Bach’s cantatas offer such opportunities to the music-lover
that there are new glories always awaiting discovery. So
it proves in this group of four, collected to form Volume
31 of Bach Collegium Japan’s continuing cycle.
The common thread linking the collection is that they
were all composed in 1724, during Bach’s second year at
Leipzig. Three of these cantatas have Christmas associations,
whereas BWV101, Nimm von uns Herr, was composed
for the tenth Sunday after Trinity. They are all four based
upon hymn texts, incorporating the associated melodies
from the Lutheran church. Bach had worked out his artistic
priorities for the task of providing the music for Sundays,
and this was one of the methods he chose. His working week
was invariably busy and he had deadlines to meet.
Each of these cantatas is characterised by an imaginative
and even exhilarating opening chorus. It would seem appropriate
to describe these opening movements as the jewel in the
crown of all four pieces. Not that they sound the same,
however. One of Bach’s most extraordinary achievements
lies in the way he can continually develop the possibilities
offered by similar procedures, and with so many different
results.
The extended chorus of BWV133 is perhaps the most striking
and uplifting music to be heard among this collection.
Moreover Suzuki’s buoyant tempo ensures that this is so.
Perhaps the choral singing could have been even more joyous
- with the addition of a few more voices? - but as it is
the results remain impressive, aided by the splendid BIS
super audio sound.
The soloists make a splendid contribution to this particular
cantata. Robin Blaze, for example, sings most beautifully,
both in his solo aria and in then in duet with the soprano
Yukari Nonoshita. Gerd Türk and Peter Kooij are regular
artists with Bach Collegium Japan, and to call them dependable
is not intended to damn them with faint praise for they
are excellent and thoroughly idiomatic.
The title of Cantata 91 translates as ‘Praise be
to Thee, Jesus Christ’, and Bach’s music could hardly
be more joyful. Nor could the performance, since Suzuki
sets a sprightly tempo and the choral-orchestral balance
perfectly capture the music’s spirit. The recitatives
of this cantata characterise the approach throughout,
with clearly defined vocal lines captured in a warm and
sympathetic acoustic. There is also a sensible and imaginative
choice of continuo instrument, including Suzuki on harpsichord.
Nimm von uns Herr, du treuer Gott, BWV101,
is more austere in its splendour, and makes a telling
contrast after the Christmas festivities. The
development of the chorale theme in the complex texture
offers a wonderful example of Bach’s contrapuntal mastery,
particularly since the lines of the winds and strings are
so atmospherically caught by the recording. A particular
virtue of Christum wir sollen loben schon (Lord Christ
we sing Thy praises), BWV121, is that it has two wonderful
arias. One is for the tenor and one for the bass, and they
each feature some of Bach’s most appealingly melodious
music. As such this disc is a perfect introduction to this
wonderfully rich repertoire, truly music’s greatest treasure
trove.
Terry Barfoot
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Collegium Japan page for
links to Musicweb reviews of releases in this series
Yukari Nonoshita (soprano), Robin Blaze (counter-tenor),
Gerd Turk (tenor), Peter Kooij (bass) 
