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Der Zufiedengestellte Aeolus, BWV 205 (1723) [35.30]
Unser Mund sei voll Lachens, BWV 110 (1725) [21.40]
Charles Daniels (tenor) (Zephyrus)
Klaus Mertens (bass) (Aeolus)
Claudia Iten (mezzo) (Pomona)
Roberta Invernizzi (soprano)
Rosa Dominguez (mezzo)
Coro dell Radio Svizzera
I Barochisti/Diego Fasolis
rec. Auditorium RSI, Lugano, Switzerland, November 2003,
ARTS 47717-8 [57.10]
cantata Der Zufiedengestellte Aeolus (Aeolus
Pacified) was commissioned by students from the University
of Leipzig for performance on the name day of Dr. August
Friedrich Müller. The work was probably first performed in
an open air performance outside Müller’s home in Leipzig.
The text for the cantata was written by Picander who would
later on provide Bach with texts for such works as the St.
cantata is laid out like a short stage-scene in which Pallas,
Pomona and Zephyrus try persuade Aeolus (the senior Wind
god) to hold back the North Winds of Winter. Finally Aeolus
agrees when he discovers that Pallas made the request because
of Dr. Müller’s birthday celebrations. The piece is delightful
and light-hearted and well on a par with Bach’s other celebratory
work opens with a chorus whose orchestral prelude is rather
reminiscent of Bach’s Magnificat. Whilst the chorus sing
with great élan, I felt that the fast speed made the piece
sound a trifle scrambled, though technically both singers
and instrumentalists cope very will with Fasolis’s tempos.
Aeolus, Klaus Mertens is a trifle over-emphatic and perhaps
his runs are not ideal. But he has a very strong presence
and his arias include some magnificent trumpet playing. Zephyrus,
the mild, westerly summer wind, is played beautifully by
Charles Daniels. His aria includes a lovely violin obbligato.
Iten’s Pomona makes her entrance with a lovely oboe obbligato.
Iten has an attractive, soprano-like voice and blends well
with Nancy Argenta’s Pallas. Pallas’s first aria also comes
with a lovely violin solo.
all the characters have been introduced we get a sequence
of ariosos, recitatives and a duet which develop the operatic
nature of the work. The soloists could make much more of
the quasi-operatic nature of the piece and unfortunately
Argenta and Iten are a little uneven in their final duet.
is a charming work, with some very attractive orchestrations
brilliantly played by I Barochisti. My main complaint is
that the recitatives are taken at a steady pace. This would
be perfectly suitable for one of Bach’s sacred cantatas but
seems too stolid for this lively, light-hearted piece.
performers couple the cantata with one of Bach’s sacred cantatas, Under
Mund sei voll Lachens, BWV 110. This was written for
the first day of Christmas 1725. The orchestra opening parodies
the Ouverture in D Major, BWV 1069, which means that it is
a particularly grand way of opening a cantata. The lovely,
bouncy chorus is followed by arias for tenor, alto and bass
and a duet for soprano and tenor. Again there is much instrumental
interest, from the bubbling woodwind in the tenor aria, “Ihr
Gedankern und ihr Sinnen” to the brilliant trumpet in the
bass arias “Wacht auf, ihr Adern und ihr Glieder”. The alto
is accompanied by a beautifully expressive oboe solo.
is a highly recommendable disc, despite my small reservations
over the soloists. There is much choral and instrumental
interest, beautifully taken by the Swiss forces, over and
above the solo numbers. Bach’s name-day cantata for Dr. Müller
displays the master in delightfully unbuttoned mood.
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