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Cantata BWV 18
Gleichwie der Regen und Schnee vom Himmel fällt
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of September 3, 2026 (5th round)
Cantata BWV 18 ‘Gleichwie der Regen und Schnee vom Himmel fällt’ by Rudolf Lutz compared to 5 other HIP and 4 OVPP recordings. |
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Frits V. Herbold wrote (September 3, 2026):
For this very popular Weimar cantata (also preformed later in Leipzig, see below), the BCW shows 36 recordings so far, starting with early recordings from the 60ies by famous Bach conductors as Max Thurn, Jürgen Jürgens and Erhard Mauersberger (not discussed here) and ending with very recent renditions (2026!), many of them only available on YouTube, but neither discussed here.
BWV 18 is the 22nd. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, February 13, 2009 – as usual, 2 days before the respective Sexagesima Sunday 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/7 and BC: A 44 and Bach Digital for the Weimar version: Bach Digital
Sopran solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Fagotto, Viola I, Viola II, Viola III, Viola IV, Violoncello, Basso continuo (Violone und Orgel)
And the Leipzig version: Bach Digital
Sopran solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Flauto dolce I, Flauto dolce II, Fagotto, Viola I, Viola II, Viola III, Viola IV, Violoncello, Basso continuo (Violone und Orgel)
Remarks:
1. The NBA I/7 with its ‘Kritischer Bericht’ (critical report) was published in 1957 (Werner Neumann), meaning that it was available to all conductors of the recordings discussed here.
2. The ‘Kritischer Bericht’ (critical report) mentions the original extant parts for both versions as well as the fact that the original score is lost. In this regard both 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
3. Key, Pitch and Temperament. All recordings discussed here with the exception of Philippe Pierlot are recorded in a minor, at the Leipzig Kammerton pitch of a’= 415 Hz – including those that perform the Weimar version without recorders, originally in g-minor at the Chorton pitch of a’= 465 Hz. Pierlot’s recording is the only one performed in the g-minor key, but at the modern pitch of a’= 440 Hz. Regarding temperament, The Purcell Quartet performs at the modified sixth comma, based on Bach’s 1722 title page of ‘Das wohltemperirte Clavier’ (according to Bradley Lehman, see LaripS.com published 2005) and Lutz uses Young’s and Vallotti’s temperament. Some recordings by Gardiner also used Vallotti’s temperament, but there is no information about in the liner notes to this cantata. I suppose that all other recordings discussed here are performed at equal temperament.
Introduction Cantata BWV 18 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘This cantata originated during Bach’s Weimar years, most likely in 1713 (for 19 February), 39 or possibly a year or two later. Bach drew the text from Erdmann Neumeister’s third cycle of cantatas (1711), which had been written for the Eisenach court and set to music by Telemann. Referring to the Parable of the Sower, which had been read out beforehand as the Gospel, the text considers the efficacy of God’s Word in the world. The point of departure is an Old Testament passage, Isaiah 55.10– 11, after which a recitative describes, in the manner of a sermon, the dangers that threaten the Word of God from Satan, interweaving four prayers from the Litany. Finally in aria and chorale, the individual Christian and the whole congregation in turn acknowledge the treasure of God’s Word and pray to God that He will preserve it for them. Bach’s setting survives in two different versions, essentially due to the differing performance practice in Weimar and Leipzig. The instrumental ensemble of the Weimar version is just four violas and continuo. The key was G minor but tuned at Choir Pitch— about a tone to a tone-and-a-half higher than Chamber Pitch. Bach’s performance in A minor at Leipzig would thus correspond roughly with the cantata’s Weimar pitch. Apparently the viola players did not receive new parts in Leipzig: they simply tuned their instruments a tone higher than the Chamber Pitch that was otherwise customary there. Newly added to the A minor Leipzig version were two recorders, which doubled the first and second viola parts at the upper octave. This version has become standard in present-day performances. However, inadequate understanding of the work’s transmission has often led to performances in G minor Chamber Pitch (with recorders)— too low to correspond with any authentic pitch.
Remarks:
· I don’t think IMHO that any HIP recording with relatively large choirs for the last choral movement (5) are that much ‘historically inspired’. In my comments nevertheless, I am including Harnoncourt, Koopman, Suzuki, Leusink and Gardiner besides Lutz.
· Pitch: whenever the liner notes mention specific pitches of instruments used, I will comment on this for each recording.
· Total times vary considerably between the fastest at 13:21 (Koopman) and the slowest 14:59 (Leusink).
Movement 1: Sinfonia, Violas I – IV, Bassoon, Violoncello and BC (2 Recorders doubling both high viola parts in the Leipzig version).
Introduction Cantata BWB 18,1 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘At the beginning of a work quite restricted in its use of the voice (it contains only a single aria) Bach places an introductory Sinfonía, which is akin to a concerto movement. Within an overall da capo form, it is structured as a free chaconne, whose theme is stated in the first four bars. A gradual descent from higher to lower tessitura is apparent within all three sections, A-A1-A, each of which is framed by the original theme.’
Remarks:
· I am commenting on the performances of all instruments as far as they are critical to each version (Weimar and Leipzig).
· Total times vary slightly around a minute; the fastest at 2:42 (Kuijken) and the slowest at 3:32 (Jeffrey Thomas).
Harnoncourt (12-1971): recorded the Weimar version, but at the Leipzig pitch of a’= 415 Hz., sounding a half tone higher than the original key of g-minor at the Chorton pitch of a’= 465 Hz. as in many of Bach’s early and Weimar cantatas. His instruments in this movement (4 violas, Bassoon, Violoncello and a BC with only violone and chest organ) are played in a very transparent and intimate way at a what I consider a good average tempo. One of my first choices among both HIP and OVPP recordings.
Jeffrey Thomas (03-1994, OVPP): also recorded the Weimar version under the same conditions as with Harnoncourt above. His tempo is somewhat slow IMHO; the initial ‘falling raindrops’ are executed in an almost ‘staccato’ but nevertheless also in a very transparent and intimate way. Performed at the Leipzig pitch of a’= 415 Hz, also among my first ch, if not at the top.
Koopman (05-1995): recorded movements 1 and 5 for both Leipzig and Weimar version, both at the Leipzig pitch of a’= 415 Hz. I am discussing the Leipzig version here. All original instruments (2 recorders, 4 violas, violoncello, violone, bassoon and chest organ) sound also very delicate and transparent – at the same level of Harnoncourt. Among my first choices.
Suzuki (02 & 06 & 07-1997, OVPP): the much faster interpretation of the Weimar version takes a lot of the transparency and delicacy away, although all instruments (4 violas and in the BC violoncello, violone, bassoon and chest organ) are played with technical perfection. In this case not my first choice because of the tempo.
Gardiner (02-2000): preferred the Leipzig version and his flutes and other instruments are also played with excellent transparency and delicacy, similar to all recordings discussed before. Among my first choices, after Harnoncourt and Koopman.
Leusink (01 & 02-2000): recorded the Weimar version, but also at the Leipzig pitch of a’= 415 Hz. The instruments don’t sound as clear and delicate as all other discussed above and the organ of the BC is too strong in the forefront. Not my first choice.
Philippe Pierlot (09-2004, OVPP): according to the liner notes, I believe that Pierlot uses 2 violas (for the higher parts) and 2 violas da gamba (for the lower parts) instead of 4 violas. The entry of all instruments and the BC (violoncello, double-bass, bassoon and chest organ) is forceful in volume and expression. This Weimar version is also recorded at the Leipzig pitch of a’= 415 Hz. Among my first choices.
Purcell Quartet (10-2005, OVPP): this newer recording is most interesting: the liner notes give one many detailed information about origin of the original instruments, and their soloists. This is probably the most ‘authentic’ Weimar interpretation, recorded at its original key of g-minor (although at the modern pitch of a’= 440 Hz. Most delicate and transparent, this is also one of my preferred renditions.
Kuijken (03-2007, OVPP): this is the fastest recording of a Leipzig version performed at the pitch of a’= 415 Hz. This too fast tempo somewhat hinders the delicacy and transparency of the excellent instrumental performance IMHO making it not my first choice, but average.
Rudolf Lutz (02-2009): this is a very ‘fresh’ and joyous interpretation of the Leipzig version, also at the of a’= 415 Hz. The BC comprises a violoncello, bassoon and chest organ. A clear first for my taste.
Ranking:
HIP: Lutz, Harnoncourt, Koopman, Suzuki, Gardiner, Leusink.
OVPP: Purcell Quartet , Jeffrey Thomas, Philippe Pierlot, Kuijken
Movement 2: Recitativo, B and BC
Introduction Cantata BWB 18,2 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The biblical text of no. 2 is significantly assigned to the bass as vox Christi. This movement, a secco recitative accompanied only by continuo, nonetheless contains several arioso passages— a characteristic of Bach’s early recitatives (see the partial reproduction in the Introduction, Music Example No. 6, not shown here).
Remarks:
· I am commenting only on the performance of the bass / baritone. The composition of the BC is very similar in all recordings.
· Total times vary slightly around a minute; the fastest at 1:00 (Suzuki) and the slowest at 1:20 (Jeffrey Thomas).
Harnoncourt (12-1971): much admired Dutch bass-baritone, Max van Egmond (see BCW), is a ‘veteran’ Bach soloists with many performances in the complete Harnoncourt-Leonhardt and many others. I like his relatively dark timbre and perfect technique (especially in the lower registers). One of my first choices.
Jeffrey Thomas (03-1994, OVPP): North American bass, James F. Weaver (see BCW), has a higher and ‘thinner’ timbre compared to van Egmond, but is equally perfect in technique and declamation. Also among my first choices, although not at the top.
Koopman (05-1995): I am a huge fan of German bass-baritone, Klaus Mertens (see BCW), with his ‘warm’ and ‘rounded off’ timbre as well as excellent technique, diction and expression. Among my fist choices.
Suzuki (02 & 06 & 07-1997, OVPP): as in many other recordings, Dutch bass, Peter Kooij comes very close to Mertens with Koopman above with many similar features. In my ranking, equally good as Mertens.
Gardiner (02-2000): German bass, Stephan Loges (see BCW), lacks the warmth and overall performance of both Mertens and Kooij. In my ranking not my first choice.
Leusink (01 & 02-2000): Dutch bass and conductor and music teacher, Bas Ramselaar (see BCW), is not among my favorite Bach bass soloists mainly because of his ‘thin’ timbre , but actually performs very well in this recording. His lower tone on ‘fällt’ is precise and ‘dark’. Not bad, but not my first choice.
Philippe Pierlot (09-2004, OVPP): Swiss bass-baritone, Stephan MacLeod (see BCW), has a vast experience as Bach bass soloist, also with other conductors as Herreweghe, Kuijken and Lutz. In this comparison I like him as well as both Mertens and Kooij. His forceful entry, good diction, warm timbre makes him also one of my first choices.
Purcell Quartet (10-2005, OVPP): English baritone, Peter Harvey (see BCW), sounds almost reticent with his entry. He has a somewhat ‘reserved’ expression but good technique. Among my first choices, but not at the top.
Kuijken (03-2007, OVPP): Belgian baritone, Jan van der Crabben (see BCW), has a very pleasant timbre not too slim nor too heavy. His technique and diction are also perfect. Among my first choices.
Rudolf Lutz (02-2009): German bass-baritone, Dominik Wörner (see BCW), although from a younger generation is at the same level of Mertens and Kooij, above. I like his timbre, technique and declamation as well. One of my first choices
Ranking:
HIP: Koopman = Suzuki, Harnoncourt, Lutz, Leusink, Gardiner
OVPP: Philippe Pierlot, Kuijken, Purcell Quartet, Jeffrey Thomas
Movement 3: Recitativo, T (solo), B (solo), S, A, T, and B (choristers), Violas I to IV, (Leipzig: + 2 Recorders in 8va.) and BC
Introduction Cantata BWB 18,3 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘In order to form a contrast between two consecutive recitatives, the violas (plus recorders in the Leipzig version) enter in no. 3, filling out the harmony. This extended movement is articulated into four sections, each opening with recitative and flowing into a quotation from the Litany. Each litany quotation begins with a prayer, sung by soprano with continuo accompaniment, to which the choir, with cantus firmus* in the soprano and with reinforcing instruments, responds in the words ‘Hear us, dear Lord God!’ Especially noteworthy are the vividly text-engendered instrumental figures on the words ‘berauben’ (‘rob’), ‘Verfolgung’ (‘persecution’), ‘Mord und Lästerungen, Wüten und Toben’ (‘ murder and blasphemies, rages and storms’), and ‘irregehen’ (‘err’), which are at times combined with rich coloratura figures in the voice part. These passages are not linked by shared thematic material: such composing in small units in accordance with the text is, again, typical of early Bach.’
Remarks:
· I am commenting on the tenor soloists, since the basses were already commented on in movement 2 as well as the choir entries (size and transparency, including OVPP) for the quotations from the litany.
· Total times vary slightly around a minute; the fastest at 5:02 (Koopman) and the slowest at 5:50 (Leusink).
Harnoncourt (12-1971): esteemed Atenor, Kurt Equiluz (see BCW), is mostly my favorite Bach tenor soloist (also as evangelist). His most enjoyable timbre and perfect technique combines well with bass van Egmond and the choir entries of the members of the Wiener Sängerknaben & Chorus Viennensis are perfect – with the important detail that the soprano choir part is sung by a single boy soprano (soloist of the Wiener Sängerknaben, no name informed). Although the size of Harnoncourt’s choirs are mostly too large IMHO, I like this rendition very much and among my first choices in my ranking for HIP recordings.
Jeffrey Thomas (03-1994, OVPP): I like Canadian tenor, Benjamin Butterfield’s (see BCW), voice and timbre in combination with James Weaver, although I don’t consider his technique and declamation at the top here. Since this is an OVPP recording both soprano soloists (Julianne Baird, see next movement 4) and counter-tenor, Drew Minter (see BCW), complete the liturgical texts well. As commented many times before in my discussions, I will always prefer OVPP settings for Bach’s choir music. Among my first choices, but not at the top of the OVPP recordings.
Koopman (05-1995): German tenor, Christoph Prégardien (see BCW), is widely regarded as a top Bach tenor and I like his performance and combines with Mertens very much. Koopman’s choir singing the liturgical texts is perfect. Among my first choices for HIP recordings.
Suzuki (02 & 06 & 07-1997): Japanese tenor, Makoto Sakurada (see BCW), is also perfect here in timbre and combines with Peter Kooij. Everything sounds very similar to Koopman’s rendition, including the perfect choir entries singing the litany texts. Among my fist choices, at the same level of Koopman.
Gardiner (02-2000): English tenor, James Gilchrist (see BCW), also an experienced Bach tenor combines well with Stephan Loges and the choir entries singing the litany texts are also as perfect as with Koopman and Suzuki. Also among my first choices, at the same level as Koopman and Suzuki.
Leusink (01 & 02-2000): American tenor, Robert Getchell (see BCW), has a very slim /thin but pleasant timbre, although his declamation is somewhat reserved. He combines well with Ramselaar. As with Harnoncourt, Leusink uses a single soprano (Marjon Strijk, see next movement 4 below) instead of a full soprano choir while the A, T and B choristers complete, with too many singers IMHO. Among the HIP recordings my last choice.
Philippe Pierlot (09-2004, OVPP): Spanish counter-tenor, Carlos Mena (see BCW), has a warm timbre, excellent technique and good declamation. His voice combines very well with MacLeod and the OVPP litany singing – especially with soprano Katharine Fuge (see next movement 4) is very transparent and sensitive. One of my first choices for OVPP recordings.
Purcell Quartet (10-2005, OVPP): English counter-tenor, English tenor, Charles Daniels (see BCW), has a ‘thinner’ timbre than Mena, and his declamation gets ‘wobbly’ in some instances but his timbre also combines perfectly with baritone Peter Harvey. The OVPP litany part with Emma Kirkby as soprano (see next movement 4) is not as good as with Pierlot but nod bad. Among my first choices for OVPP recordings, but not at the top.
Kuijken (03-2007, OVPP): I like German tenor, Marcus Ullmann (see BCW) very much in this recording, he has a clear timbre, good diction and perfect technique, combining well with baritone van der Crabben. The OVPP litany singing is not as good as all previous renditions above. Soprano Norwegian soprano, Siri Karoline Thornhill (see BCW), disappoints (shrill in some instances) which makes this OVPP recording my third choice.
Rudolf Lutz (02-2009): young Japanese tenor, Makoto Sakurada (see BCW), has a very pleasant and forceful timbre, excellent declamation and mixes very well with Wörner. The litany texts are sung by the full choir consisting of 4 sopranos, 4 altos, 3 tenors and 3 basses. This is my first choice for HIP recordings.
Ranking:
HIP: Lutz, Harnoncourt, Koopman, Gardiner, Suzuki, Leusink
OVPP: Philippe Pierlot, Purcell Quartet, Kuijken, Jeffrey Thomas
Movement 4: Aria, S, Violas I to IV, (Leipzig: + 2 Recorders in 8va.) and BC
Introduction Cantata BWB 18,4 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The only aria, no. 4, is bipartite and, at 42 bars, surprisingly brief— another characteristic of Bach’s early works— but of great warmth and tenderness. The four violas (plus two recorders at the higher octave in the Leipzig version) unite to play a lively flowing unison obbligato part. In the first section, the soprano provides a melodious contrast to the instruments, but in the second, obbligato, soprano, and continuo twice share a thematically unified, imitative texture in an antecedent phrase—’ Away with them all, away away!’— whose consequent, ‘My soul’s treasure is God’s Word’, is then modelled on the first section in text, style and thematic material.’
Remarks:
· I am only commenting on the soprano soloists (shortly also commented above in movement 3). In some cases I mention details about the instrumental accompaniment.
· Total times vary slightly around a minute; the fastest at 2:46 (Koopman) and the slowest at 3:16 (Suzuki).
Harnoncourt (12-1971): this is the only HIP recording with a boy soprano, soloist of the Wiener Sängerknaben, but not mentioned by name, I guess because his performance is not as good as many other boy sopranos singing in Harnoncourt-Leonhardt. But to be fair, he reaches the higher notes well although his declamation is not equilibrated. Additionally, the whole short aria sounds tedious and clearly lacks enthusiasm. Probably my last choice for HIP recordings.
Jeffrey Thomas (03-1994, OVPP): North American soprano, Julianne Baird (see BCW), has a great experience as Bach soprano but is not at her best here: her voice sounds ‘wobbly’ and shrill in the higher registers. The instrumental part is much better and sounds even joyous compared to Harnoncourt. Not bad, but not my first choice for HIP recordings.
Koopman (05-1995): German soprano, Barbara Schlick (see BCW), has performed in many other cantatas with conductors as Karl Friedrich Beringer, Georg Christoph Biller, Herreweghe and Kuijken, among many others. This a really joyous performance, with her good technique and pleasant timbre, although her declamation is not always perfect IMHO. Among my first choices, but not at the top of HIP recordings.
Suzuki (02 & 06 & 07-1997, OVPP): Japanese soprano, Midori Suzuki (see BCW) sings many cantatas with Suzuki and I like her performance with her slick timbre and good technique. Although the tempo is too slow for my taste, still among my first choices, before all 3 HIP recordings discussed here.
Gardiner (02-2000): Canadian soprano, Gillian Keith (see BCW), technically perfect, with a pleasant timbre hits the higher notes very well and is among my first choices, although the tempo here is too fast for my taste. Among my first choices, third in my ranking for HIP recordings.
Leusink (01 & 02-2000): I like the boyish timbre and good technique of Dutch soprano, Marjon Strijk (see BCW). The instrumental accompaniment is one of the best of all discussed – especially the sound of the violas. This is my second choice after Lutz for HIP recordings.
Philippe Pierlot (09-2004, OVPP): I am a huge fan of English soprano, Katharine Fuge (see BCW) with her vast experience singing also in many Gardiner’s cantata recordings. The instrumentation is very sensitive and transparent. One of my first choices for OVPP recordings.
Purcell Quartet (10-2005, OVPP): English soprano, Emma Kirkby (see BCW), although acclaimed worldwide as soprano is not at her best here. IMHO she sounds somewhat operatic, specially in the higher notes. Nevertheless her technique is perfect. A third place in my ranking for OVPP recordings.
Kuijken (03-2007, OVPP): Norwegian soprano, Siri Karoline Thornhill (see BCW), performs very well in this aria I like her timbre and technique. Although the tempo is too fast for my taste, still my second choice for OVPP, very close to Pierlot’s rendition.
Rudolf Lutz (02-2009): Spanish soprano, Núria Rial (see BCW), is very good in this aria: technical perfection, forceful volume and very pleasant timbre. I also like the joyous and transparent instrumentation making this my first choice for HIP recordings.
Ranking:
HIP: Lutz, Leusink, Gardiner, Suzuki, Koopman, Harnoncourt
OVPP: Pierlot , Kuijken, Purcell Quartet, Jeffrey Thomas
Movement 5: Choral, S, A, T, B, + Instruments and BC
Introduction Cantata BWB 18,5 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The concluding chorale is a plain four-part setting of the eighth verse of the hymn ‘Durch Adams Fall ist ganz verderbet’ by Lazarus Spengler (1524).’
Remarks:
· As in most cases, I like the OVPP better than full choir HIP recordings because of the better transparency of the single voices in Bach’s masterful choral harmonizations. This is also the case here, and my choice of HIP recordings is inversely proportional to the size of the choirs.
· Total times vary slightly around a minute; the fastest at 0:49 (Lutz) and the slowest at 1:13 (Harnoncourt and Leusink).
· I am not discussing how a final choral harmonized by Bach should be performed, as is the case in for many heated contributions in the discussions group. I believe this is a matter of very personal taste. My ranking (OVPP first):
Ranking:
OVPP: Jeffrey Thomas, Pierlot, Kuijken, Purcell Quartet
HIP: Lutz, Suzuki, Koopman, Gardiner, Leusink, Harnoncourt |
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Martin Beach wrote (September 5, 2026):
[To Frits V. Herbold] when you say evangelic... a term that in englisch parlance normally refers to anabaptists, & followers of the likes of Billy Graham.
I assume you mean lutheran.,
Tho' the proof of the pudding would be in sacramental practice... infant once & for all baptism & at the Lord's table (eucharist) using the words during administration "das ist mein Leib/Blut." we understand, along with bach & luther, that the last supper was the nexus btw passover (with 4 separate cups in succession) and our Lord's Supper.
Orthodox lutheran thinking is that we receive the body & blood of Christ in with & under the [un)leavened bread & wine. spirit of the law, & unbound by the spirit of the enlightenment that we must fit our "understanding" within the parameters of human reason.. as predominates among presbyterians methodists & baptist, where the original hebrew meanining of the verb 'zakar' (remember) loses its sense of relive/reexperience....the eucharist tends to be relegated to the sidelines among charimatics & other less formal expressions of faith....
I think maybe you could keep yr emails brief for popular consumption,or footnoted for academic usage .... here i am, once again both showing my own longwindedness, along with the heuchelei of the pharisees & contemporary "i know besr for everyone else" christians.... maranatha! Come Lord Jesus (cf end Thessalonians)
Big plans need small steps.... and faith... |
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