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Cantata BWV 78
Jesu, der du meine Seele
Discussions - Part 7 |
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Continue from Part 6 |
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Discussions in the Week of May 17, 2026 (5th round)
Cantata BWV 78, ‘Jesu, der du meine Seele’ by Rudolf Lutz compared to 9 recent HIP and 2 OVPP recordings |
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Frits V. Herbold wrote (May 17, 2026):
This is one of my favorite Leipzig chorale cantatas and I also believe Bach must have appreciated his composition cantata since he performed this work (apart from its premiere on September 10, 1724) again between 1735 and 1740. An additional performance around 1755 in Leipzig under the interim directorship of C. F. Barth and C. F. Penzel (see ‘Critical Report’ of the NBA I/21) is also mentioned. ‘Bach’s setting is remarkable for its immediate impact and its wealth of forms. It is striking that movements particularly strict in formal structure often achieve the maximum expressive power. This applies, above all, to the opening chorus, which takes the form of a passacaglia. It is remarkable how Bach manages to unite the forms of passacaglia and chorale while imparting individual expression to various phrases of the text within the chorale lines. For example, ‘forcibly torn out’ is illustrated by rising imitative themes, marked rhythm, and a modulation to F major.’ (see ‘introduction’ below by A. Dürr).
Also, all following recitatives and arias (especially movement 2) show Bach at his peak in terms of invention, counterpoint and harmonies.
The BCW shows 71 recordings so far, starting with a very early rendition from 1946 (Ifor Jones with the Bethlehem Bach Choir Recorded by RCA Victor in Bethlehem, Pennsylvania) and many other early famous Bach conductors (Günther Ramin, Felix Prohaska, Fritz Werner and Karl Richter, among many others. Although I appreciate many of these early recordings, I am discussing only Lutz compared to 8 other recent HIP and 2 OVPP recordings here.
BWV 78 is the 16th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, August 22, 2008 - two days before the respective 14th. Sunday after Trinity in that year. See also the Bachipidia https://www.bachipedia.org/werke/bwv-78-jesu-der-du-meine-seele/ ) 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 boys voices (S & A). Normally, I don’t include the Harnoncourt-Leonhardt cycle in these discussions because of the – IMHO – too large sizes of the choirs used.
Scoring: see KB, I/21 and Bach Digital Bach Digital
Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Corno, Flauto traverso, Oboe I, Oboe II, Violine I, Violine II, Viola, Violone, Basso continuo
Remarks:
1. The NBA I/21 with its ‘Kritischer Bericht’ (critical report) was published in 1959 by Werner Neumann, meaning that it was only available to the conductors starting with Max Thurn and Fritz Werner (both recorded in 1960).
2. Although no autograph original score is available (only copies) we have a good insight with the two original parts –considering the different performances: the first performance mentioned above; the subsequent performance around 1736–1740 with an additional autograph flauto traverso part and the latest performance after 1745 with an additional autograph violone part. The ‘Kritischer Bericht’ explains in detail the involved copyists as well as the relation between all sources (original and copies). Most recordings follow the second or latest version with both transverse flute and violone as obligato instruments.
3. The parts mentioned above in Bach digital are misleading, since the original parts don’t mention doublets for the solo vocalist parts, S, A, T and B. This fact can be used to suggest an OVPP interpretation, as did Rifkin and Nicolette Moonen with ‘ The Bach Players’ , see below. Also, one of continuo parts – as usual for the Leipzig cantatas - is transposed for the church organs tuned to the higher ‘ Chorton’ pitch of a’ = 465 Hz excluding the probability of a harpsichord part.
4. The original Leipzig key is in g minor played at the Leipzig ‘ Kammerton’ a’ = 415 Hz. All the HIP / OVPP recordings discussed here perform according to this original setting with the exception of Jacques Vanherenthals’ rendition with the Chapelle des Minimes (see below) who – although also in g minor, performed at the modern pitch of a’ = 440 Hz.
Introduction Cantata BWV 78 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘This cantata was first performed on 10 September 1724 in the context of Bach’s cycle of chorale cantatas. At a revival, perhaps in the late 1730s, 30 Bach required the flute to play in the chorale movements nos. 1 and 7 (while apparently omitting the horn) and added the violone part to the duet, no. 2. The cantata is based on the twelve-verse hymn of 1641 by Johann Rist. The anonymous librettist retained the first and last verses word for word and paraphrased the others into madrigalian verse, quoting several chorale lines literally in the recitatives as follows: verse 3, lines 1– 2: beginning of 3rd movement verse 4, lines 5– 6: middle of 3rd movement verse 5, lines 7– 8: end of 3rd movement verse 10, lines 5– 8: end of 5th movement The paraphrase is handled strictly in content but often very freely in form, which necessarily follows from the large number of verses in the hymn. Thus only the second and sixth movements are based on a single verse each (verses 2 and il respectively); the third is based on verses 3-5, the fourth on verses 6– 7, and the fifth on verses 8– 10. The choice of hymn in no way follows conclusively from the Sunday readings. In complete contrast to the cantata text of the previous year (BWV 25), the healing of the sick is barely mentioned and understood in an exclusively symbolic way. The core of the hymn, and therefore of the cantata, is the thought of Christ’s Passion, which has healed the faithful and stilled the conscience. Only in a few places does the librettist enter more closely into the Gospel* reading than the hymn text (‘ You seek the sick …’; ‘Sin’s leprosy’). The entire second half of the cantata goes beyond the text of the Sunday Gospel, expanding and interpreting it; and here the libretto’s affinity with a sermon is clearly evident.
Remark: total times vary significantly between the fastest tempo at 19:52 (Nicolette Moonen & The Bach Players, OVPP) and the slowest 24:03 (Jacques Vanherenthals). Most other recordings are between 20 and 22 minutes.
Mvt. 1: Choral, S + Horn, A, T, B, Strings, Transverse Flute, Oboes I & II and BC
Introduction by Alfred Dürr (without illustrations) ‘Bach’s setting is remarkable for its immediate impact and its wealth of forms. It is striking that movements particularly strict in formal structure often achieve the maximum expressive power. This applies, above all, to the opening chorus, which takes the form of a passacaglia. Altogether, the passacaglia theme enters twenty-seven times, including two statements in inversion and several transferred to the top part or transposed to other keys (subdominant, dominant, relative major and its dominant). But even when bars are occasionally inserted that appear to be thematically free, the connection with the theme is maintained: it is either represented by a distinctive counterpoint,* already known from several presentations of the theme, or else its head-motive moves through the voice parts in stretto. A certain restraint is imposed on the instruments by the passacaglia structure: concertante* opposition and collaboration are replaced by varied succession; but as a result, the role assigned to the voices is all the more significant. The three lower voice parts do not merely accompany the soprano chorale melody in aplain or lightly polyphonic texture, as often happens elsewhere. Instead, they prepare each chorale-line entry with different themes in an imitative* texture and accompany the lines with expressive polyphony. Their function is to mediate between passacaglia and chorale. With all its polyphony the texture of the lower voice parts belongs to the variational framework, with which it is thematically linked. On the other hand, it is also assigned the role of interpreting the sung chorale text, so that for each line Bach strives to invent a distinctive, illustrative theme for imitation. The passacaglia theme, one of the most lapidary themes in musical history may be traced back a long time before Bach. It fills the interval of a chromatically* descending fourth from a note normally to be understood as tonic to a concluding dominant, which then leads back to the tonic (the starting-point of the thematic repetition). Bach himself quoted the theme briefly for the first time in Cantata 4, Christ lag in Todes Banden (before 1714), Versus 5 (‘ Hier ist das rechte Osterlamm’), then again in Cantata 12, Weinen, Klagen (1714), whose second (** 527**) movement in its late adaptation as the ‘Crucifixus’ of the B minor Mass was to become the best-known example of its type. In the present cantata, the first presentation of the theme reads: It is remarkable how Bach manages to unite the forms of passacaglia and chorale while imparting individual expression to various phrases of the text within the chorale lines. For example, ‘forcibly torn out’ is illustrated by rising imitative themes, marked rhythm, and a modulation to F major.
Remark: total times vary significantly between the fastest at 4:33 (Jeffrey Thomas) and the slowest 7:02(Jacques Vanherenthals). Most tempos of all other recordings are between 5 and 5:30 minutes.
Harnoncourt (10-1976 & 04-1977): I like the very detailed liner notes from the complete first LP and CD editions by Teldec (‘Das alte Werk’) of the Harnoncourt & Leonhardt cycle. One can look up the instrumentation in each movement but also the origin and description of the – what Harnoncourt calls the ‘original instruments’. I have commented earlier that I like many aspects of this cycle – especially the soloists and boys voices, but I don’t like the size of the choirs. This recording was made at different times, but I don’t think this makes a big difference with the modern possibilities of sound editing. The size of the Tölzer Knabenchor (see BCW) is not detailed in the liner notes, but I guess 4 to 6 voices per part. Since this is a boys choir, I wonder who provided the alto and bass choristers; normally the liner notes give more information (e.g. a second choir), which is not the case here.
As in most cases, Harnoncourt offers ‘Remarks on the performance(s)’ in his liner notes. Regarding this first movements, he comments: ‘Cantata 78: Jn the first movement. a choral chaconne, the dotted rhythm was arranged in a widely varying manner. in accordance with the custom of the time (Occasionally for instance: illustration). The articulation was supplemented . The horn part reinforcing the cantus firmus was performed on a slide trumpet.’
Although I like the instrumentation in this rendition, this is a good example for the too large choir; as a consequence all the choir entries – especially important in this composition (Dürr: ‘to mediate between passacaglia and chorale’) - are ‘blurred’ and ‘washed out’ (German: ‘verwaschen’), in a nutshell not transparent.’ The BC is mentioned in the liner notes for each movement, here violoncello (played by Harnoncourt), violone and chest organ. Not my first choice.
Herreweghe (11-1987): I like Herreweghe’s choir (in this case 4 voices per part) with his longstanding experience in leading choirs with the Harnoncourt-Leonhardt cycle. While Harnoncourt writes in one of his many books regarding his rehearsals of cantatas ‘I am curious how all this (the instrumental part) will sound together with the choir ’’…. (IMHO showing that he is not really a specialist in handling the choir parts as opposed to Herreweghe, his former choirmaster). The soprano section with the choral part as well as the other many differently harmonized A, T and B voice entries are very transparent here, also following Dürr’s comment ‘With all its polyphony the texture of the lower voice parts belongs to the variational framework, with which it is thematically linked. On the other hand, it is also assigned the role of interpreting the sung chorale text, so that for each line Bach strives to invent a distinctive, illustrative theme for imitation.’ see above. The choral melody is enforced by a natural horn. BC instruments are mentioned in the liner notes (including violas da gamba and lutes) but I hear a violoncello, violone, bassoon and the chest organ her. One of my first choices.
Rifkin (03 & 04-1988): this is one of the two OVPP recordings discussed where the single soloists create a most transparent hearing experience. Rifkin discusses the NBA edition specifics and informs that he doesn’t use the corno part going with the choral melody sung by the solo soprano. It doesn’t really matter IMHO. The string section of the instrumental parts is relatively small: 2 first violins, 2 second violins and one viola, apart from transverse flute and both oboes. The BC is also mentioned in the liner notes for each movement: violoncello, violone and chest organ. One of my first choices.
Jeffrey Thomas (01-1995): the reduced choir with 3 sopranos, 3 altos, 4 tenors and 3 basses as well a small string section with 3 first, 3 second violins and 1 viola sound similarly transparent as with Rifkin. A cornetto leads the soprano part and all other choir entries are very exact. Transverse flute and oboes sound well and the BC is played by both harpsichord and organ, as well aa well as violoncello, violone and bassoon. One of my first choices.
Jacques Vanherenthals (09-1995): these recordings with the Chapelle des Minimes (Belgium) are not as well-known as the other discussed here and needs to be ordered at: https://www.minimes.net/ . Unfortunately, this choir (although with excellent choristers) is too massive (according to the BCW) consisting of 10 sopranos, 13 altos, 5 tenors and 8 basses. The string section is also relatively large with 5 first, 4 second violins and 2 violas. A horn leads the chorale melody and both flute and oboes play well. The BC consist of 2 Violoncellos, Double-Bass, Bassoon and the original organ of the Church of Minimes. This is the only recording performed at the modern pitch of a’= 440 Hz – but also in g minor. This movement sounds better than expected, but the tempo is too slow IMHO, which doesn’t make it one of my first choices.
Peter-Jan Leusink (11 & 12- 1999): as with Harnoncourt, the IMHO too big choir (11 sopranos, 7 altos, 6 tenors and 8 basses) doesn’t help for good transparency, although the individual entries are correct. The same goes for the ample instrumentation (5 first, 4 second violins and 3 violas). Both don’t help to create the expected transparent harmonization in this movement. Transverse flute and oboes sound ok, a horn leads the chorale melody. BC consist (from what I can hear) of violoncello(s?), double-bass, bassoon and chest organ. Not my first choice.
Koopman (03- 2000): Koopman’s choir is comparable to Herreweghe’s and Gardiner’s, with (5 sopranos, 4 altos, 6 tenors and 4 basses) – in IMHO still too large, but nevertheless very transparent because of the excellent entries and chorister voices. String section (5 first, 4 second violins and 3 violas), transverse flute and oboes and the leading horn with the soprano chorale melody are perfect and the BC consists of 2 Violoncellos, Double-Bass, Bassoon, Bassoon (Lute?) chest organ. This is also a very transparent rendition. Among my first choices.
Gardiner (09-2000): the experienced Monteverdi Choir with 6 sopranos, 4 altos, 4 tenors and 4 basses and the string section with 5 first, 4 second violins and 3 violas (similar to Koopman) also sound transparent with good entries. Accordto the liner notes, the brass instrument leading with the soprano choral is a ‘cornett’; both transverse flutes (the liner notes mention ‘recorder’!) and oboes play delicately and the BC consists of 2 violoncellos, double-Bass, Bassoon, harpsichord and chest organ. Among my first choices.
Suzuki (02-2003): the choir with 3 voices per part and a smaller string section with 3 first, 3 second violins and 2 violas is a better option among these HIP, together with the excellent instrumental playing of both transverse flute and oboes. The BC informed in the liner notes consist of violoncello, violone, bassoon and both harpsichord and chest organ (Suzuki himself). I can’t hear a harpsichords playing in this first movement. Among my first choices.
Lutz (08-2008: IMHO, this is one of the best performances among all of 16 Lutz’s recordings so far. Lutz uses both choir and string section sizes as above with Suzuki. His strings, transverse flue and oboe players are outstanding professional with a very exact and delicate playing. The BC consist of violoncello, violone, bassoon ( exceptionally played by Rogério Gonçalves instead of Susann Landert) and chest organ. Lutz is only conducting here. This is certainly my first choice among all HIP recordings discussed here.
Nicolette Moonen & The Bach Players (06-2013): this is the second OVPP rendition discussed here. The minimal strings (2 first violins, 1 second violin and 1 viola) as well as the very delicate playing of both transverse flute and oboes helps to create a maximum transparency. There is no mention of a horn in the liner notes and I can’t hear a brass instrument leading the soprano chorale part. All the soloists (see discussions below) with their exact entries sound perfect. A ‘light’ BC also helps with the transparence and delicacy here. One of my first choices, even before Rifkin.
Françoise Lasserre & Akadêmia Ensemble (12-2008 & 01-2009): this recoding probably comes very close to Bach’s original performance with 2 voices per part (soloists and ripienists) and the organ part played on the organ of the L'Eglise Evangélique Allemande, Paris. The string section is also relatively small with 3 first and 3 second violins and 1 viola. Transverse Flute and 2 Oboes are very well played and the brass instrument leading the soprano choral melody is a slide trumpet. The other BC instruments comprise a violoncello, a double-bass and a bassoon. Also among my fist choices for the HIP recordings.
Ranking (OVPP) : (1) Nicolette Moonen & The Bach Players, (2) Joshua Rifkin
Ranking (HIP) : (1) Lutz, (2) Françoise Lasserre & Akadêmia Ensemble, (3) Suzuki, (4) Koopman, (5) Gardiner, (6) Herreweghe, (7), Harnoncourt, (8) Leusink, (9) Jacques Vanherenthals
Mvt. 2 Aria Duetto, S, A, Violone (Violoncello / Bassoon) and BC
Introduction by Alfred Dürr (without illustrations) ‘The duet, no. 2, is exceptionally charming and therefore widely known. The chromatically descending figure of the first movement is here replaced by a diatonically ascending figure as a symbol of hastening towards Jesus. The continuo instruments, partly by nimble movement (cellos) and partly by marking the bass notes (violone), depict in a most telling fashion the ‘weak yet eager steps’ with which the faithful hasten towards their Master. The canonic opening of the vocal duet parts, being a symbol of the Imitation of Christ, also has its justification in the text, as do the many reiterations of the words ‘O Jesu’ and ‘zu dir’ (‘ to You’) and the coloraturas on ‘erfreulich’ (‘ gratifying’).
Remarks:
· I am discussing both soloists and the participation of the continuo instruments with their ritornello parts.
· Total times vary significantly between the fastest at 4:20 (Gardiner and Lutz) ) and the slowest 5:31(Herreweghe). Most tempos of all other recordings are between 5 and 5:30 minutes.
Harnoncourt (10-1976 & 04-1977): I would have expected this to be one of my first choices, with both boys (S) and men’s (A) voices (especially Paul Esswood). Unfortunately boy soprano Wilhelm Wiedl (Soloist of the Tölzer Knabenchor, see BCW) sounds too loud and too ‘shrill’ in this rendition, although his voice mixes well with alto: Paul Esswood (see BCW). The continuo instruments playing here are (only) violoncello (played by Harnoncourt himself) and chest organ, played by Johann Sonnleitner. In Harnoncourt’s remarks about this movement he mentions: ‘The question as to what is meant in every individual by the term ‘violone’ has not been satisfactorily clarified to the present day. In this respect the most important question is not so much the type of instrument as the pitch (whether loco or an octave below). In this case (Aria 2). Following various experiments, we finally decided for emotion and tonal reasons in favor of loco. and performed the part on the violoncello (which incidentally was very often also described as the violone). The term ‘staccato’ was evidently intended as a warning against a resounding pizzicato (pizzicato can be played in highly variable ways going almost as far as legato. In the tenor aria, as well as in the bass aria. the articulation of the solo parts (flute and oboe) was supplemented.’ This is a very ‘light’ and transparent interpretation but not my first choice because of the boy soprano.
Herreweghe (11-1987): both soloists, German soprano, Ingrid Schmithüsen (see BCW) and English counter-tenor Charles (Michael) Brett (see BCW ) are excellent in this duet with surprisingly well mixing voices and perfect entries. Both are technically perfect – especially in the coloraturas and a very pleasant timbre. The accompanying continuo instruments I can hear are the chest organ and violoncello, but I am not sure about violone, bassoon and lute (mentioned in the BCW and liner notes). Among one of my first choices for HIP recordings.
Rifkin (03 & 04-1988): American Julianne Baird (see BCW) is excellent in this rendition. Of her unique artistry The Washington Post wrote that the American soprano, Julianne Baird, has “one of the most extraordinary voices in the service of early music that this generation has produced. She possesses a natural musicianship which engenders singing of supreme expressive beauty." Equally perfect is Canadian counter-tenor, Allan Fast (see BCW) and their voices are a perfect match. As above, I can hear only a violoncello and a chest organ playing the instrumental ritornellos. Because of ‘lightness’ and transparency, one of my first choices among the HIP recordings.
Jeffrey Thomas (01-1995): English soprano, Catherine Bott (see BCW) and Canadian counter-tenor, Daniel Taylor (see BCW) perform extremely well and their voices are an excellent match. They sing in a very uplifting and joyous way and the slightly faster tempo sounds very adequate. The ritornello instruments include both chest organ and harpsichord, a bassoon and a violoncello. This is certainly one of the most satisfying performances and certainly among my first choices.
Jacques Vanherenthals (09-1995): Belgian soprano, Hildegard Van Overstraeten (see BCW) and Belgian contralto, Rita De Plancke (see BCW) is a different story. I don’t like the mix of this soprano with the low contralto timbre of De Plancke, although both soloist perform technically well. The ritornello instruments (I hear violoncello, double-bass and chest organ) sound too loud in the foreground IMHO. Not among my first choices.
Peter-Jan (11 & 12- 1999): English soprano, Ruth Holton (see BCW) is one of my favorite sopranos, because of her perfect diction, excellent technique and ‘boyish’ timbre. Dutch counter-tenor, Sytse Buwalda (see BCW ) not so much, although in this recording both voices mix well. I can hear a violoncello and a chest organ in the instrumental ritornellos. Among my first choices, but not first.
Koopman (03- 2000): Swedish soprano, Lisa Larsson (see BCW) reminds Holton with a similar timbre and both mixes well with German mezzo-Soprano, Annette Markert (see BCW) . Both manage the coloraturas very well. I can hear both violoncello and chest organ from the continuo instruments for the instrumental ritornellos. Among my first choices.
Gardiner (09-2000): Swedish-born soprano, Malin Hartelius (see BCW ) and English counter-tenor, Robin Tyson (see BCW) mix well in this duet. Both soloists sing frequently with Gardiner and sound as good as both soloists above with Koopman. The instrumental ritornellos are played by violoncello, (violone?)and chest organ. Among my first choices.
Suzuki (02-2003): the same goes for Japanese soprano, Yukari Nonoshita (see BCW) and Canadian counter-tenor, Daniel Taylor (see BCW) but sound even better than all discussed above. According to the liner notes, the instrumental ritornellos are played by violoncello, violone and chest organ. This is my second best choice, after Lutz (see below).
Lutz (08-2008: German soprano, Julia Neumann (see BCW) and Austrian mezzo-soprano, Margot Oitzinger (see BCW) are at their very best here; I like the tempo and the very ‘spirited’ and joyous interpretation. The video shows the ritornello instruments: violoncello, violone, bassoon and chest organ. This is certainly my first choice.
Nicolette Moonen & The Bach Players (06-2013): English soprano, Rachel Elliott (see BCW) and English mezzo-soprano, Clare Wilkinson (see BCW) also are an excellent match, although Elliott sound somewhat shrill in the higher registers. The instrumental ritornello (violoncello, (violone?), and chest organ) sounds louder in the foreground, but this is still among my first choices.
Françoise Lasserre & Akadêmia Ensemble (12-2008 & 01-2009): German soprano, Veronika Winter (see BCW) and my favorite counter-tenor French Damien Guillon also mix very well here. The ritornello is played by a very loud chest organ in the forefront. I can barely hear a violoncello and/or violone – not sure if they play here at all. Also among my first choices.
Ranking: (1) Lutz, (2) Suzuki, (3) Koopman = (4) Gardiner = (5 Herreweghe = (6) Rifkin (7), Leusink = (8) Françoise Lasserre, (9) Jacques Vanherenthals and (10) Harnoncourt.
Mvt. 3 Recitativo T and BC
Mvt. 4 Aria T, Transverse Flute and BC
Introductions by Alfred Dürr (without illustrations) ‘The following recitative, no. 3, is conspicuous for its large intervallic leaps, which portray the despair of the sinner. Bach does not take the opportunity of setting the numerous literal hymn quotations to their chorale melody. The closing quotation from the fifth verse, however, he sets as arioso* in the most expressive melodic style, thereby making it stand out from the secco of the rest of the movement. In the aria that follows, no. 4, the first reference is made to the annulment of our guilt through the Passion of Christ. It is thought that in the flute passages we can hear the ‘cancelling out’ of our guilt (scale figure) as well as the relieved leaping of the heart (staccato figures).
Remarks:
· I am commenting on the tenor soloists and the transverse flute playing in the 4. Movement.
· Total times:
o Movement 3.: no significant differences - all around 1:45 to 2:15
o Movement 4: no significant differences - all around 3:00 to 3:30
Harnoncourt (10-1976 & 04-1977): when it comes to tenor soloists for Bach’s vocal works I am very biased. Even today, with many good younger tenors of a new generation, I still compare them all with Austrian tenor Kurt Equiluz (see BCW). He plays an important role in the Harnoncourt-Leonhardt cycle and influenced my taste significantly. His art can be well evaluated in movement 3, as far as I can hear only accompanied by the BC. The entry of the transverse flute at the very beginning of movement 4 is played very delicately by Leopold Stasny; the combination with Equiluz’s timbre is perfect‘. The liner notes inform the composition of the BC: only violoncello and chest organ. One of my first choices.
Herreweghe (11-1987): American-born (long domiciled in Europe, deceased August 27, 2024) lyric tenor, Howard Crook (see BCW) might not be as well-known as other tenors discussed here. However he performed with many other Bach conductors along with many recordings with Herreweghe. I like his very powerful volume and timbre which can be appreciated better in movement 3. The entry of the transverse flute is equally pleasant and I hear violoncello and chest organ in the BC in both movements. Also among my first choices.
Rifkin (03 & 04-1988): young American tenor, Frank Kelley (see BCW) represents one of those soloists of a younger generation mentioned above. I like his delicate timbre and technique – audible in both movements. The flute playing is also excellent and the BC very‘ light’. Also among my first choices.
Jeffrey Thomas (01-1995): well-known American tenor and conductor, Jeffrey Thomas (see BCW) combines singing and conducting. Also a powerful timbre and clear both higher and lower tones. Very delicate flute playing and a ‘ light’ BC make both movements very transparent and delicate. Also among my first choices.
Jacques Vanherenthals (09-1995): Belgian tenor Ivan Goosens — is known for his work with the ‘Vlaams Radio Koor’ (Flemish Radio Choir) and for performing a wide range of vocal repertoire from the medieval period to the contemporary era. Not bad IMHO, but not as the same level with all other tenor’s discussed above. Also a very delicate flute playing and a ‘ light’ BC make both movements very transparent and delicate. Although not my first choice, this interpretation has his own characteristics.
Peter-Jan Leusink (11 & 12- 1999): Dutch tenor, Nico van der Meel (see BCW) who performs in many Leusink recordings is not at his best here. I don’t like his somewhat ‘thin’ timbre and his higher notes in both movements. The flute playing and also ‘ light’ Bc are ok. Not bad, but not among my first choices.
Koopman (03- 2000): German tenor, Christoph Prégardien, who is widely regarded as among the foremost lyric tenors (see BCW) has a long experience with Bach’s vocal works with conductors as Frans Brüggen, John Eliot Gardiner, Nikolaus Harnoncourt, Philippe Herreweghe, Christopher Hogwood, René Jacobs, Sigiswald Kuijken, Gustav Leonhardt and Helmuth Rilling. is among my favorite Bach tenors. The flute is exceptionally well played by Dutch flautist, Wilbert Hazelzet, and the BC is almost inaudible (violoncello, chest organ). One of my first choices.
Gardiner (09-2000): English tenor, James Gilchrist (see BCW) is in the same league as Prégardien (above). I like his timbre, although he sounds somewhat reserved in both movements. The flute playing is not as prominent as with all others above. Not bad, but not among my first choices.
Suzuki (02-2003): Japanese tenor, Makoto Sakurada (see BCW) performed also with Lutz and has a very versatile technique and pleasant timbre in both movements. Flute and BC playing are perfect. One of my first choices.
Lutz (08-2008: Austrian tenor, Bernhard Berchthold (see BCW) is an excellent example for a new generation of Bach tenors and is perfect here. A very ‘warm’ pleasant timbre and technique in both movements. The very delicate flute playing and BC (violoncello, violone and chest organ) create very transparent and intimate renditions of both movements. Certainly my first choice.
Nicolette Moonen & The Bach Players (06-2013): English tenor, Nicholas Mulroy (see BCW) has also performed with Gardiner and Suzuki (both as evangelist) and has a very forceful and pleasant timbre in both movements. The excellent flute playing by Dutch flautist, Marion Moonen and a BC with violoncello, organ and ( I believe) also bassoon. Among my first choices.
Françoise Lasserre & Akadêmia Ensemble (12-2008 & 01-2009): Dutch tenor (former boy soprano), Marcel Beekman (see BCW) has the strongest volume and low / dark timbre. The excellent flute solo: played by Valérie BalssaIn is top level. In the BC I believe to be hearing violoncello, violone, bassoon (?) and chest organ. Also among my first choices.
Ranking: a fair ranking is not easy here since I like all performances with their individual nuances. Both Equiluz (with Harnoncourt) and Berchthold (with Lutz) are my favorites though.
Mvt. 5 Recitativo B, Strings and BC
Mvt. 6 Aria, B, Oboe I, Strings and BC
Introductions by Alfred Dürr (without illustrations) ‘The second recitative, no. 5, is most elaborately designed. The pathos-laden recitation of the bass part and the string accompagnato* recall similar movements in the Bach Passions. Sudden changes of tempo (‘ vivace’, ‘adagio’, ‘andante’) and the performance indication ‘con ardore’ (in the vivace passage) heighten the dramatic effect. As in the previous recitative, wide intervallic leaps in the voice part (the second bar contains an augmented eleventh) serve as a means of expressive enhancement. The hymn quotation at the end is, on this occasion, set to the ‘Abgesang’ of the chorale melody, which, however, is so elaborately paraphrased that several hearings are required to recognize it. This must surely be one of the most subjective and eloquent elaborations of a cantus firmus ever written for the human voice. The last aria, no. 6, again opens up a new prospect. It is designed almost like a miniature concerto for solo oboe and bass voice with tutti interjections from the strings. The movement is, in fact, built out of a constant alternation between a tutti opening phrase a, a solo continuation b on the oboe, and, as point of departure or arrival, a tutti cadence c. The eight-bar opening ritornello is assembled thus (surprisingly, the irregular lengths of the individual phrases add up to an apparently regular eight bars for the introduction altogether): This structure is maintained throughout the entire A section (amounting to thirty-two bars), being varied only by the solo bass’s replacing the tutti a by vocal insertion in the solo passages, and by dominant transposition. The B section, inclined to the subdominant, is rather more freely structured, although the basic theme remains recognizable, and its close is even designed as a pseudo da capo: the voice part is built into an almost unvaried, complete reprise of the ritornello before an instrumental ritornello statement brings the movement to a close.
Remarks:
· I am commenting on the bass soloists, strings and oboe I playing in the 4. Movement.
· Total times:
o Movement 5.: no significant differences - all around 2:30 to 3:00
o Movement 6: no significant differences - all around 2:10 to 3:00
Harnoncourt (10-1976 & 04-1977): Dutch bass, Ruud van der Meer (see BCW) performed in many recordings of the Harnoncourt-Leonhardt cycle and is at his best here. His declamatory technique in movement 5 and his forceful interpretation in movement is perfect. I like his dark timbre. Strings in both movements, oboe I in movement 6 are very transparent. According to the liner notes the BC is played with violoncello (Harnoncourt), violone and chest organ in both movements. One of my first choices.
Herreweghe (11-1987): Dutch bass, Peter Kooij (see BCW) is at the same level of van der Meer and both performances are also excellent. His timbre is slightly lower and ‘warmer’ as van der Meer. His experience with many other conductors Frans Brüggen and Koopman (among many others) made him technically perfect. Strings, oboe I and BC are similar to Herreweghe and as good as. Also among my first choices.
Rifkin (03 & 04-1988): American bass-baritone, Jan Opalach (see BCW) is equally flawless as both basses discussed above. He has a remarkable strong volume in the lower tones (e.g. on the text ‘Grab’ in the 2nd. line of movement 5. His timbre is also ‘warm’ and pleasant. Strings, oboe I and BC are very transparent and delicate in both movements. Also among my first choices.
Jeffrey Thomas (01-1995): I like American bass-baritone, William Sharp (see BCW) equally, very close to Opalach (above). His declamation is very sensible in movement 2. Strings are more in the foreground and both oboe I and BC are very transparent in movement 6. Also among my first choices.
Jacques Vanherenthals (09-1995): Belgian bass, Patrick Ringal-Daxhelet (see BCW) might not be as well-known as his colleagues above, but is also perfect with diction, range and dark timbre. His declamation in movement 5 is also very sensible and his coloraturas in movement 6 are perfect. Strings are almost too loud in movement 6 but combine well with good oboe I and BC playing. Also among my first choices.
Peter-Jan Leusink (11 & 12- 1999): I am not always fond of Dutch bass and conductor Bas Ramselaar (see BCW) but he is as perfect as all others discussed above. Movement 6 sounds also very pleasant with good instrumental accompaniment. Also among my first choices.
Koopman (03- 2000): German bass-baritone, Klaus Mertens (see BCW) is one of my favorite basses with a typical timbre: ‘rounded off’ and ‘warm’. I can understand that he is perceived one of the best soloists of his generation which is the case here. Instrumental accompaniment in both movements are ‘light’, transparent and intimate. Probably at the top of my choices.
Gardiner (09-2000): English baritone, Peter Harvey (see BCW) is from the same generation as Mertens and Kooij and sings as well as both discussed above with similar technique and pleasant timbre. The instrumental accompaniment is also light (including the BC, not sure of I hear alsa harpsichord in movement 6) Among my first choices.
Suzuki (02-2003): this is the second recording with Peter Kooij (see Herreweghe, above). He sings as well as with Herreweghe and the instrumental parts sound very transparent and intimate. Suzuki plays also a harpsichord in movements 6, along with violoncello, double bass, bassoon and chest organ. Also among my first choices.
Lutz (08-2008: young German baritone, Markus Volpert (see BCW) performs as well as his older colleagues discussed here. The video shows the use of a minimal string section (3 violins, 2 violas) and a BC with violoncello, violone, bassoon and chest organ. This is a very delicate and transparent rendition at the top of my preferences.
Nicolette Moonen & The Bach Players (06-2013): English bass-baritone, Matthew Brook (see BCW) has a very strong and low timbre, very adequate two both recitative and aria performed here. The instrumental accompaniment and BC are also very delicate and transparent in both movements. Also among my first choices.
Françoise Lasserre & Akadêmia Ensemble (12-2008 & 01-2009): I like French baritone, Benoît Arnould (see BCW) as well as all other bass soloists discussed so far. The 6th. movement is very joyous as well as the strings, oboe I and BC. Also among my first choices.
Ranking: as happens with movements 3 & 4 (see above) I don’t find a fair ranking for all these performances. I like them all with their individual characteristic Both Mertens (with Koopman) and Markus Volpert (with Lutz) are slightly better than all others.
Mvt. 7 Choral, S, A, T , B, plus instruments (Transverse Flute in 8va)) and BC
Introductions by Alfred Dürr: ‘A plain four-part chorale at the end of the work leads us back again to the original hymn text and its associated melody.
Remarks: see also movement 1; ranking similar. As always, I have a clear preference for the OVPP renditions of final chorales – in this case Rifkin and Nicolette Moonen with The Bach Players. But I appreciate all other interpretations as well and a ranking wouldn't be fair here. |
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David Couch wrote (May 18, 2026):
[Frits V. Herbold] I really appreciate all your detailed remarks and comparisons, and even share several of your aesthetic opinions such as your early admiration for Kurt Equiluz.
May I suggest that in the future you also provide an overall recommendation for the entire work?
Listening to a cantata as a whole from beginning to end by one unified set of performers is not the same as comparing the ranked quality of each of the separate movements, taken individually. The performance of the complete work ideally should stand together as a whole under a unified artistic conception.
For example, an extreme example I admit: a listener might be horrified by the slow tempos, massive forces, and many of the individual movement performances in Otto Klemperer’s Saint Matthew passion, and the listener might rank many individual movements near the bottom of their comparative listings, yet the same listener may find the cumulative effect of the entire performance to be overwhelming and one of the very best.
You follow a long history on the Bach Cantata group and website of ranking every movement separately without necessarily including a ranking for the whole work. I have always found that to be disappointing, because I tend to listen to a cantata from beginning to end.
But thanks again. Now I will go listen to another wonderful performance by Lutz. |
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Carlos Soriano wrote (May 19, 2026):
[To David Couch] Did you know Hector Berlioz envisioned the use of 800 choristers and 465 orchestra players for his "Requiem"? The score only requires 200 choristers though. But it would be interesting to hear the work performed as Berlioz wanted it.
And I would love to hear Andrew Parrott conduct Mahler's Symphony No. 8 (Mahler specifically requires 858 choristers) with 3 choristers per part. That would be enlightening. |
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