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The first two lines of the aria for tenor are repeated in the aria for alto as the penultimate movement of this cantata. Dermota sings with power and conviction. For me he is very natural in the Bach idiom. Davrath is the kind of soprano who could do justice to almost every Bach piece she was given to sing.

How pity is that she recorded so little Bach! She raises the aria for soprano to emotional level, unmatched by any other woman soprano singer. I might not be objective here, because the late Davrath was an Israeli, like me. On the other hand, my conclusion came only after several comparative listenings. What a marvellous voice, and what a touching singing! The instrumental soloists in all the arias are also first rate.

Heiller, the organist, deserves special accolade. Equiluz humble interpretation of the aria for tenor is moving with its simplicity. The violinist who plays with him Alice Harnoncourt, I presume displays technical assurance.


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The anonymous boy soprano in the second aria has a good technique, full control of his voice production and a moving expression. I do not know how old was he when he recorded the aria, but judging by his interpretation alone, he sounds to my ears definitely mature. He is given excellent support from the oboe and the strings. Esswood is the weakest of the three. It seems that he is too cautious, preferring to stay on the surface, not daring to indulge into the emotional depths of the aria for alto.

The organ obbligato Tachezi in this aria is delicate and sensitive.

There is not really need for a conductor here, only for a good violin player and Gerhard Bosse certainly is a solid one, if not brilliant or interesting. His voice here is still pleasant but some of its bright has been lost.

His expression is questionable. I do not hear the courage and confidence this aria calls for. Sometimes he sounds simply tired. Regina Werner has a clear voice with captivating freshness. However her expressive powers are not enough to carry the aria successfully. Along the long aria I simply lost interest and started to be annoyed by her strong vibrato. The violinist, Georg Egger, has more bright than the previous ones have and his playing is faultless. With this rendition the joy-motif dominates the aria. However, she does not have enough volume in the low range to make the outmost of the aria for soprano.

I found her expression also somewhat limited. Saving of some vibrato would also improve her singing of the aria. The playing of the oboe and strings in this aria is irresistible. Nevertheless, it is not heavy and she passes the technical obstacles quite easily.

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How pity that she was given so short part to sing. The instrumental soloists in all the three arias help to raise them to upper level. He conveys assurance and joy without sounding too extrovert as Baldin, for example. Deborah York is the weakest of the three soloists. She has a charming boyish voice, but with no power at all. As a result her rendition lacks meaningful emotional content. Ingeborg Danz is more a mezzo than a contralto, but the main problem is the strong fast vibrato in her singing.

Her expression shows that she knows what she is singing about, but her technique preventthe listener from full enjoyment. I also felt that, aside from the exciting 1 st mvt. It is a truly wonderful voice.

The next movement 4 is a simple recitative for solo bass. King Add comment Add you MP3 interpretation on this page! I hope to see many of you participating in the discussion. Buy this album at: Denon 2-CD : Amazon.

Recitative B Praise God! I am glad to hear that Aryeh believes that she can sing Bach as well. Perhaps some day it will be possible to share such recordings more easily without fear of copyright infringement.

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I will not go into a detailed discussion of the few recordings of this cantata that I do have. Regarding the 1 st title to appear on the score: JJ. Sinfonia, my guess would be that it marked the official beginning of the cantata the score consists of loose sheets — perhaps the loose sheet which appeared 1st, was, in reality, meant to be used for another mvt. Somewhere I think I read a comment that the Sinfonia was added after he had already completed assembling as we know, much of the rest of the cantata was lifted from earlier sources as well the vocal sections of the cantata.

With so many mvts. Jane Newble wrote February 24, : [To Thomas Braatz] Thank you for answering my questions, even if there is no real answer available to the first one. Do you know how often Bach wrote JJ at the beginning of cantatas? I decided to include all of Bach's sacred music including the passions, masses, motets, oratorios, and even some of the so-called secular cantatas, of which only the very obviously secular cantatas had no special inscription at all Coffee Cantata, etc.

These were thoroughly analyzed for the KBs. Bach's word to designate most cantatas usually only the solo cantatas will be called 'cantatas' is 'Concerto. Often the final chorale was the last thing to be composed and copied to the parts. In one instance Bach had a 'Fine' after Part 1 of a 2-part cantata, but there would be no 'Fine' at the end. All of this seems to indicate the hurry that he may have been in as he tried to complete the cantata.

Thank you for all that research work. I have printed out your email to keep in my Bach book. I find it very interesting, as it tells me a lot about him. I like the quality of sound on this CD a lot, but the one weak track is the Sinfonia here it is the 1st movement of BWV 29 which is an arrangement of the 1st movement for solo violin BWV in E major.

One would think it difficult to make this arrangement for organ, brass, timpani, woodwinds and strings sound SMALLER than the original setting for solo violin, but both HIP versions I have heard this one and Harnoncourt's manage to achieve this feat. The cause apart from tempi that are too fast is the employment of the same puny chamber organ stop s used in the recitatives, for a part which should at least be able to recreate the brilliance of the original violin line here alloted to the right hand organ part. Herreweghe is forced to restrain the brass and timpani to very quiet volumes so that the organ can be heard, and even so, he fails in this endevour.

I know how much he is restraining the brass and timpani because in the following movement which turns out to be identical to one of two settings in the B minor mass BWV , the last being the Dona nobis pacem he gives these instruments full rein, so much so I thought I was listening to Richter's version! Brad mentioned the problems involved in balancing modern instruments; in this case the problem was in balancing period instruments.

The only solution I can see, if you insist on the conventional recitative accompaniment, is to have a different organ available for the Sinfonia. I hthat Herreweghe recording [6] , and the balance sounds natural to me in both those first two movements: and a strong, thrilling performance. It doesn't sound to me as if Herreweghe is holding those trumpets back.

The difference is in Bach's writing: in that first movement he wrote short punctuating notes for everybody. In the second movement he gave the trumpets more melodically sustained parts, and of course those seem louder! When I played this piece sinfonia to BWV 29 with our college orchestra about 25 players, modern instruments we used one of those "puny chamber organs"--indeed the same organ that we used in the B Minor Mass BWV and Handel and Haydn oratorios.

The size of the whole instrument was less than one cubic meter, a self-contained box! And it wasn't too weak; it came through clearly. Similarly, it was plenty in those big pieces, with a chorus of more than people and an orchestra of at least 30! There was a gnawing ache of loneliness within him that almost nothing could assuage.