BACH: Solo Cantatas = My heart shall possess God alone, No. 169; Contented rest, beloved heart’s desire, No. 170; Mind and Spirit are bewildered – Bernarda Fink, mezzo-soprano/ Freiburg Baroque Orchestra/ Petra Mullejans, conductor – Harmonia mundi

by | Feb 24, 2009 | Classical CD Reviews | 0 comments

BACH: Solo Cantatas = My heart shall possess God alone, No. 169; Contented rest, beloved heart’s desire, No. 170; Mind and Spirit are bewildered, No. 35 – Bernarda Fink, mezzo-soprano/ Freiburg Baroque Orchestra/ Petra Mullejans, conductor – Harmonia mundi HMC 902106, 76:20 ****:

This disc presents us with three of the “solo” cantatas of Bach dating from the year 1726. Actually the name is a little misleading in the instance of BWV 169, as the last number is indeed a chorus; but the rest of the works here are indeed sans choral forces, and that gives us a chance to examine more closely the relationship of Bach’s omission of these forces to the nature of his writing for a single voice.

This year marked the end of his first great creative period in Leipzig (ongoing since 1723) and he was in desperate need of a respite, bringing in some works by other composers to fill the gaps of the needed and required weekly Sunday services, something that must have been an exhausting task for one man up to that point. When he returns to work on the weekly series, beginning with the 12th Sunday after Trinity in September of 1726, certain dance-like rhythms were put into play, along with a freeing up of the organ from continuo role to full-fledged virtuoso partner, demonstrated by the sinfonia that begins the work, obviously a concerto remnant from somewhere (the rest of that particular work is lost). Throughout the piece and indeed throughout all of the pieces in this disc we find the organ engaged in full partnership with the soprano, acting almost as a second voice, and certainly a creative foil for her dramatic persuasions as interpreted in the texts.

The siciliana style is especially prevalent in these works, Bach cleverly engineering the wide and flowing meter present in such a dance to allow the instruments full freedom of flowing and pastoral motion. The results are arias with a lot of movement and ability to paint texts as revealingly demonstrative as “To be alive is irksome to me, therefore take me, Jesus, unto you!” Using the two main protagonists here, voice and organ, Bach skillfully allows the contradictions and difficulties in those sorts of torn feelings to be musically spoken with the freshest of means.

Bernarda Fink need prove nothing to you or to me in this repertory, having long ago established her mastery. The Freiburgers also, thanks to HM’s continued support, are rapidly becoming the equal of any period band anywhere, if indeed they have not attained that position already. Good Bach, great production values, fine sound, excellent performances. Well?

— Steven Ritter
 

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