Bach, J S: Cantata BWV1 'Wie schön leuchtet der Morgenstern'

“…a profoundly impressive achievement…liberating performances inhabiting a language of elevated perception and intimacy...Rarely can a single-voiced chorus have sounded so warm and integrated...Sigiswald Kuijken is gently ploughing his own furrow in a mini-series with modest forces and intimate conceits. The performances here of Cantatas BWV1, 18 and 23 are extraordinarily refined, coherent and perceptive. This is Bach stripped bare, but rapt.” Gramophone Magazine, August 2008

“The sonority of the early BWV 18 is inspired - initially four violas and continuo, with flutes added a decade later. The dark timbre is lightened by authentic high pitch, in a gloriously enveloping SACD acoustic; the opening concerto-like sinfonia is captivating. Soloists are admirable throughout.” BBC Music Magazine, January 2009 ****

“On March 25, 1725, Bach celebrated the Feast of the Annunciation and Palm Sunday with a special cantata, Wie schön leuchtet der Morgenstern ('How beautifully shines the morning star'), a work of breathtaking atmosphere and delicate ardour. Masaaki Suzuki's poised grandeur brings considerable richness to this marvellous score, a sparkling duo of solo violins offset deftly against the full ivory texture of high horns and low oboes in the chorus, and joined by topdrawer solo singing. If Gardiner brings more immediate emotion and Koopman a little more élan, Suzuki captures the moment with sustained warmth and intensity.
Equally striking in this volume of pieces from the unfinished chorale-cantata cycle (the second 'Jahrgang') is the graphic immediacy of Bach Collegium Japan; there have been occasions recently when rhetorical projection has become rather too smoothed over, neutral and objectivised. Not so in Nos 126 and 127, the former leaving no stone unturned in its spiky outbursts (trumpet fanfares in wrathful and unusual minor keys) to reflect the 'murderous intent of Pope and Turks'! The evocative Quinquagesima work Herr JesuChrist, wahr' Mensch und Gott is a pre-Passiontide lament of sublime quality and, again, Suzuki hits the mark with heightened characterisation and, especially, meticulous care with 'Die Seele ruht'. There are not many extended arias here but this masterpiece for soprano, solo oboe and two punctuating recorders and pizzicato continuo (for 'Sterbeglocken' – knells of death) is exquisitely performed by Carolyn Sampson. All in all, a disc to be cherished.” Gramophone Classical Music Guide, 2010

“On March 25, 1725, Bach celebrated the Feast of the Annunciation and Palm Sunday with a special cantata, Wie schön leuchet der Morgenstern ("How beautifully shines the morning star"), a work of breathtaking atmosphere and delicate ardour. Masaaki Suzuki's poised grandeur brings considerable richness to this marvellous score, a sparkling duo of solo violins offset deftly against the full ivory texture of high horns and low oboes in the chorus, and joined by top-drawer solo singing.” Gramophone Magazine, June 2007

“Perhaps most appealing in Gardiner's direction is the unfailing delight he takes in refreshing Bach's dance rhythms without ever trivialising textural content.” BBC Music Magazine, April 2006 *****

“This eclectic selection covers works for Quinquagesima, the Annunciation, Palm Sunday and Oculi (the third Sunday in Lent) in arguably the least even of the seven releases so far. Yet there are significant contributions smattered throughout, not least Nathalie Stutzmann's purpleclad Widerstehe (No 54). This true contralto imparts a captivating resilience in the face of sin's devious tricks.
Inspired by the chamber-like ecclesiastical works of Bach's Weimar period, the reduced string ensemble lends a similar intimacy to No 182, though both works suffer from some scrappy playing that clearly could not be rectified simply by dropping in 'patches' from before or after.
Stutzmann, however, projects just the right sense of involvement without forcing the issue.
Wie schön leuchtet der Morgenstern (No 1) is the major work here – a masterpiece of understated majesty and gentle celebration (for the Annunciation) where Bach appears to alight on the morning star as a direct resonance of Epiphany; such musical connections within the cantata oeuvre, throughout the church calendar, provide listeners with endless sources of fascination.
Gardiner's performance is more an example of a splendid occasion captured rather than a notable addition to a distinguished discography.
Cantatas Nos 22 and 23 were Bach's first to have been performed at Leipzig, audition pieces for the post of Thomascantor before his eventual appointment. Both were performed in the same service on the morning of February 7, 1723. Given the Lenten context, Bach hardly had a chance to flex his muscles in opulent displays of orchestration but he makes up for this with two pieces of subtle stylistic range.
Jesus nahm zu sich die Zwölfe (No 22) is strikingly prescient of Passion narrative as Christ prepares for his death with melismas of distilled sadness and acceptance of destiny.
Peter Harvey's is an affecting performance, as is the incrementally impressive Du wahrerGott (No 23), of which Gardiner completely has the measure.
One special movement to bottle? 'Es ist vollbracht' from No 159 – arguably even better than the setting of the words at the end of the St JohnPassion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is as exquisite as you'll ever hear.” Gramophone Classical Music Guide, 2010

“One special movement to bottle? 'Es ist vollbracht' from BWV159 - arguably even better than the setting of the words at the end of the St John Passion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is an exquisite as you'll ever hear.” Gramophone Magazine, May 2006