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In his excellent annotations to this release, Michel Roubinet notes that Bach tended to reserve the tenor voice for representations of abstract spiritual concepts and not for concrete expressions by individual members of the human race. The tenor stands aside, commenting on the action in the Passions from a raised vantage point, or speaking to and for all mankind about death, sin, forgiveness, and other core Christian issues.
Bostridge and Biondi take the listener on a kind of pilgrim's progress on this CD. It opens with Ich habe genug, an almost sensual embracing of death – "Death and the Maiden" for Baroque Lutherans. Bostridge sings, "I look forward to my death; How I wish it were already here" to music of the most joyful sweetness. It's music for unwrapping a Christmas present. (The present, of course, is redemption from sin.) From there, Biondi turns to a Sinfonia from Christ lag in Todesbanden as if to emphasize that even Christ had to die to pay sin's ransom. These sins are confronted head-on in Ich armer Mensch, ich Sündenknecht, the second full-length cantata on this CD, and the only cantata that Bach wrote for solo tenor. An aria from the so-called Trauer-Ode, written for a dead princess, again hints that the eternity heralded by death is a change to be welcomed after Earth's "dingy scene." The Easter Oratorio is represented by an aria stating that "Sweet shall my death agony be, Merely a falling asleep." Then the promise of God's forgiveness and comfort are given through arias from Christ unser Herr zum Jordan kam and Wohl dem, der sich auf seinem Gott. The disc ends with a jolly Sinfonia from the secular Peasant Cantata, which suggests the coming of an idealized Earth in Heaven to redeemed sinners. It brings this CD to a wonderfully naïve close. (Think of the vocal finale from Mahler's Fourth Symphony.)
There's clever programming here, then. Two complete cantatas and eight cantata movements might have caused chaos were it not for the underlying theme. Who would have thought that the sacred music of Bach could comprise a "concept album"?
The performances are outstanding. Bostridge sings with great expression and with an appreciation for Baroque style. He characterizes, but he doesn't overdo it. Try the aria from Wohl dem, der sich auf seinem Gott, where the word Spötter (mockery) launches his derisive laughter. Ich habe genug is sung tenderly, as one would sing to awaken a sleeping lover. Bostridge effectively varies his tone between recitatives and arias to point up the meaning of the texts. Biondi's Europa Galante is an effective, expressive foil for his vocalism. (The musicians performed these works together in July 2000 at the BBC Proms.) Biondi himself plays the solo violin parts in several of these works.
Bostridge and Biondi take the listener on a kind of pilgrim's progress on this CD. It opens with Ich habe genug, an almost sensual embracing of death – "Death and the Maiden" for Baroque Lutherans. Bostridge sings, "I look forward to my death; How I wish it were already here" to music of the most joyful sweetness. It's music for unwrapping a Christmas present. (The present, of course, is redemption from sin.) From there, Biondi turns to a Sinfonia from Christ lag in Todesbanden as if to emphasize that even Christ had to die to pay sin's ransom. These sins are confronted head-on in Ich armer Mensch, ich Sündenknecht, the second full-length cantata on this CD, and the only cantata that Bach wrote for solo tenor. An aria from the so-called Trauer-Ode, written for a dead princess, again hints that the eternity heralded by death is a change to be welcomed after Earth's "dingy scene." The Easter Oratorio is represented by an aria stating that "Sweet shall my death agony be, Merely a falling asleep." Then the promise of God's forgiveness and comfort are given through arias from Christ unser Herr zum Jordan kam and Wohl dem, der sich auf seinem Gott. The disc ends with a jolly Sinfonia from the secular Peasant Cantata, which suggests the coming of an idealized Earth in Heaven to redeemed sinners. It brings this CD to a wonderfully naïve close. (Think of the vocal finale from Mahler's Fourth Symphony.)
There's clever programming here, then. Two complete cantatas and eight cantata movements might have caused chaos were it not for the underlying theme. Who would have thought that the sacred music of Bach could comprise a "concept album"?
The performances are outstanding. Bostridge sings with great expression and with an appreciation for Baroque style. He characterizes, but he doesn't overdo it. Try the aria from Wohl dem, der sich auf seinem Gott, where the word Spötter (mockery) launches his derisive laughter. Ich habe genug is sung tenderly, as one would sing to awaken a sleeping lover. Bostridge effectively varies his tone between recitatives and arias to point up the meaning of the texts. Biondi's Europa Galante is an effective, expressive foil for his vocalism. (The musicians performed these works together in July 2000 at the BBC Proms.) Biondi himself plays the solo violin parts in several of these works.
contents:
1. Cantata No. 82, 'Ich habe genug' BWV82
Aria: Ich habe genug
Recit: Ich habe genug
Aria: Schlummert ein
Recit: Mein Gott! wann kommt das Schöne Nun!
Aria: Ich freue mich auf meinen Tod
2. Sinfonia from Cantata No. 4, 'Christ lag in Todesbanden' BWV4
3. Kantate am Feste der Himmelfahrt Christi BWV 43
Recitativo: Es will der Höchste sich ein Siegsgespräng bereiten
Aria: Ja tausendmal, tausend begleiten den Wagen
4. Cantata No. 55, 'Ich armer Mensch, ich Sündenknecht' BWV55
Aria: Ich armer Mensch, ich Sündenknecht (Tenor)
Recitativo: Ich habe wider Gott gehandelt (Tenor)
Aria: Erbarme dich (Tenor)
Recitativo: Erbarme dich! Jedoch nun tröst' ich mich (Tenor)
Choral: Bin ich gleich von dir gewichen (chorus)
5. Sinfonia from Cantata No. 18, 'Gleich wie der Regen und Schnee vom Himmel fällt' BWV18
6. Lass, Fürstin, lass noch einen Strahl : Trauer-Ode, BWV 198
Aria: Der Ewigkeit saphirnes Haus
7. Aria: Sanfte soll mein Todeskummer from Easter Oratorio BWV.249
8. Cantata No. 7, 'Christ unser Herr zum Jordan kam': BWV 7
Recitativo: Dies hat Gott klar mit Worten
Aria : Des Vaters Stimme liess sich hören
9. Aria: Gott ist mein Freund from Cantata BWV139
10. Sinfonia from 'Mer hahn en neue Oberkeet' (Peasant Cantata) BWV212
Ian Bostridge, tenor
Europa Galante
dir. Fabio Biondi
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