Hymn of Jesus:
Mozart complete edition
Ludwig BACH (1677-1731)
Das Blut Jesu Christi [7:40]
Das ist meine Freude [4:40]
Die richtig für sich gewandelt haben [11:25]
Gedenke meiner, mein Gott [10:45] *
Gott, sei uns gnädig [5:21] +
Ich habe dich ein klein Augenblick verlassen [8:15]
Ich will auf den Herren schauen [6:58]
Sei nun wieder zufrieden, meine Seele [8:43]
Uns ist ein Kind geboren [6:40]
Wir wissen, so unser irdisches Haus [7:00]
Dijck (tenor)*, Dirk Snellings (bass)+
Ex Tempore Gent/Orpheon Consort/Florian Heyerick
rec. l'église de Boissières-Saint Gérard
CARUS 83187 [77:36]
Johann Ludwig Bach, cousin of the rather more famous J.S,
was active in Meiningen in 1699. By 1711 he was the court
director of music. His speciality was sacred music and, despite
the depredations of time, a relatively large number of such
compositions have survived. There are twenty-two sacred cantatas,
eleven motets, Funeral Music and a Mass, as well as secular
cantatas, an orchestral suite and, rather intriguingly, a
double violin concerto.
The motets are typical
products of the Thuringian school being strongly homophonic
and were written for specific occasions. They’re polychoral – usually
a double choir with two four-part choirs. The settings are
extensive as well, though not all the verses have been recorded
here, otherwise the motets would have qualified as cantatas
in terms of length.
The mixed choir is joined by a viol consort for the disc.
The results are very pleasing and effective, though I was
occasionally concerned by overstressing of sibilants – especially
noticeable in Das Blut Jesu Christi. The settings are
in the main oriented away from any overtly theatrical musical
elaboration of the texts. So whilst there is certainly expressive
depth Johann Ludwig remains within expressive boundaries
at all times. There is certainly celebratory and affirmatory
writing in Das
ist meine Freude - a setting
teeming with joy, whose overlapping power and telling fervency
of expression and textual repetitions pile up powerfully.
It’s valuably contrasted with the contemplative Die richtig für sich gewandelt haben though the setting’s essentially slow progression does not precluded
faster sections or opportunities for internal dynamic contrast.
most telling and important writing for the consort comes
in Ich will auf den Herren schauen, a potent and immediately attractive setting.
The performance has plenty of well-directed energy and if
there are hints of that too-sibilant attack, then compensation
derives from the splendid and rapt diminuendi on repeated
phrases. There are roles for two soloists. Of the two it’s
the bass in Gott, sei uns gnädig who bears
considerably the greater technical weight; Dirk Snellings
acquits himself well.
These polychoral settings are enjoyable, sometimes refined,
often exciting, and occasionally, it has to be admitted,
more run-of-the-mill. The performers are generally fine,
certainly in respect of technique, and there are texts in
German and English.
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