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Cantata BWV 155
Mein Gott, wie lang, ach lange?
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of August 21, 2016 (5th round)
Cantata BWV 155 ‘Mein Gott, wie lang, ach lange?’ by Rudolf Lutz compared to 4 other HIP and 3 OVPP recordings. |
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Frits V. Herbold wrote (August 21, 2026):
For this very intimate Weimar cantata, with the detail of having the Bassoon as obligato instrument in movement 2. There is only one other cantata, BWV 149 also using an obligato bassoon with aria movement 6. The BCW shows only 18 recordings so far, starting with the first complete cycles of cantata recordings by Rilling and Harnoncourt and ending with very recent renditions (2024), some of them only available on YouTube.
BWB 155 is the 21st. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, January 16, 2009 – as usual, 2 days before the respective 2nd. Sunday after Epiphany in that year.
See also the Bachipidia Bachipedia with links to the concert (YouTube), workshop and reflexion. The names of all performers, including all choristers can also be found there. See also my general comments about the Lutz cycle at Rudolf Luts - Discussions Part 1.
Scoring: see NBA: I/5 | BC: A 32 and Bach Digital: Bach Digital
Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Fagotto, Violine I, Violine II, Viola, Basso continuo
Remarks:
1. The NBA I/3 with its ‘Kritischer Bericht’ (critical report) was published in 1976 (Marianne Helms), meaning that it was available to all conductors of the recordings discussed here.
2. The ‘Kritischer Bericht’ (critical report) mentions the original extant score (and several copies thereof) and well as the fact that the original parts are lost. In this regard the mentioned scoring from Bach Digital (above) is misleading, since we can’t be sure that there where doublets for any ripienists in the choir (especially considering the available musicians and vocalist in Weimar (see Christoph Wolff and several other Bach scholars).This is why – IMHO – I believe that Bach himself performed this very intimate cantata with a minimal orchestration and only one final choral with one voice per part (OVPP) in both Weimar and later Leipzig performances. Many mainstream Bach scholars also agree that this was the case with many other early and Weimar cantatas. See also BCW
Introduction Cantata BWV 155 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’ ):
‘This cantata, composed in Weimar for 19 January 1716, is based on a text from Salomo Franck’s collection Evangelisches Andachts-Opffer. In essence, the poet has drawn from the Gospel* text a single idea: Jesus keeps Himself hidden, for His hour has not yet come, but the soul may hope that, at the right time, He will be at hand with His solace. Certain phrases, such as ‘the wine of joy is wanting’ (no. 1) or ‘It will only be a short while before, in place of bitter tears, the wine of comfort and joy … will be granted to you!’ (no. 3) allude to the Gospel account of the Wedding at Cana, which would have been read during the service As in most of the cantatas from Franck’s 1715 cycle, Bach requires only a small instrumental group: strings and continuo, plus in the second movement obbligato bassoon, which is assigned one of the most virtuoso bassoon parts in Bach’s entire output of cantatas. The singers required are one of each voice type, which come together only in the closing chorale. The music radiates that youthful freshness and sensuousness of sound that we love in the cantatas of the Weimar Bach.
Remarks:
· As pointed out above (introduction Dürr and my own feeling) I don’t think that any HIP recording with relatively large choices for the last choral movement (5) are that much ‘historically inspired’. In my comments nevertheless, I am including Harnoncourt, Koopman, Leusink and Gardiner but excluding Rilling, since his soloists are too operatic for my taste and his instruments are modern (not historic).
· The original key according to the original score is d-minor (Initial recitative) and the ending choral in in F-Major, the relative major key to d-minor. Interestingly, Koopman, Suzuki and Gardiner recorded their interpretations at the high Chorton or ‘Organ ton’) around a’= 465, that we know had been usual in early and Weimer cantatas. Suzuki explains in his liner notes why he used this approach: he points out the difference between the names ‘fagotte’ and ‘bassoon’, citing a research by Ulrich Prinz in Bach Jahrbuch 1981 and other consideration about the lowest tone possible with the instrument in the original score. Accordingly, he explains : “We have therefore chosen to use a (low) Kammerton (also called French pitch, a’ approximately 392 Hz fagotte for this recording (with the strings and organ , depending on the instrument approximately at a’= 465 Hz). I believe Koopman and Gardiner might have followed this same approach to accommodate the bassoon instrument. Harnoncourt, Leusink and Eric Milnes instead used the ‘ normal’ Leipzig Kammerton at a pitch of a’= 415’ Hz. Curiously, Lutz’s Key is in f minor, a half tone higher than d-minor at a pitch of a’= 415 – probably to accommodate the pith of his bassoon (that the liner notes call ‘fagotte’ (in German). With this information, I am not commenting any more on key and pitch in the individual comments by movement.
· Total times vary considerably between the fastest at 11:24 (Eric J. Milnes 2) and the slowest 14:08 (Harnoncourt).
Movement 1: Recitativo A, strings and BC
Introduction Cantata BWB 155,1 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’ ):
‘The opening recitative engages our attention by virtue of its throbbing pedal (German: Orgelpunkt) D, heard for eleven-and-a-half bars, which forcefully underlines the impression of anxious waiting conveyed in the text. The voice, supported by brief string chords, declaims in expressive gestures until, at the words ‘the wine of joy is wanting’, everything is set astir, only to slacken again at the following words, ‘Almost all my confidence sinks’.’
Remarks:
· I am commenting on the performances of the soprano soloists, as well as on the string section, and BC consisting mostly of violoncello, violone and organ
· Total times vary slightly around a minute; the fastest at 1:10 (Eric Miles 2) and the slowest at 2:01 (Leusink)
Harnoncourt (01-1983 & 10-1984): Boy Soprano: Alan Bergius (Soloist of the Tölzer Knabenchor), see BCW is the only recording with a boy soprano in this discussions. Although I don’t like Harnoncourt’s big choirs (see movement 5), I included Harnoncourt because of his top alt and tenor soloists Paul Esswood and Kurt Equiluz respectively. Although many members of the discussion site of the BCW criticize some boys solo performances with Harnoncourt, I like this interpretation, considering the fact that this is a real HIP feature (original instruments) and that Bergius is still among the best boy soloists IMHO – even considering that Bach’s soloists might have sung better (later voice break, better schooling etc.). Harnoncourt’s string section is still relatively modest with 4 first, 4 second violins and 1 viola and his BC (individually detailed in the extensive liner notes) consisting here only of violoncello, violone and chest organ (played by keyboard expert Harbert Tachezi, see: Discogs) One of my first choices for HIP recordings.
Koopman (09-1995): Dutch soprano, Caroline Stam, see BCW has performed many soprano soloswith Koopman. As one of many well-known veteran Bach sopranos she doesn’t disappoint here, she hits the high note (on ‘Herz’ ‘Gnadenblick’ and ‘stets’ without a slur and her coloraturas (‘Der Freudenwein’). Her timbre though, is not as ‘boyish ‘as e.g. Ruth Holton (see Leusink), but nevertheless pleasant. Koopmans string section is basically the same as with Harnoncourt, only one viola more. The BC is also simple, only with a violone and chest organ (probably played by Koopman himself). only. Also my first choices for HIP recordings.
Suzuki (02 & 06 & 07-1997, OVPP): Japanese soprano, Midori Suzuki, see BCW has a remarkably good German diction (probably perfected while studying Baroque singing with Max van Egmont and working in Amsterdam, Netherlands. I like her timbre and declamation, technique (although not hitting the higher notes as clearly as with Stam with Koopman). Suzuki’s string section with 3 first, 3 second violins and a viola is the smallest of all discussed HIP recordings here. His BC has a violoncello, violone and chest organ. Among my first choices for HIP recordings, but not at the top.
Leusink (04 & 09-1999): English soprano, Ruth Holton, see BCW is one of my favorite women’s sopranos, mainly because of the ‘boyish’ timbre, modest but adequate declamation and overall good technique, also in the high registers. Leusink’s string section contains 4 voices per part and (according to the BCW) his BC instruments are informed as 2 Violoncellos, 3(!) Double-Basses, Bassoon. Regarding the organ, I am not sure if the Church Organ at the St. Nicolaschurch, Elburg, Netherlands is used here (as in many other cantatas). The organ’s volume sounds more like a chest organ, also used by Leusink, according to his liner notes. Anyway, also one of my first choices for HIP recordings.
Gardiner (01-2000): English soprano, Joanne Lunn, see BCW reminds Holton, but her timbre is not as ‘slick’ and ‘boyish’, although her technique and declamation and her mastery of the higher notes is better. Gardiners string section (violins I, 3 violins 2 and 2 violas is similar as all others but the BC sounds somewhat too heavy with 2 violoncellos, double-bass, chest organ. The liner notes and BCW also inform the use of a harpsichord, but I can’t hear this instrument in none of the movements. Also one of my first choices for HIP recordings.
Rudolf Lutz (01-2009, OVPP): German soprano, Julia Neumann, see BCW sings some of Lutz’s soprano parts, but he has better choices IMHO. I don’t like Neumann here, especially in not hitting the high notes (on ‘Herz’ ‘Gnadenblick’ and ‘stets’ without a slur. The string section is minimal, with 1 instrument per part and only a violoncello and chest organ (played by Lutz himself) in the BC Not bad, but not my first choice for OVPP.
Eric J. Milnes 1 (06-2010, OVPP): German soprano, Mauch, see BCW has a modest declamation but very pleasant timbre and good technique. His string section is also minimal with 3 first, 2 second violins and 1 viola. His BC consist of 2 violoncellos, double-bass and chest organ, played by Milnes himself. The liner notes and BCW also inform the use of a harpsichord, but I can’t hear this instrument in none of the movements. One of my first choices for OVPP recordings.
Eric J. Milnes 2 (02-2023, OVPP): 13 years later, Milnes made a second performance of this cantata recorded & filmed live at Salle Bourgie du Musée des beaux-arts de Montréal, Québec, Canada. This rendering can only be viewed at YouTube, see YouTube. Canadian soprano, Ariadne Lih, sounds too operatic for my taste. I prefer Mauch, above. For the string section, I am counting 4 first, 3 second violins and 1 violas from the video. The BC shows a violoncello, double-bass, bassoon and a positive organ, played by Milnes himself while also conducting. Not my first choices for OVPP.
Ranking:
HIP: Harnoncourt, Leusink, Gardiner, Koopman,
OVPP: Suzuki , Eric Milnes 1, Lutz, Eric Milnes 2
Movement 2: Aria (Duet) A, T, Fagotto (Bassoon) obligato and BC
Introduction Cantata BWB 155, 2 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach, - without illustration’ ):
‘The duet ‘Du mußt glauben, du mußt hoffen’, no. 2, is probably one of the most original that Bach ever wrote. At the very outset the obbligato bassoon, supported by lightly touched continuo chords, covers the interval of a thirteenth: And it continues this wide-ranging figuration throughout the aria, at times ornamenting it with rapid runs. The vocal duet parts sing in a largely homophonic texture, only lightly broken up into polyphony* and almost rapturously euphonious.
Remarks:
· I am only commenting on the performances of both alt and tenor soloists and on the bassoon playing.
· Total times vary slightly around a minute; the fastest at 4:46 (Eric Miles 2) and the slowest at 5:54 (Harnoncourt, Gardiner and Milnes 1)
Harnoncourt (01-1983 & 10-1984): I am a huge fan of one of the best Bach counter-tenors, Paul Esswood, mainly from his many recordings with the Harnoncourt-Leonhardt cycle. See BCW. The same goes for esteemed Austrian tenor Kurt Equiluz, see BCW. I can’t imagine a better combinations as with these veteran Bach soloists. Their timbres mix perfectly, not to mention their perfect technique, German diction and declamation. The obligato bassoon playing by Milan Turkovič, see https://turkovic.at/en/biographie/ is also perfect and the ‘warm’ sound of this HIP instrument is remarkable. This is my first choice for HIP the recordings.
Koopman (09-1995): Austrian mezzo-soprano, Elizabeth von Magnus, see BCW and German bass-baritone, Klaus Mertens, see BCW are not less proficient at Bach performances as Esswood and Kurt Equiluz. Their mix is also perfect, not far from Harnoncourt (above) and the bassoon playing by Dutch Margreet Bongers, see https://orkest.nl/en/credits/margreet-bongers/ . This is a clearly a second in my ranking for HIP recordings..
Suzuki (02 & 06 & 07-1997, OVPP): both men’s voices of Japanese counter-tenor Mera Yoshikazu, see BCW and Japanese tenor, Makoto Sakurada, see BCW also mix very well, and the obligato bassoon is also played very delicately by Sei'ichi Futakuchi (no biography found). One of my first choices for OVPP recordings.
Leusink (04 & 09-1999): both men’s voices of Dutch counter-tenor, Sytse Buwalda, see BCW and German tenor, Knut Schoch, see BCW also make a good mix but the bassoon sounds a little fuzzy. My third choice for HIP recordings.
Gardiner (01-2000): apart from the fact that this rendition is too fast IMHO, both men’s voices of English counter-tenor, Richard Wyn Roberts, see BCW and English tenor and conductor, Julian Podger, see BCW sound too wobbly and shrill for my taste. The bassoon playing by Philip Turbett, see Grokipedia is not exceptional as expected with Gardiner. This is my last choice for HIP recordings.
Rudolf Lutz (01-2009, OVPP): Austrian mezzo-soprano, Margot Oitzinger, see BCW and German tenor, Julius Pfeiffer, see BCW - both of a younger generation – mix extremely well with their individual timbres. Additional they are perfect in declamation and interaction, with the adequate volumes well balanced. The bassoon is played very well – here by Donna Agrell, see Donna Agrell Website replacing Susann Landert, who performs in most of the Lutz cantata cycle. Certainly my first choice for OVPP recordings.
Eric J. Milnes 1 (06-2010, OVPP): German mezzo-soprano, Franziska Gottwald, see BCW and tenor, Charles Daniels, see BCW have both sung as soloists in many Bach performances with other conductors and show experience and technique in their performances and timbre – although I like Damiels’ better. The bassoon playing is not my first choice sounding slightly ‘wobbly’. My ranking for OVPP comes as last, since the second recording with Millnes (see below) is far better.
Eric J. Milnes 2 (02-2023, OVPP): both men’s voices Canadian counter-tenor, Nicholas Burns, see BCW and Canadian tenor, Philippe Gagné, see BCW sound much better than the above with Milnes 1. Their timbres mix better and their technique and balance in volume is perfect. My 3rd. choice for OVPP recordings after Lutz and Suzuki.
Ranking:
HIP: Harnoncourt, Koopman, Leusink, Gardiner,
OVPP: Lutz, Suzuki, Eric J. Milnes 2. Eric J. Milnes 1
Movement 3: Recitativo, B and BC
Introduction Cantata BWB 155,3 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’ ):
‘The following recitative, no. 3, brings comfort to the soul. It is no mere chance that Bach here chose the bass voice, the voice of Christ. Although the continuo part never assumes a firm structure for long, the proximity of the movement to arioso* is often much in evidence, particularly at the words ‘So that His Light of Grace may appear all the lovelier to you’.’
Remarks:
· I am only commenting on the performances of the bass/ baritone soloists. The minimal BC is in most recordings consisting (only) of violoncello and chest organ.
· Total times vary slightly around a minute; the fastest at 1:49 (Eric Miles 2) and the slowest at 2:13 (Suzuki)
Harnoncourt (01-1983 & 10-1984): American baritone, Thomas Hampson, see BCW has a vast experience as soloists in many other performances with Harnoncourt. I consider him as ‘old school’ and like his dark timbre, technique and volume. Among my first choices , but not in first place.
Koopman (09-1995): German bass-baritone, Klaus Mertens, see BCW is mostly my favorite bass-baritone in most of his recordings with Koopman. He has a characteristic war and ‘rounded off’ timbre, excellent diction, declamation and technique. My first choice for HIP recordings.
Suzuki (02 & 06 & 07-1997, OVPP): Dutch bass, Peter Kooij, see BCW is at the same level as Mertens; his declamation is even more expressive. Among my first choices for OVPP recordings.
Leusink (04 & 09-1999): Dutch bass, Bas Ramselaar, see BCW performs very well here, his declamation reminds Kooij (above) and I like his timbre and technique in this recording. Also after my first choices, but after Mertens, Kooij and Hampson
Gardiner (01-2000): Canadian baritone, Gerald Finley, see BCW has a forceful voice and pleasant timbre. His declamation is more reserved. Although all discussed bas/baritones are experienced soloists, this is my last choice for HIP recordings.
Rudolf Lutz (01-2009, OVPP): Swiss baritone, Raphael Jud, see BCW is from a younger generation but his performances are mostly excellent in many other Lutz recordings. Declamation, timbre and volume are much to my liking. This is the second place for OVPP recordings, after Suzuki.
Eric J. Milnes 1 (06-2010, OVPP): Dutch bass, Harry van der Kamp, see BCW has a perfect German diction and declamation. His timbre is dark with an adequate volume. Among my first choices for OVPP, but after Suzuki and Lutz.
Eric J. Milnes 2 (02-2023, OVPP): American baritone, Sumner Thompson, see BCW is not much different from van der Kamp (above) but his declamation and somewhat shrill timbre is not as good. My last choice for OVVP recordings.
Ranking:
HIP: Koopman, Harnoncourt, Leusink, Gardiner,
OVPP: Suzuki, Lutz, Eric J. Milnes 1., Eric J. Milnes 2
Movement 4: Aria, S Strings and BC
Introduction Cantata BWB 155,4 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘Lively dotted rhythms in the strings, and later in the voice part too, characterize no. 4, the aria ‘Wirf, mein Herze, wirf dich noch’. The continuo also takes up this rhythmic movement on several occasions against held string chords.’
Remarks:
My comments on the performances and ranking of the soprano soloists are the same as in movement 1. I am not commenting on the strings and BC.
· Total times vary slightly around less than a minute; the fastest at 2:10 (Lutz) and the slowest at 2:55 (Harnoncourt, Gardiner and Milnes 1)
Ranking:
HIP: Harnoncourt, Leusink, Gardiner, Koopman,
OVPP: Suzuki , Eric Milnes 1, Lutz, Eric Milnes 2
Movement 5: Choral, S, A, T, B plus Instruments and BC
Introduction Cantata BWB 155,5 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The twelfth verse of the hymn ‘Es ist das Heil uns kommen her’ by Paul Speratus (1524) in a plain chorale setting concludes the work.’
Remarks:
· There are lots of comments of the BCW discussions site about the ‘correct’ performance of Bach’s closing chorales. IMHO, this is a very personal choice and depends how one have ‘grown up’ hearing these marvelous harmonizations, their rhythms and tempos, and how pauses and fermatas are to be interpreted. I am not going into the vast literature about this topic but simply will rank them in the order they conform with my own taste – as I have sung them myself in the Dutch-Lutheran elementary school as a boy and as a student during my participation in a local Bach choir. As commented in previous discussions, I will always refer the transparency of OVPP recordings and regarding the HIP recordings, my preferences are inversely proportional to the size of the choirs – independently if boys or mixed.
· Total times vary slightly around a minute; the fastest at 0:46 (Koopman) and the slowest at 1:10 (Harnoncourt, Gardiner and Milnes 1)
Harnoncourt (01-1983 & 10-1984): I am not sure of the exact size of the Tölzer Knabenchor, see BCW, but am assuming 6 voices per part. Too big IMHO. Last in my ranking for HIP recordings.
Koopman (09-1995): with mostly 5 voices per part, the Amsterdam Baroque Orchestra & Choir, see BCW is my first choice for HIP recordings.
Suzuki (02 & 06 & 07-1997, OVPP): with the excellent soloists and transparency this is my first choice for HIP recordings.
Leusink (04 & 09-1999): Holland Boys Choir, see BCW with a total of 30 choristers is also too big for my taste, but still better than Harnoncourt. A fourth place in my ranking for HIP recordings.
Gardiner (01-2000): the very experienced MonteveChoir, see BCW comes in the second place of my ranking for HIP recordings.
Rudolf Lutz (01-2009, OVPP): this recording distinguishes itself with elaborate interludes improvised by Lutz himself at the organ. This I my second choice for OVPP recordings.
Eric J. Milnes 1 (06-2010, OVPP): both combinations of soloists and performances by Milnes are very similar and get a third place in my ranking for HIP recordings.
Eric J. Milnes 2 (02-2023, OVPP): see above.
Ranking:
OVPP: Suzuki , Lutz, Eric Milnes 1, Eric Milnes 2
HIP: Koopman, Gardiner, Leusink, Harnoncourt |
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