The disc with Canatas for Marian Feasts contains “Wie schön leuchtet der Morgenstern” BWV 1, “Mit Fried und Freud ich fahr dahin” BWV 125, and “Komm, du süße Todesstunde” BWV 161. Soprano Deborah York (1), altos Bogna Bartosz (125) and Elisabeth von Magnus (161), tenors Jörg Dürmüller (125) and Paul Agnew (1, 161), and of course Klaus Mertens (1, 125) offer singing at a high, if not exalted, level throughout. In BWV 1 Masaaki Suzuki (volume 34 of the Canata Cycle on BIS) brings a greater sense of crispness and bloom and cleaner horns to the grand opening than does Koopman. I love Carolyn Sampson’s aria for Suzuki, but Mme. York’s voice, a more pointed instrument, has a very nice ring to it, too.

The tempos of both conductors are more or less similar, but wherever Suzuki takes a few seconds longer, I find his choice more convincing and Koopman ever so slightly rushed. Only notable in direct comparison, but notable all the same – not the least in the concluding chorale “Wie bin ich doch so herzlich froh”, where the orchestra and continuo harpsichord is weighed equally on the BIS recording but recessed and dominated by the Amsterdam Baroque Choir in Challenge Classics recording.

Suzuki’s volume 32 allows for comparison between his and Koopman’s BWV 125. The biggest difference here is the alto aria “Ich will auch mit gebroch’nen Augen” in which Koopman leaves mezzo/alto Bogna Bartosz much more time than the quicker Suzuki allows his counter-tenor Robin Blaze. Even if I liked Blaze’s voice more than I do, my choice would still be Bartosz here, just as I prefer the more nimble tenor-bass duet “Ein unbegreiflich Licht erfüllt” under Koopman.

Similar reasons might make Elisabeth von Magnus’ opening aria “Komm, süße Todesstunde” in BWV 161 more attractive than Michael Chance’s with the otherwise splendid Purcell Quartet recording (Chandos), while the large tenor aria (“Mein Verlangen is den Heilan zu umfangen”) is in good hands with either Michael Chance (Purcell) or Agnew (Koopman). Because this cantata is sparsely orchestrated, there is much less difference between the two contrasting HIP styles of the radical one-voice-per-part (”OVPP”) Purcell Quartet (with minimal orchestral forces; four strings, two recorders and obbligato organ here) and Koopman’s, who is among the least dogmatic original instrument Bach conductors.

The difference is obvious again with the chorus and concluding chorale. Four voices for a chorus are not much to begin with – but for a chorale they are downright skimpy. As well as the voices of the singers on the Chandos recording blend, at least the chorale could have used a bit more heft. Koopman uses his small choir, seemingly unchanged, for both chorus and chorale and takes them at a much quicker clip. A satisfying disc for anyone who hasn’t yet added these cantatas to their collection.

Run time 66:04

Other reviews of Koopman Bach Cantatas can be found here:
Complete Cantatas, Volume 1
Complete Cantatas, Volume 2
Coffee- & Peasant-Cantata
Wedding Cantatas






Recommended: No

Great Music to Play While: Waking up