Bach Motets
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Harmonia Mundi
Magazine Review Date: 12/1986
Media Format: Cassette
Media Runtime: 0
Catalogue Number: HMC40 1231/2
Tracks:
| Composition | Artist Credit |
|---|---|
| Cantata No. 118, 'O Jesu Christ, mein's Leben Lich |
Johann Sebastian Bach, Composer
Ghent Collegium Vocale Johann Sebastian Bach, Composer Paris Chapelle Royale Chorus Paris Chapelle Royale Orchestra Philippe Herreweghe, Conductor |
Composer or Director: Johann Sebastian Bach
Label: Harmonia Mundi
Magazine Review Date: 12/1986
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
DDD
Catalogue Number: HMC90 1231
Tracks:
| Composition | Artist Credit |
|---|---|
| (6) Motets |
Johann Sebastian Bach, Composer
Agnès Mellon, Soprano Ghent Collegium Vocale Greta de Reyghere, Soprano Howard Crook, Tenor Johann Sebastian Bach, Composer Paris Chapelle Royale Chorus Paris Chapelle Royale Orchestra Peter Kooy, Bass Philippe Herreweghe, Conductor Vincent Darras, Alto |
Author: Nicholas Anderson
I enjoyed Philippe Herreweghe's Harmonia Mundi recording of Bach's St Matthew Passion when it was issued in 1985; now we have his performance of Bach's motets in which he performs the seven works published in the Neue Bachausgabe in 1965. Amongst these is Lobet den Herrn whose authenticity, pace Herreweghe, is not incontestable, and O Jesu Christ, meins Lebens Licht which takes its rightful place amongst the motets rather than the cantatas. Herreweghe in general favours colla parte instrumental support but performs Komm, Jesu, komm! with continuo bass only. In the case of Der Geist hilft the surviving parts, of course, are used; that is to say with strings doubling the voices of the first chorus and reed instruments doubling those of the second.
The chief novelty here, perhaps, is the mode of execution ofJesu, meine Freude which is performed with one voice to a part throughout. BWV118 is performed in its later version in which the voices are supported by strings, oboes and two 'litui' (Bohemian terminology for horns). Alas, this captivating funeral piece is included only in the LP album and is omitted from the CD. In the motets for double choir there are between two and four voices to each strand and in the two for single choir (BWV118 and 230) there are four voices to a part. As I've already mentioned, the five-part Jesu, meine Freude—not four-part as listed in both formats—is sung by soloists: Agnes Mellon, Greta de Reyghere, Vincent Darras, Howard Crook and Peter Kooy.
In general these are persuasive accounts of pieces which are notoriously difficult to carry off successfully in performance. Herreweghe is, above all, a choral conductor and he knows how to discipline a choir. The results here are often impressive with crystal-clear textures and predominantly fine ensemble and intonation. These virtues often result in splendidly resonant sonorities and sumptuously rich harmonic effects. I am sorry that he opted for an entirely solo treatment ofJesu, meine Freude for, although there is some wonderful singing here with notably lively continuo cello playing, I miss the contrasts afforded by choir and ensemble which emphasize Bach's vivid word-painting.
Herreweghe's approach is closer to that of John Eliot Gardiner and his Monteverdi Choir (Erato) than to the more recent recording by the Hanover Boys' Choir and the Hilliard Ensemble (HMV Reflexe) which confined instrumental support to basso continuo. I enjoyed the Hanover Boys' Choir performances but I feel that this new recording creates a more vivid reflection of these remarkable works. It is certainly an issue which I shall want to listen to many times over and it can be enthusiastically recommended. Excellent sound presentation.'
The chief novelty here, perhaps, is the mode of execution of
In general these are persuasive accounts of pieces which are notoriously difficult to carry off successfully in performance. Herreweghe is, above all, a choral conductor and he knows how to discipline a choir. The results here are often impressive with crystal-clear textures and predominantly fine ensemble and intonation. These virtues often result in splendidly resonant sonorities and sumptuously rich harmonic effects. I am sorry that he opted for an entirely solo treatment of
Herreweghe's approach is closer to that of John Eliot Gardiner and his Monteverdi Choir (Erato) than to the more recent recording by the Hanover Boys' Choir and the Hilliard Ensemble (HMV Reflexe) which confined instrumental support to basso continuo. I enjoyed the Hanover Boys' Choir performances but I feel that this new recording creates a more vivid reflection of these remarkable works. It is certainly an issue which I shall want to listen to many times over and it can be enthusiastically recommended. Excellent sound presentation.'
Bach Motets
Bach Motets
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