172
Erschallet, ihr Lieder, erklinget, ihr Saiten!
Discussions - Part 6 |
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Continue from Part 5 |
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Discussions in the Week of August 10, 2025
Cantata BWV 172, Rudolf Lutz compared to other recent HIP and OVPP recordings. |
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Fritz V. Herbold wrote (August 10, 2025):
BWV 172 is the fifth fourth cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen on May 25, 2007 – 2 days before Whit Sunday 2007 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,
I am comparing all movements with 4 other HIP interpretations: Koopman, Suzuki, Gardiner 1 (1999) and Gardiner 2 (2000) and 2 OVPP recordings with Joshua Rifkin and the Purcell Quartet.
I am not going into the already existing discussion about OVPP interpretations at the BCW, but IMHO this intimate and delicate (first) Weimar cantata clearly justifies single voices OVPP, see introduction by Alfred Dürr (‘The Cantatas of J. S. Bach’).
This Weimar cantata has been performed on several occasions, at least 4 times, mostly in different scorings, keys and pitches to adapt to each venue. The original scores are lost but original parts both in C (Weimar) and D (Leipzig) are preserved.
1st performance: May 20, 1714 – Weimar, in C major (Chorton) [= D major (high pitch)].
2nd performance: 1718-1722 – Köthen, in C major (Chorton) [= D major (high pitch)
3rd performance: May 28, 1724 – Leipzig, in D major (‘Cammerton’ at a’= 415 Hz)
4th performance: May 13, 1731 – Leipzig, in C major (‘Cammerton’ at a’= 415 Hz)
5th performance: After 1731 – Leipzig in C or D major? (‘Cammerton’ at a’= 415 Hz)
Regarding the Leipzig performances, Rudolf Lutz speculates in his workshop (see above) that the D major version at the Cammerton pitch probably was too high for the soprano choir parts and decided to go back to a C Major version.
Scoring: see KB, NBA: I/13 and Bach Digital at Bach Digital (Weimar), Bach Digital (Version 2 Köthen 1724) and Bach Digital (Version 3, Leipzig 1731)
Important note: The NBA I / 13 was published in 1960 and available at the time of all discussed recordings here.
Introduction Cantata BWV 172 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’) ‘ This cantata, written in Weimar for 20 May 1714, is probably the third in the series of sacred works that Bach was obliged to compose and perform after his appointment as Concertmaster on 2 March 1714. Although the libretto is not included in Salomo Franck’s printed collections of verse, his authorship is revealed with sufficient certainty in a number of stylistic idiosyncrasies. From a formal standpoint, this type of Franck text is characterized by a succession of several arias and by the absence of freely versified recitatives. Though Franck cannot be classified as a Pietist, the substance of the libretto is nonetheless close to pietistic modes of thought. This is generally manifest in a certain exuberance of feeling (‘ O most blessed times!’) and, more specifically, in the mystical demeanor of the duet between the Soul and the Holy Spirit that forms the third aria (‘… I am yours and you are mine!’). In addition, the concluding chorale— the fourth verse of the hymn Wie schön leuchtet der Morgenstern by Philipp Nicolai (1599)— is an early example of the mystical frame of mind, with its emphasis on feeling, out of which Pietism emerged. In his setting, Bach seeks to emphasize the festive character of the Pentecost text. As a result, the work acquires a notably ‘Secular’ character, particularly in the opening chorus: indeed, it is not wholly unthinkable that this chorus might be drawn from a lost congratulatory cantata. On the other hand, it might have been Bach’s desire to exhibit the full diversity of his stylistic resources, as well as his own capabilities, that induced him to employ a different compositional principle in each of the opening choruses of a series of cantatas begun in 1714, not excluding the festive concerto movement as illustrated here.’
Remark: the total times of the discussed interpretations here vary considerably – from 15:42 (Suzuki) to 22:10 (Joshua Rifkin). I will discuss tempo, soloists, choir and instrumentation (including the different composition of the basso continuo (BC) of each movement below. For movement 1, I am also commenting on version, key, pitch and temperament of each recording.
Movement 1: Coro – Choir, Trumpets I-III, Timpani, Violino concertato Viola I and II (Flauto Traverso or recorder and Oboe or Oboe D’Amore)
Introduction by Alfred Dürr: ‘In this opening chorus, cast in pure da capo form, the trumpets, with drums as their bass instrument, and the strings plus oboe form antiphonal choirs of instruments, to which the vocal choir is added as a third participant after the introductory ritornello. The texture is predominantly choral or freely polyphonic, changing in the middle section to imitative polyphony sung by the choir, doubled by strings (the trumpets are here silent). In this bipartite, motet-like middle section, it is charming to observe how Bach first builds the imitative texture upwards from the bass, only to lead it downwards again from the soprano in the second half.’
Koopman (May 1995): in his liner notes, Koopman points out the different versions in C and D and comments: ‘The original Weimar forces cannot be reconstructed with absolute certainty, although it is clear, for example, that no transverse flute was involved, it remains an open question whether and where a recorder may have been used in its place. In the same liner notes, though, he mentions the use of a recorder in movement 6 (Chorale), although I believe this is a typo, since I cannot hear this instrument playing (see below). Koopman recorded a Leipzig version in D Major at a pitch a’= 415 Hz. For this version the relatively large choir of 5 sopranos, 4 altos, 4 tenors and 4 basses comes close to Bach’s original performances in Leipzig and both Amsterdam Baroque Orchestra & Choir perform well, although when hearing the very high soprano parts I can understand why Bach also went back to a C version. The 3 trumpets sound very well played and Koopman’s BC consist as usual of 2 violoncellos, violone, bassoon and chest organ. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second version parts are used. The tempo of 3:52 is a good average and sounds adequate. I like this interpretation, but it is not my first choice.
Joshua Rifkin / The Bach Ensemble (Jul 31, Aug 6-8, 1995; Aug 4, 1996): this is one of the two OVPP recordings I am discussing here (see also The Purcell Quartet, below). Although this very festive cantata sounds well with a full choir, one canexclude the possibility of a OVPP performance by Bach himself, although the parts (also Version 1, Weimar) mention both soloists and choir for all voices. Be it as it may, this recording has the advantage of a very transparent performance of the polyphonic and fugato parts. I like Swedish soprano, Susanne Rydén (see: BCW) and movement 5 (aria for S & A) below, who dominates very well the high registers of her difficult part, since this recording is also performed in D Major at a pitch of a’= 415 Hz. Rifkin uses the minimum instrumentation of 2 violins, 2 violas and a violoncello, bassoon and chest organ as BC. His 3 trumpets (not sure if original) have a clear and ‘pure’ sound. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second and third version parts are used. The tempo of 3:57 is slightly slower but sounds adequate. I like this interpretation very much!
Suzuki (July 1997): this performance, also in D Major at a’= 415 Hz sounds very similar to Koopman’s, but his choir of 4 sopranos, 5 altos, 4 tenors and 4 basses sounds more transparent, and the soprano section dominates the high registers better. The 3 trumpets also sound very well played and BC consist of violoncello, violone, bassoon and chest organ. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second version parts are used. The tempo of 3:52 is identical to Koopman’s and sounds adequate. I like this interpretation, one of my first choices!
Gardiner I (April 1999): this is Gardiner’s first recording with Archiv Produktion with his renowned Monteverdi Choir and English Baroque Soloists. This is a C Major version at a’= 415 Hz (his second recording is in D Major, see below), which means that the soprano section has an easier performing than all other recordings in D Major. The liner notes do not inform specific instrumentations but are probably very similar to his second recording of 2000 (SDG). His original trumpets sounds clear and transparent, and all segments of the choir perform with Gardiner’s customary excellence. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second version parts are used. The tempo of 3:53 is practically identical to Koopman’s and Suzuki’s and sounds adequate. This interpretation is also one of my first choices!
Gardiner II (June 2000): this is Gardiner’s second recording with his own label Soli Deo Gloria. The liner notes informs that he performs the D Major version of the three first performances in Leipzig on May 28, 1724, at a’ = 415 Hz. As in his first recording, his original trumpets sounds clear and transparent, and all segments of the choir perform with Gardiner’s customary excellence. His instrumentation including the BC is similar as above and as in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second version parts are used. The tempo of 3:24 is faster than his first recoding and I believe some fans will prefer the somewhat slower , first recording. This interpretation is also one of my first choices! I like both interpretations of Gardiner, with a slight favoritism for the second.
Purcell Quartet (May 2007): this is also a C Major version; the liner notes inform how the other instruments are tuned: ‘Organ supplied, tuned and maintained by Malcolm Greenhalgh; Pitch: A = 392 Hz (Chammerton: recorder and oboe – although not used here), a’ = 440 Hz (Chorton: other instruments)’. This would indicate that his overall pitch is not a’ = 415 but the modern pitch of a’ = 440. I checked the actual key with a ‘ key finder’ software (e.g. https://samples.landr.com/key-bpm-finder ) that shows a perfect C Major, which means that this recording is really performed at a pitch of a’ = 440, since the key finder works only for this modern pitch. As a consequence, compared to the other C Major (first) recording of Gardiner I, the key sounds a half tone higher. Also, the temperament used here follows the modified sixth comma, based on Bach’s 1722 title page of Das Wohltemperierte Clavier (Bradley Lehman's, published 2005, see LaripS.com. The movement uses 2 violins and 2 violas apart from the 3 trumpets. and a BC consisting only of violoncello and organ. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second and third versions parts are used. As a bonus in the liner notes are the descriptions of the used original instruments or copies / replicas. This information has only been available so far in the Harnoncourt / Leonhardt cycle, not discussed here. The tempo of 3:36 is also somewhat faster but still sounds adequate. All OVPP soloist, especially Emma Kirkby as soprano, are perfect and the fugato parts are extremely transparent. Clearly one of my first OVPP choices together with Rifkin (see above)
Lutz (May 2007): one could have expected an OVPP version from Rudolf Lutz here, but I guess he choose the full choir version because of the festivity of this cantata. In the workshop he explains the various possible versions and keys and informs that at the he preferred a Leipzig version in D Major at á= 415 HZ (Leipzig ‘Cammerton’). His young choir with 3 choristers for each voice (especially the soprano section) is perfect in size, very close to Bach own size (according to the ‘Eingabe’ to the Leipzig Counsel of August 1730. The entries for the fugato parts are perfect. His instrumentation of 3 first and 3 second violins and 2 violas is adequate for a Leipzig performance. His original trumpets sound especially ‘pure’, and his BC is composed of Violoncello, Violone, Bassoon and Organ. Lutz doesn’t play the organ himself but only conducts. As in all other recordings here, no oboe, oboe d’amore, recorder or traverse flute from the second and third version parts are used. As does the Purcell Quartet Lutz also uses a non-equal temperament tuning based on Young and Valotti. This is the most transparent and joyous recording of this movement, and the tempo of 3:51 is very similar to Koopman, Suzuki and Gardiner I. My first choice among the other HIP recordings above!
My personal preferences: it is not easy to make a fair assessment of all the above interpretations, since I like all of them, but my preference is
HIP: (1) Lutz – (2) Suzuki– (3) Gardiner II (4) Gardiner I (5) Koopman
OVPP: (1) Rifkin – (2) Purcell Quartet
Movement 2: ‘Recitativo Bass and BC
Introduction by Alfred Dürr: ‘The following biblical-text recitative, no. 2, reiterates an extract from the Gospel read out beforehand (John 14.23) and also provides a theme for exegesis in the madrigalian movements. Later on, during his Leipzig period, Bach tends to place such biblical texts at the beginning of a work, preferring to set them as large-scale choruses (as in his setting of the same text in Cantata 74, for example). In 1714, however, he preferred the persuasive, declamatory form of recitative, which is here elevated in significance by the rhythmically fixed, arioso style of the closing bars.
Remark: I am discussing the Bass part in more detail in movement 3, aria. My preferences are the same, see below.
Movement 3: Aria Bass, Trumpets I to III, Timpani and BC
Introduction by Alfred Dürr: For the aria ‘Heiligste Dreieinigkeit’, no. 3, Bach chooses the rare scoring of trumpets, drums, and continuo as concertante counterpart to the vocal bass— a choice of special consequence at the time, since the trumpet, then considered a specifically ‘courtly’ instrument, is here included to symbolize the sovereign power of God.’
Remark: the tempos of this relatively short aria vary from 1:59 (GardinI) to 2:28 (Rifkin). All recordings around 2 minutes sound adequate.
Koopman (May 1995): German bass-baritone, Klaus Mertens (see BCW) is at his best here as in most recordings with Koopman. His high and low registers and diction and ‘soft’ voice are perfect. The 3 trumpets sound ‘pure’ and joyous with the timpani and the violoncello, violone, bassoon and the chest organ in the BC. One of my first choices!
Joshua Rifkin / The Bach Ensemble (Jul 31, Aug 6-8, 1995; Aug 4, 1996): German bass-baritone, Michael Schopper (see BCW) has a ‘dark’ voice’ and good diction. This is the slowest interpretation and the 3 trumpets and the timpani appear clearer in the forefront. The BC consist of violoncello, bassoon and chest organ. Among my first choices.
Suzuki (July 1997): Dutch bass, Peter Kooy (correct Dutch spelling: Kooij. See BCW) sings for most Suzuki recordings and has a similar performance as Klaus Mertens. His technique in all registers is excellent and this interpretation is similar to Koopman’s, with perfect 3 trumpets and timpani. His BC with 2 Violoncellos, Violone and Organ (played by Suzuki himself) does not include a bassoon. One of my first choices!
Gardiner I (April 1999): German bass, Reinhard Hagen (see BCW) might not be as well-known but his performance is as good as all the above. His timbre is ‘darker’ than Mertens and Kooij, but his low register is especially good, considering that this aria is also in the lower C Major key! Original trumpets, timpani and BC sound perfect. Also one of my first choices.
Gardiner II (June 2000): Bass-Baritone Panajotis N. Iconomou (see BCW) is a former boy alto with the Tölzer Boy’s Choir, who performed many parts in the Harnoncourt / Leonhardt cycle (not discussed here). With his longtime experience since 1980, his part sounds technically perfect but not as powerful as with Reinhard Hagen (above). Original trumpets, timpani and BC as above. This is my second preference of both Gardiner recordings.
The Purcell Quartet (May 2007): English baritone, Peter Harvey, (see BCW). He has a long standing period performance in baroque music, including Harry Christophers and The Sixteen, Christopher Hogwood and the Academy of Ancient Music, Sir John Eliot Gardiner and the English Baroque Soloists among many others. His aria is technically perfect but his volume / timbre sounds too reserved. Although trumpets, timpani and BC are well played, not my first choice, mainly because of the low volume of the soloist.
Lutz (May 2007): Swiss baritone and conductor, Raphael Jud (see BCW) reminds the voice of Klaus Mertens – technically perfect with a good diction. The original trumpets with the timpani and a BC consisting of violoncello, violone, bassoon and organ also sound perfect. Among my first choices.
Final preferences: all soloist here do a great job and a fair ranking is not easy. Nevertheless, my personal preference is:
(1) Koopman – (2) Lutz – (3) Gardiner I - (4) Suzuki – (5) Rifkin – (6) Gardiner II – (7) Purcell Quartet
Movement 4: Aria Tenor, Violin I and II, Viola I and II (Flauto Traverso in 8va) and BC
Introduction by Alfred Dürr: ‘It is evident that the display of splendor in the opening chorus and the first aria has to be followed by a substantial contrast. This is supplied, in the aria no. 4, by violins and violas in unison (supported by flute an octave higher at a later performance), playing a flowing melody that represents the wafting of the divine Spirit. This, in conjunction with the chosen triple time, conveys the impression of release from all earthly gravity. Only in the second half of the middle section does vigorous triadic melody come to the fore at the words ‘Rise up, make ready’.
Remark: None of these tenor aria recordings use the Flauto Traverso in 8va. . I am only commenting the tenor voices and a recorder if present.
Koopman (May 1995): German tenor, Christoph Prégardien (see BCW) performs most of the tenor parts in the Koopman cycle. As a concert singer Christoph Prégardien regularly collaborates with such well-known conductors as Frans Brüggen, John Eliot Gardiner, Nikolaus Harnoncourt, Philippe Herreweghe, Christopher Hogwood, René Jacobs, Ton Koopman, Sigiswald Kuijken, Gustav Leonhardt and Helmuth Rilling. With all this experience, his voice sounds technically perfect and very pleasant. Koopman also uses a recorder (instead a flauto traverso in 8va) in this movement, doubling with the first violin.
Joshua Rifkin / The Bach Ensemble (Jul 31, Aug 6-8, 1995; Aug 4, 1996): English tenor, John Elwes (see BCW) has performed with conductors such as Nikolaus Harnoncourt, Roger Norrington, Joshua Rifkin, and Christopher Hogwood. He has excellent technique and a very expressive phrasing in this aria. Rifkin doesn’t use a traverse flute or recorder. One of my first choices.
Suzuki (July 1997): Japanese tenor, Makoto Sakurada (see BCW) sings the tenor parts in most of Suzuki’s recordings. He also has a very well-schooled voice with a pleasant timbre and excellent technique. Suzuki doesn’t use a traverse flute or recorder. Also one of my first choices.
Gardiner I (April 1999): German tenor, Christoph Genz (see BCW) has performed worldwide with conductors such as Herbert Blomstedt, Philippe Herreweghe, Frans Brüggen, Marcus Creed, Ton Koopman, Sigiswald Kuijken, Sir Simon Rattle and Peter Schreier. His voice, although technically perfect sounds somewhat reserved and his diction is not very clear. Gardiner doesn’t use a traverse flute or recorder. Not one of my first choices.
Gardiner II (June 2000): also with Christoph Genz (see above), very similar to Gardiners first recording. Gardiner doesn’t use a traverse flute or recorder. Also not one of my first choices.
The Purcell Quartet (May 2007): English tenor, Charles Daniels (see BCW) was both a Chorister and a Choral Scholar of King's College, Cambridge. His voice reminds me of the second performance of Christoph Genz with Gardiner II, see above. There is no use of a traverse flute or recorder. Also not one of my first choices.
Lutz (May 2007): Austrian tenor, Bernhard Berchthold (see BCW) might not be as well-known as Mertens or Kooij but is clearly my favorite here. Good diction, timbre technique. There is no use of a traverse flute or recorder.
Final preferences: all soloist here do a great job and a fair ranking is not easy. Nevertheless, my personal preference is:
(1) Lutz– (2) Koopman – (3) Suzuki - (4) Rifkin– (5) Gardiner II – (6) Gardiner I – (7) Purcell Quartet
Movement 5: Aria Soprano and Alt (Oboe / Oboe D’Amore or Organ) and BC
Introduction by Alfred Dürr: ‘The design of the fifth movement is most ingenious: Bach combines the three-verse poem of the duet with the chorale melody ‘Komm, Heiliger Geist, Herre Gott’, which— in a scarcely recognizable form on account of its extremely rich ornamentation— is played line by line on the oboe (or, in a later performance, on obbligato organ) as an accompaniment to the vocal duet. In the introductory ritornello, the chorale melody is already implied in the top notes of the cello ostinato* figures. At the vocal entry the texture is expanded to a quartet, made up of soprano (the Soul), alto (the Holy Spirit), oboe (the c) and cello (continuo)— a texture of admirable, filigree-like polyphony.’
Koopman (May 1995): German soprano, Barbara Schlick (see: BCW) and German counter-tenor, Kai Wessel (see BCW) often perform in the Koopman cycle. I don’t like Schlick’s performance at all – too operatic and shrill in the high register. Wessel’s voice stays too much in the background and the mix of these two voices is far from ideal. The chorale melody is played by Koopman himself at the organ and the tempo sounds adequate with 3:38. Not my first choice!
Joshua Rifkin / The Bach Ensemble (Jul 31, Aug 6-8, 1995; Aug 4, 1996): Swedish soprano, Susanne Rydén (see BCW) and American counter-tenor, Steven Rickards (see BCW) are both (Rydén is technically outstanding!) and Rickards mix better here, although still not my first choice. The chorale melody is played by an oboe and the tempo is slower with 4:11.
Suzuki (July 1997): German soprano, Ingrid Schmithüsen (see BCW) and counter-tenor Yoshikazu Mera perform much better as both interpretations mentioned above; both voices mix very well. Although not mentioned in the liner notes, the chorale melody is also played by an oboe (or oboe d’amore?) here and the temp of 3:43 is similar to Koopman’s and sounds adequate. One of my first choices.
Gardiner I (April 1999): this interpretation with 5:12 is definitely too slow! Czech-born soprano, Martina Janková (see BCW) although technically good sounds too operatic for my taste. English counter-tenor, Robin Blaze (see BCW) is practically inaudible. The chorale melody is also played by an oboe. Certainly my last choice!
Gardiner II (June 2000): this second recording is still too slow with 4:41 IMHO. The combination of soprano Lisa Larsson (see BCW) and contralto Nathalie Stutzmann (see: BCW) is better than above, but still not my first choice. The chorale melody is played by the oboe.
The Purcell Quartet (May 2007): the mix of English soprano, Emma (Carolyn) Kirkby (see BCW) and English counter-tenor, Michael Chance (see BCW) sound very good to me and is one of my first choices. The chorale melody is played by the oboe and the tempo of 4:21 is slow but still adequate.
Lutz (May 2007): both Swiss soprano, Eva Oltiványi (see BCW) and counter-tenor Markus Forster (see BCW) are excellent and the mix of these voices in the duet is certainly my first choice. Interestingly, the chorale melody is played by the viola and the tempo is a good average of 4:11 (exactly the same as with Rifkin)
Final preferences:
(1) Lutz– (2) Purcell Quartet– (3) Suzuki- (4) Rifkin– (5) Koopman – (6) Gardiner II – (7) Gardiner I
Movement 6: Chorale, Choir or S, A, T and B (OVPP), Violin I (+ Flauto Traverso and Woodwinds) Strings and BC
Introduction by Alfred Dürr: ‘In the concluding chorale, as often in Bach’s early cantatas, an independent fifth part for violin I is added to the plain four-part choral texture, doubled by instruments.
Koopman (May 1995): although with a large choir ( 5 S, 4 A, 4 T and 4 B) this a very good interpretation and the 5th voice violin sounds clear and silvery.
Joshua Rifkin / The Bach Ensemble (Jul 31, Aug 6-8, 1995; Aug 4, 1996): although the OVPP soloists scoring sounds much more transparent as in all other HIP interpretations, the 5th voice violin part is not clearly audible and sounds somewhat ‘washed out’. No my first choice.
Suzuki (July 1997): very similar to Koopman in choir size, but the 5th. voice violin lacks the audibility and silvery sound expected here. Not my first choice.
Gardiner I (April 1999): same as above. Not my first choice.
Gardiner II (June 2000): same as above. Not my first choice.
The Purcell Quartet (May 2007): this is the better OVPP interpretation in terms of clarity, although the prominent role of the 5th voice violin is not expressive enough.
Lutz (May 2007): this is chorale with the best choir size, very close to Bach’s situation in Leipzig. Unfortunately, the 5th. voice violin Neither reach the clarity as with Koopman. My second choice.
Final preferences:
(1) Koopman– (2) Lutz– (3) Rifkin- (4) Purcell Quartet– (5) Suzuki– (6) Gardiner II – (7) Gardiner I
(Movement 7): Repetition of Movement 1 (only in the Leipzig Version)
Introduction by Alfred Dürr: ‘At least in some of Bach’s performances, movement 6 was followed by a reprise of the opening chorus to round off the work. Bach revived the cantata several times in Leipzig, making various alterations for this purpose. For the key of the work, he sometimes chose D major, which would have corresponded roughly with Choir-Pitch C in Weimar, and sometimes C major. All the various changes he made show how much trouble Bach took over a work which— as the number of documented performances (at least four) suggests— he seems to have particularly loved.’
Suzuki and Gardiner I don’t repeat the chorus of movement 1 at all.
Gardiner II and Lutz repeat the chorus movement 1, but without a ‘da capo’. Ranking see above.
Koopman, Rifkin and the Purcell Quartet repeat the full 1st. movement. Ranking see above.
Final Ranking: with all the different nuances in all movements (soloists, choir size, instrumentation, key, pitch and temperament) a fair ranking of these interpretations is not easy. My final judgement is:
HIP: (1) Lutz – (2) Suzuki – (3) Koopman - (4) Gardiner II (5) Gardiner I
OVPP: (1) Rifkin – (2) Purcell Quartet |
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