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Cantata BWV 34
O ewiges Feuer, o Ursprung der Liebe [I]
Cantata BWV 34a
O ewiges Feuer, o Ursprung der Liebe [II]
Discussions - Part 7 |
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Continue from Part 6 |
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Discussions in the Week of September 27, 2026 (5th round)
Cantata BWV 34 ‘O ewiges Feuer, o Ursprung der Liebe (I)’ by Rudolf Lutz compared to other recent 11 HIP and 1 OVPP recordings. |
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Frits V. Herbold wrote (September 27, 2026):
The BCW shows 51 recordings so far for this very festive cantata for Whit Sunday (1st Day of Pentecost), starting with an early recording from 1936 (!) with Karl Straube and many other with famous directors from the 50ies and 60ies as Jonathan Sternberg, Diethard Hellmann and Fritz Werner (not discussed here) and ending with very recent renditions (2025!), many of them only available on YouTube, but neither discussed here.
BWV 34 is the 25th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, May 29, 2009 – as usual, 2 days before the respective Whit Sunday 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.
Scoring: see NBA: I/13, BC: A 84 and Bach Digital: Bach Digital :
Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Tromba I, Tromba II, Tromba III, Timpani, Flauto traverso I, Flauto traverso II, Oboe I, Oboe II, Violine I, Violine II, Viola, Basso continuo
Note: this is misleading, since the original parts are lost (only some parts available for BWV 34a!) and we can’t be sure there were original parts for both soloists and ripienists, although they might have existed. Therefore, the OVPP version recorded by Kuijken makes sense.
Remarks:
1. The NBA I/13 with its ‘Kritischer Bericht’ (critical report) was published in 1960 (Dietrich Kilian), meaning that it was only available to conductors after Max Thurn and starting with Fritz Werner’s recordings (not discussed here).
2 The ‘Kritischer Bericht’ (critical report) mentions the extant original score and the missing original parts. There are some parts available for the parodied secular cantata BWV 34a. We have a good English translation of many details in the critical report, courtesy of Mr. Thomas Braatz, member of the discussion group, see BCW
3 Key, Pitch and Temperament. Most recordings discussed here are performed in D Major at the Leipzig Cammerton pitch of a’ = 415 Hz. Lutz uses Young’s or Vallotti’s temperament. Any different keys or pitches are informed in the individual movements 1.
Introduction Cantata BWV 34 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘This cantata is an exceptionally late work, dating from around 1746/ 7. In all essentials, however, it is based on a wedding cantata with the same opening line (BWV 34a) which dates from 1726. Bach may have been stimulated to reuse it for Whit Sunday by the image of ‘heavenly flames’ that determines both the text and music of the opening chorus. The anonymous librettist was assigned the task of modelling the opening and closing choruses and the aria sufficiently closely on the existing wedding cantata that the music at hand might be reused with the fewest possible alterations. Although the connection with Whit Sunday often finds expression only in general turns of phrase, the librettist carried out his task with considerable skill. The opening words, which even in the wedding cantata had evoked the aid of the Holy Spirit, already establish a link with the ‘cloven tongues as if of fire’ of the Epistle reading (Acts 2.3). The Gospel for the day culminates in two sayings of Jesus: ‘Whoever loves me will keep my word, and my Father will love him, and we will come to him and make our abode with him’ (John 14.23) and ‘Peace I leave with you, my peace I give to you’ (John 14.27). The newly written recitatives refer to the first saying, no. 2 in its reference to the ‘Word of Truth’ and its prayer that the Lord will enter into our heart, and no. 4 in its mention of the ‘holy tabernacles’ inhabited by God. The aria paraphrase, no. 3, also alludes to Jesus’s first saying in its exaltation of the ‘chosen souls whom God has selected for His dwelling’ (the last line, ‘And this is the Lord’s doing’, is a quotation from Psalm 118.23). The psalm text of the closing chorus, on the other hand, ‘Peace upon Israel!’ (Psalm 128.6— probably once sung at the wedding of a minister) refers to the second saying of Jesus.
Remarks:
· There is a very interesting spoken detailed introduction from Dr. Mark Peters, professor of music, Trinity Christian College, Palos Heights, IL, available at the BCW, see Dr. Mark Peters previews Cantata #34: O ewiges Feuer, o Ursprung der Liebe [31:58] |
· I don’t think IMHO that any HIP recording with relatively large choirs for movements 1 and 5 are really ‘historically inspired’, considering Bach’s own choir size in Leipzig. In my comments I am including some of such recordings because of their soloists (see below).
· Total times vary considerably between the fastest at 15:27 (Koopman) and slowest 28:14 (Harnoncourt).
Movement 1: Chor, S, A, T, B, Trumpets I, II and II, Timpani, Oboes I and II, Strings and BC
Introduction Cantata BWB 34,1 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The music that Bach set aside for this libretto is of bewitching charm. The lively figuration of the opening chorus, inspired by the image of licking flames, is interlaced with long-held notes, first on the trumpet and later in the voice parts, to illustrate the word ‘ewiges’ (‘ eternal’). Despite its resplendent scoring, this movement, designed in pure da capo* form, makes a transparent and elated effect throughout.
Remarks:
· I am commenting on size and performances of the choirs as well on the instrumental playing of strings, woodwinds and brass and BC.
· Total times vary around a minute and half; the fastest at 7:02 (Suzuki) and slowest at 8:22 (Leonhardt and Beringer).
Harnoncourt ((10 & 11-1972 and 02-1972): although Harnoncourt’s liner notes are very detailed in most cases, I didn’t find correct size of both Wiener Sängerknaben & Chorus Viennensis choirs, but assume at least 6 choristers per part, which is far too large IMHO. At the other hand – as with Leonhardt, Beringer, Leusink and Biller (see below) – these are boy’s and men’s voices, closer to Bach’s Thomaner Choir. Nevertheless I like this rendition with the excellent playing of original woodwinds and brass instruments as well as the reduced string section (4 first violins, 3 second violins and 3 violas) and BC consisting of violoncello, violone, bassoon and chest organ. The key is D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Although this is a very fresh and joyous rendition, the lack of transparency of the choir doesn’t include it among my first choices.
Harry Christophers (08-1990): this rendition at a slightly faster tempo and the reduced choir of 6 sopranos, 4 altos, 4 tenors and 4 basses makes its performance more transparent. The string section is very close to Harnoncourt’s above, but the woodwinds and brass are not as perceived as transparent as with many other rendition discussed here. The BC consist of 2 violoncellos, violone, bassoon, chest organ and possibly a theorbo/lute mentioned in the liner notes. The key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Not bad, but not among my first choices.
Leonhardt (06-1995): interestingly, Leonhardt made his own recording after having participated in almost half of the complete Harnoncourt- Leonhardt cycle. I can’t find an exact size of the participants in the boys Tölzer Knabenchor and men’s voices but the instrsections are detailed in the liner notes: string section (4 first violins, 3 second violins and 2 violas, very close to Bach’s situation) woodwinds, brass and BC consisting of 2 violoncellos, double-bass, bassoon and chest organ. This rendition is also very fresh and joyous, although the too large choir for my taste has the same problem as with Harnoncourt: lack of transparency. The key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Not bad, but not among my first choices.
Gardiner 1 ( 04-1999): I am a huge fan of the excellent professional Monteverdi Choir, although the liner notes don’t specify how many choristers are singing, nor the size of the string section. Nevertheless with a very fast tempo I don’t think that Gardiner reached a good transparency for this movement. Key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Not bad, but not among my first choices.
Karl-Friedrich Beringer (07 & 08-1999): the Windsbacher Knabenchor playing here is probably the largest. The liner notes inform a total of 12 sopranos, 18 altos, 9 tenors and 16 basses. Surprisingly this rendition with its adequate tempo and boy’s and men’s voices sounds much more transparent than expected. The string section comprises 5 first violins, 5 second violins and 4 violas. The woodwind section with both traverse flutes and oboes, brass and BC consisting of 3 (?) violoncellos, double-bass, bassoon and chest organ – although not played on original instruments sound very good. Beringer plays also in D Major, but at the modern pitch of a’= 440 Hz. I am ranking this rendition as average.
Gardiner 2 (06-2000): this second recording by Gardiner is also too fast IMHO. Everything doesn’t sound very different from his first recording above, although the size of the Monteverdi choir is given in the liner notes: 6 sopranos, 4 altos, 4 tenors and 4 basses. The very fast tempo also compromises entries, clarity and transparency but together with the excellent instrumental playing (same size as with Gardiner 1) this rendition sounds better than his first. Key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Among my first choices, but not at the top.
Leusink (06 & 07-2000): the also enormous Holland Boys Choir, although with boy’s and men’s voices sounds too wishi-washi. The tempo sounds somewhat too slow and the instrumental playing (size similar as with Gardiner above) doesn’t help for more clarity, exact entries and transparency. Key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Not my first choice.
Greg Funfgeld (05-2001): also enormous (according to the liner notes) is Funfgeld’s Bach Choir of Bethlehem. Although with a very well-played and clear instrumental introduction, the choir has the same problem as with Leusink, although certainly much better (less wish-washi). As with Beringer, Funfgeld and his ‘The Bach Festival Orchestra’ plays also in D Major, but at the modern pitch of a’= 440 Hz. I am ranking this rendition also as average, but better than the former.
Koopman (11 & 12-2001): the size of Kooman’s choir is informed in the liner notes with 6 sopranos, 4 altos, 5 tenors and 4 basses is similar to most newer HIP recordings, although still larger than Bach had at his disposition in his Leipziger years. The instruments comprise 5 first violins, 4 second violins and 2 violas as well as the original scored woodwinds and brass. This is the most equilibrated rendition of this movement compared to all recordings discussed above. Everything sounds crystal clear, the entries of both choristers and instruments are perfect, guaranteeing a very joyous and fresh interpretation. The liner notes mention a lute in the BC, but I can’t hear it. Key is also D Major at the Leipzig Cammerton pitch of a’= 415 Hz. Among my first choices.
Georg Christoph Biller (05-2007): the sizes of both Thomanerchor Leipzig and the (modern) instruments of the Gewandhausorchester Leipzig are not mentioned in the liner notes, but I also hear that they are relatively large. Nevertheless the slower tempo chosen here help with transparency and clarity, although some of the entries of the boy’s sopranos and altos don’t sound steady. This rendition is also in D Major but at the modern pitch of a’= 440 Hz. Not among my first choices.
Rudolf Lutz (05-2009): with a relatively large choir as well as string section compared to Lutz’ other interpretations (also very often OVPP), this is nevertheless a very crisp, crystal clear and transparent rendition, also at D Major at a’= 415 Hz. As a distinction, one can see (and hear?) both chest organ and harpsichord playing in BC, together with 2 violoncello, violone and bassoon. Among my first choices, after Suzuki.
Suzuki (06-2010): with a choir size very similar to Bach’s Leipziger choir with 4 chorister per parts and a reduced string section of 3 first violins, 3 second violins and 2 violas, both flutes and oboes as well as an excellent brass this very ‘crispy’, clear and most transparent is very similar to Koopman’s recording. Key is also D Major at the Leipzig pitch of a’= 415 Hz. Among my first choices, even before Koopman.
Kuijken (06-2012): OVPP scoring may be questionable for Bach’s later Leipzig years, but as with most OVPP recordings, I like the transparency of the 4 solo choristers and the reduced instrumentation typical with Kuijken. Key is also D Major at the Leipzig pitch of a’= 415 Hz. Among my first choices, but after Suzuki, Lutz and Koopman.
Ranking: Suzuki (1), Koopman (2), Lutz (3) Kuijken (4), Gardiner 2 (5), Leonhardt (6) Gardiner 1 (7), Harnoncourt (8), Funfgeld (9), Christopher (10) Beringer (11), Georg Christoph Biller (12), Leusink (13),
Movement 2: Recitativo, Tenor and BC
Introduction Cantata BWB 34,2 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘A short recitative leads to the only aria in the cantata…’
Remarks:
· I am only commenting on the voices and performances of the tenor soloists in this very short recitative. The composition and playing of the BC is very similar in all recordings.
· Total times vary around half a minute; the fastest at 0:38 (Harnoncourt, Leusink and Lutz) and slowest at 0:50 (Funfgeld)).
Harnoncourt ((10 & 11-1972 and 02-1972): Austrian tenor, Kurt Equiluz (see BCW), is among my favorite tenor soloists since the launch of the Harnoncourt-Leonhardt complete cycle. He has the ideal timbre, good diction, declamation and technique for Bach’s cantatas (also as an evangelist. Among my first choices.
Harry Christophers (08-1990): veteran English tenor, Ian Partridge (see BCW), with his long experience since performing as chorister at New College, Oxford, is perfect in declamation and technique, although his timbre is not as soft as Equiluz’s above. Nevertheless, also among my first choices.
Leonhardt (06-1995): German tenor, Markus Schäfer (see BCW), is comparable to Partridge, but his timbre is somewhat shrill. Average in my ranking.
Gardiner 1 ( 04-1999): Malaysian-born Australian tenor, Steve Davislim (see BCW), might not be as well-known as the other tenors discussed; his technique is good, but I don’t like his timbre, in some instance also to shrill. Average in my ranking.
Karl-Friedrich Beringer (07 & 08-1999): Markus Schäfer (see above) performs better here as with Leonhardt. Among my first choices, but not at the top.
Gardiner 2 (06-2000): German tenor, Christoph Genz (see BCW), comes very close to Equiluz, IMHO. Among my first choices.
Leusink (06 & 07-2000): Dutch tenor and former boy soprano, Marcel Beekman (see BCW), has a very (almost exaggerated) declamation and high pitched timbre, although technically perfect. Average in ranking.
Greg Funfgeld (05-2001): North-American tenor, FrederUrrey (see BCW) presents a very heartfelt declamation and a relatively smooth timbre, although his high note on the second ‘Herr’ sounds slightly off. Nevertheless also among my first choices.
Koopman (11 & 12-2001): well-known Scottish tenor, Paul Agnew (see BCW), has performed in several Bach cantata recordings, also with conductors Stephen Cleobury, Gardiner, Roy Goodman and Paul McCreesh, among others. As experiences soloists, everything sounds perfect: timbre, declamation and technique. Among my first choices, after Equiluz.
Georg Christoph Biller (05-2007): Christoph Genz sounds as well as with Gardiner 2, see above. Among my first choices, after Equiluz and Agnew.
Rudolf Lutz (05-2009): from a younger generation, North-American tenor, Jens Weber (see BCW), has also performed with Kuijken; his declamation is good, but I don’t like his timbre as much as with other tenors discussed here. Average in my ranking.
Suzuki (06-2010): Japanese tenor, Satoshi Mizukoshi (see BCW), shows a surprisingly good German diction; and pleasant timbre. But his declamation is somewhat ‘reserved’ here. Average in my ranking.
Kuijken (06-2012): again, in his third recording, Christoph Genz sounds as well as with Gardiner 2 and Biller, see above. Among my first choices.
Ranking:
Best: Harnoncourt (1), Gardiner 2 = Biller = Kuijken (2), Christophers = Funfgeld (3),
Average: Lutz (4), Gardiner 1 (5), Leusink (6), Suzuki (7), Lenhardt = Gardiner 1 (8)
Movement 3: (Aria) Alto, Strings with Traverse Flutes in 8va. And BC
Introduction Cantata BWB 34,3 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘… leads to the only aria in the cantata, whose pastoral character is comprehensible in the light of its original text, ‘Blessed are you, you chosen sheep’: the minister-bridegroom was formerly honored here as shepherd of his congregation. The scoring is rare: muted violins doubled at the octave by flutes, with repeated pedal notes in the bass, lend the music an unearthly calm. The aria is rightly regarded as one of Bach’s happiest inspirations.’
Remarks:
· I am only commenting on the alto voices and performances of the combined string and flutes playing in this very intimate and ‘pastoral’ aria.
· Total times vary significantly; the fastest at 5:09 (Kuijken) and slowest at 6:42 (Harnoncourt, Leusink and Lutz).
Harnoncourt ((10 & 11-1972 and 02-1972):the very intimate and sensitive instrumental introduction with original instruments as well as experienced English counter-tenor, Paul Esswood (see BCW), sound perfect and is among my first choices for CT’s.
Harry Christophers (08-1990): English counter-tenor, David James (see BCW) has a higher sounding timbre, not as warm as with Esswood. The instrumental playing is also very intimate, if not as transparent as with Harnoncourt. Ranking is average for CT’s.
Leonhardt (06-1995): Boy alto, soloists of the Tölzer Knabenchor (not named) is one of the few recordings with a boy’s voice and timbre. Although technically very good in reaching the higher notes, he sounds somewhat shrill for my taste. Not among my first choices (for boy’s altos), but average.
Gardiner 1 ( 04-1999): Argentinean mezzo-soprano, Bernarda Fink (see BCW), is an experienced mezzo-soprano and recorded with many other well-known conductors. I don’t like her performance here; her higher notes are not steady and sometimes shrill. Average for MS’s.
Karl-Friedrich Beringer (07 & 08-1999): North-American mezzo, Rebecca Martin (see BCW), has a similar performance as Fink; unsteady higher and shrill. Average for MS’s.
Gardiner 2 (06-2000): French contralto and conductor, Nathalie Stutzmann (see BCW), has a much warmer timbre and perfect technique, also in the higher registers. he instrumental playing is also very intimate and transparent. One of my first choices for MS / CA’s
Leusink (06 & 07-2000): Dutch counter-tenor, Sytse Buwalda (see BCW), has a very forceful voice and good technique, but I don’t like his timbre as counter-tenor as much as others discussed here. Average in ranking for CT’s.
Greg Funfgeld (05-2001): veteran Canadian counter-tenor, Daniel Taylor (see BCW) has a long standing tradition as excellent Bach CT, having recorded cantatas with other well-known conductors as Funfgeld, Gardiner, Herreweghe and Milnes, among others. His performance (volume, declamation, timbre and technique) here is almost as good as with Esswood. Among my first choices for CT’s.
Koopman (11 & 12-2001): I like Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW), with her forceful voice and neutral timbre very much. The instrumental playing is very transparent and intimate. Among my first choices for MS’s.
Georg Christoph Biller (05-2007): this is the second recording with a boy’s alto, Martin Deckelmann (Soloist of the Thomanerchor Leipzig). I like his performance better than the unnamed boy alto singing with Leonhardt: very steady in all registers, good technique, declamation and pleasant timbre. Among my first choices (for boy’s altos).
Rudolf Lutz (05-2009): Austrian mezzo-soprano, Margot Oitzinger (see BCW), represents a younger generation of MS’s with excellent technique in the higher registers. I like her timbre and declamation and Lutz’ delicate instrumental playing. Among my first choices for MS’s.
Suzuki (06-2010): veteran English counter-tenor, Robin Blaze (see BCW), is a clear second after Esswood, with excellent technique and warm timbre. The instrumental playing is also very intimate as usual with most renditions with Suzuki.
Kuijken (06-2012): blind German soprano, Gerlinde Sämann, is also a traditional performer with many different conductors (see BCW), and is perfect in this faster recording. Technique, timbre and diction are among my favorite MS’s and Kuiken’s delicate instrumentation helps to create a very intimate rendition. Amonf my first choices for MS’s.
Ranking:
Boy altos: Biller (1), Leonhard (2)
MS’s: Kuijken (1), Koopman (2), Gardiner 2 (3) Lutz (4), Gardiner 1 (5), Beringer (6)
CT: Harnoncourt (1), Suzuki (2), Funfgeld (3), Leusink (4)
Movement 4: Recitativo, Bass and BC
and
Movement 5: Tutti (Choir) S, A, T, B, Trumpets I, II and III, Oboe’s I, Strings and BC
Introduction Cantata BWB 34,4 and 5 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’):
‘No less impressive is the concluding chorus, into which the intervening bars of recitative directly flow It is introduced by two solemn, chordal Adagio bars—’ Peace upon Israel!’— and then launches into a lively bipartite structure in which each section is heard twice, first on the instruments alone and then again with the addition of the choir.’
Remarks:
· Since these movements flow into each other, I am commenting on the bass soloists of the short recitative and the overall impression about the following instruments and choir. See also my previous comments on the chorus (movement 1).
· Total times for the recitative vary only slightly; differences for the final choir vary only around two to two and half minutes.
Harnoncourt (10 & 11-19and 02-1972): veteran German bass-baritone, Siegmund Nimsgern (see BCW), has the perfect relatively dark bass-baritone timbre. Certainly among my first choices, after Mertens with Koopman. The entry of the ‘exploding’ ‘Friede über Israel’ is very impressive. Both instrumental ritornellos (including the trumpets playing) and choir performance are very good and relatively transparent, although Harnoncourt’s choir is too large for my taste. Nevertheless among my first choices.
Harry Christophers (08-1990): British bass-baritone Michael George (see BCW), also has a dark timbre as well as an excellent declamation and technique. The reduced choir with 6 sopranos, 4 altos, 4 tenors and 4 basses as well as the instrumental ritornellos (perfect entry of woodwinds and brass!) sound very transparent and clear. Also among my first choices.
Leonhardt (06-1995): Dutch bass, and singing pedagogue Harry van der Kamp (see BCW), has a very smooth, warm and ‘rounded off’ timbre, very similar to Mertens with Koopman. The boy’s and men’s choir with 7 sopranos, 4 altos, 4 tenors and 5 basses is slightly larger than with Leonhardt. Strings, woodwinds and brass are very transparent and well balanced with the choir. Among my first choices.
Gardiner 1 ( 04-1999): English bass-baritone, Christoher Foster (see BCW), hasn’t the dark timbre as other basses commented above, but nevertheless a perfect technique and declamation. The size of the Monteverdi Choir singers is not informed in the liner notes, but I guess similar as with Gardiner 2, below. Their entries are perfect, but with the heavy instrumentation not always as transparent as expected. Although too fast for my taste, this is a very fresh and joyous rendition. Also among my first choices.
Karl-Friedrich Beringer (07 & 08-1999): German bass-baritone, Sebastian Bluth (see BCW), has a pleasant very and very steady and clear timbre; volume and declamation are also as good as any of the other soloists discussed here for movement 4. Unfortunately, the enormous Windsbacher Knabenchor (see BCW) with a total of 55 boy’s and men’s choristers according to this link is too large IMHO. Therefore, most of transparency and clarity is lost, although the instrumental playing sounds fine. Average in my ranking, mostly because of the large choir.
Gardiner 2 (06-2000): German (boy alto) and bass-baritone, Panajotis N. Iconomou (see BCW), with his long experience since being a boy alto (with the Tölzer Boys’ Choir) sounds perfect with a relatively low timbre. Good diction, declamation and technique puts him at the same level of all other ‘low’ basses discussed here. Contrary as to Gardiner 1, here the size of the Monteverdi Choir singers is informed (6 sopranos, 4 altos, 4 tenors and 4) and the instrumental playing is as good as the former recording. Although also too fast for my taste, this is a very fresh and joyous rendition. among my first choices, but after Gardiner 1.
Leusink (06 & 07-2000): Dutch bass and conductor and music teacher, Bas Ramselaar (see BCW), sounds good with very delicate timbre and perfect declamation. Unfortunately - as with Biller – the Holland Boys Choir (see BCW) is also too large and works not well for a perfect transparency together with the instrumental ritornellos. Average in my ranking, mostly because of the large choir.
Greg Funfgeld (05-2001): North-American baritone, Christòpheren Nomura (see BCW), is mentioned having a ‘warm, robust and clear voice / timbre’, which is well demonstrated in this performance. Unfortunately, Funfgeld’s Bach Choir of Bethlehem (see BCW), has the same problems as with Biller and Leusink: too large and not transparent and clear enough together with the instrumental playing, therefor similar in my ranking as average.
Koopman (11 & 12-2001): I am a huge fan of German bass-baritone, Klaus Mertens’ warm, delicate and ‘rounded off’ baritone timbre. See BCW. Koopmans choir of the Amsterdam Baroque Orchestra & Choir is of a more adequate size (6 sopranos, 4 altos, 5 tenors and 4) giving the 5th. movement more clarity and transparency. The instrumental ritornellos are perfect: great sounds of the original instruments, especially the 3 trumpets. Among my first choices.
Georg Christoph Biller (05-2007): veteran German baritone, Matthias Weichert (see BCW), also started out as a boy chorister in the renowned St. Thomas Choir. His baritone voice comes very close to Mertens with Koopman, above. The liner notes don’t inform the size of the choir, but as with other full choirs discussed above, this choir sounds more transparent despite its size. The instrumental playing with the Gewandhausorchester Leipzig, although with modern instruments, sounds fine. Among my first choices, but not at the top.
Rudolf Lutz (05-2009): Swiss baritone, Fabrice Hayoz (see BCW) is clearly one of my favorite baritones of a younger generation. Everything is perfect here: smooth timbre, excellent declamation and diction. Lutz uses more choristers here than usual: 5 sopranos, 5 altos, 4 tenors and 4 basses, but maintains clarity and transparency as well as Suzuki, below. Among my first choices.
Suzuki (06-2010): I like the veteran Dutch bass, Peter Kooij (see BCW), mostly as well as Mertens with Koopman. His performance here is as good as: timbre, volume, declamation and technique are perfect. Suzuki’s reduced choir with 4 voices per part comes close to Bach’s choir in late Leipzig as well as the string section with (3 first and 3 second violins, 2 violas). Among my first choices.
Kuijken (06-2012): Belgian baritone, Jan van der Crabben (see BCW) is as good as most baritone voices discussed here. Since the original parts are lost, one can not exclude an OVPP performance at Bach’s Leipziger time, but for this almost secular sounding choir composition, I would believe that Bach used at least ripienists for all 4 voices. Nevertheless, the transparency and clarity obtained here is very refreshing, standing apart from all other HIP recordings. The instrumental part is equally transparent with Kuiken’s reduced strings (2 first and 2 second violins, 1 viola). Among my first choices.
Ranking:
Bass / Baritone soloists: I like them all with their specific timbres and declamations
Tutti (Choir): Kuijken (1), Suzuki (2), Lutz (3) Koopman (4), Gardiner 1 (5), Gardiner2 (6), Harnoncourt (7), Leonhard (8), Beringer (9), Funfgeld (10), Biller (11), Leusink (12) |
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Peter Smaill wrote (September 27, 2026):
[To Frits V. Herbold] This wonderful Cantata whose recordings have been analysed and evaluated for us, is now known to be much earlier than Duerr’s 1746 assumption.
In 2008 the text booklet for a 1727 Leipzig Whitsun performance was discovered in St Petersburg by Tatiana Shabalina. She inclined to the view that BWV34a, the wedding cantata, was an almost contemporary parody involving the copyists Johann Heinrich Bach and Meissner.
It’s written up in English at Bach Network’s “Understanding Bach” vol 11 pps 9-38. |
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Bruce Simonson wrote (September 28, 2026):
[To Peter Smaill] I lovthis cantata. |
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Carlos wrote (September 28, 2026):
[To Peter Smaill] As long as it's still by Bach and not Telemann or Kuhnau or Johann Ludwig Bach, etc. :) |
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