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Reviewer: Peter
Loewen One could do no better to begin a program of Bach’s cantatas for bass voice than with Cantata 82, Ich Habe Genug for Purification Sunday. Wörner’s aria ‘Ich Habe Genug’ is gorgeous—pious resignation comes across with long crescendos that seem to yearn, while Bernardini urges him on with his lyrical oboe part. In the closing aria, ‘Ich Freue Mich Auf Meinen Tod’, Wörner rejoices in death with articulate coloratura. The other two complete bass cantatas here require more voices. Cantata 158, Der Friede Sei Mit Dir for Easter Tuesday, requires a soprano (Magdalene Harer) for the chorale melody in ‘Welt, Ade, Ich bin Dein Müde’ and the remaining voices (Franz Virtzthum, alto; and Nils Giebelhausen, tenor) join Wörner in the closing chorale Cantata 56, Ich Will den Kreuzstab Gerne Tragen for the 19th Sunday after Trinity, also gives a glimpse of Bach’s genius for drama. The undulating cello part in the recitative ‘Mein Wandel auf der Welt’ is the waves over which Wörner’s ship wanders (wandelt). The strength of an eagle he exudes in the following aria ‘Endlich, Endlich Wird Mein Joch’ with a soaring oboe part. The three other arias on the program are extracted from larger cantatas. ‘Gott ist Gerecht’ comes from Cantata 20, O Ewigkeit, du Donnerwort for the first Sunday after Trinity; and ‘An Irdische Schätze das Herze zu Hängen’ is from Cantata 26, Ach Wie Flüchtig, Auch Wie Nichtig for the 24th Sunday after Trinity. The closing aria offers perhaps the most exciting moment on the program. ‘Warum Willst Du so Zornig Sein’ from Cantata 101, Nimm von Uns, Herr, du Treuer Gott for the 10th Sunday after Trinity, calls for three solo oboes. The sudden shifts of tempo give the listener more than one understanding of the words. The driving rhythms in the oboes evoke the emotion of anger; but when the voice enters, the tempo slows to add weight, as though the singer were now searching for answers. The program is wonderful.
Texts and notes are in English.
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