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Frits V. Herbold wrote (September 9, 2026):
For this historically important cantata (see details further below) the BCW shows 41 recordings so far, starting with early recordings from the late 50ies and 60ies and 70ies by famous Bach conductors as Karl Richter, Kurt Thomas and Fritz Werner (not discussed here) and ending with very recent renditions (2026!), many of them only available on YouTube, but neither discussed here.
BWV 23 is the 23rd. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, March 9, 2009 – as usual, 2 days before the respective Quinquagesima Sunday (Estomihi) 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/8.1-2, BC: A 47 (a, b and c) and Bach Digital, 3 versions:
- Du wahrer Gott und Davids Sohn [Köthen version in C Minor]:
Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Oboe I, Oboe II, Violine I, Violine II, Viola, Basso continuo
- Du wahrer Gott und Davids Sohn [Rehearsal version in B Minor]:
Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Clarino (at re-performance in 1724 replaced by Cornetto und Trombone I, Trombone II, Trombone III), Oboe d’amore I, Oboe d’amore II, Violine I, Violine II, Viola, Basso continuo
- Du wahrer Gott und Davids Sohn [Leipzig version in C Minor:]
Sopran solo, Alt solo, Tenor solo, Bass solo, Sopran, Alt, Tenor, Bass, Oboe I, Oboe II, Violine I, Violine II, Viola, Basso continuo
Remarks:
1. The NBA I/8.1 with its ‘Kritischer Bericht’ (critical report) was published relatively late in in 1998 (Christoph Wolff with collaboration of Karla Neschke and Peter Wollny), meaning that it was only available to conductors after both Koopman and Suzuki, starting with Gardiner’s recordings discussed here.
2. The ‘Kritischer Bericht’ (critical report) mentions the original extant score Köthen version in C Minor) as well as all parts for all 3 versions as well. This cantata was composed (together with BWV 22) for Bach’s audition as part of his cantor application in Leipzig on February 7, 1723, it has been the object of many specific studies by well-known Bach scholars like Dürr and Christoph Wolff among others. A complete study by Wolff was published in the Bach Jahrbuch 1978, page 78-94 (only available in German). Fortunately, the BCW provides a summary translation of the most important details, courtesy of collaborator of the discussions group Thomas Braatz (June 25, 2005), see BCW
3. Key, Pitch and Temperament. All recordings discussed here are either performed as C Minor or B Minor versions – but both at the Leipzig pitch of a’= 415 Hz.; Koopman recorded a B Minor version without adding the brass reinforcements. Lutz uses Young’s or Vallotti’s temperament.
Introduction Cantata BWV 23 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The Gospel for Quinquagesima Sunday (Estomihi) includes two distinct narratives: Jesus’s announcement that He is about to go up to Jerusalem, where His Passion will be accomplished; and the healing of a blind man, who stands by the wayside calling out, ‘Jesus, You Son of David, have mercy upon me!’ In its madrigalian movements, nos. 1– 3, this cantata refers only to the healing of the blind man; not until the closing chorale (and also in the textless quotation of the same chorale melody in no. 2) does it refer to the announcement of the Passion and thus anticipate Good Friday forming a bridge over the Lenten period, during which figural music in Leipzig customarily ceased. Jesus’s words to the blind man, ‘your faith has saved you’ (Luke 18.42), should evidently be taken to mean that the blind man’s call of ‘You Son of David’ embodies an implicit acknowledgement of the Christ. For it was then regarded as quite certain that the Messiah was to be a descendant of David. The anonymous librettist of the cantata text applies these ideas to the present day: ‘O true God and Son of David … have mercy on me! And … let help and comfort befall me likewise’ (no. 1). The next two movements again repeatedly apply various aspects of the Gospel account to the present-day Christian, while simultaneously interweaving allusions to other biblical passages. Thus the words ‘You … have indeed appeared to serve the sick and not the healthy’ (no. 2) recall Mark 2.17; the closing words of the same movement, ‘I … do not let You go without Your Blessing’ refer to Genesis 32.26; and the opening of the following chorus,* no. 3, refers to Psalm 145.15 in its assertion that not only the eyes of the blind but those of all, and therefore mine too, wait upon the Lord.
In Bach’s Cöthen score, then, there was no concluding chorale. Perhaps there was no provision for it in the libretto, which indeed deals only with the healing of the blind. On the other hand, the chorale’s repeated line ‘Erbarm dich unser!’ (Have mercy upon us!’) unites in an ideal fashion the blind man’s appeal to Jesus with the announcement of the Passion that opens the Gospel reading. The chorale was thus chosen with great care. In addition, the textless quotation of this melody in the second movement suggests that, as in several of his Weimar cantatas, Bach wanted to anticipate the closing chorale in a previous instrumental statement and thus conceived the plan of closing with this chorale during composition at the latest. On Good Friday 1725, the same chorale setting served as the conclusion of the second version of the St John Passion; but it was subsequently removed from that context, whereas it retained its place in the present cantata.
Remarks:
· I don’t think IMHO that any HIP recording with relatively large choirs for the choir movements 4 and 5 are that much ‘historically inspired’. In my comments I am including nevertheless many such more recent HIP recordings (Koopman, Suzuki, Gardiner, Herreweghe and Georg Christoph Biller besides Lutz) and 1 OVPP recording by Kuijken.
· Key and Pitch are mentioned in my comments on the first movements.
· Total times vary considerably between the fastest at 15:11 (Herreweghe) and slowest 20:05 (Kuijken).
Movement 1: Aria Duetto, S an A, Oboe (d’Amore) I and II and BC
Introduction Cantata BWB 18,1 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘Bach’s setting is of great intensity. In the opening duet, two oboes (or oboes d’amore) and continuo form a trio texture which, with the addition of the voice parts, is expanded to a quintet. With striking effect Bach makes the more or less strictly canonic vocal parts climb chromatically* on the words ‘mein Herzeleid’ (‘ my affliction’), whereas on ‘erbarm dich mein!’ (‘ have mercy on me!’) we hear sigh figures— similarly chromatic but now falling— in one of the voice parts against a held note in the other.
Remarks:
· I am commenting on the recorded versions, their keys and pitch, both soloists as well as the performance of all instruments as far as they are critical to each version (Köthen and Leipzig).
· Total times vary slightly around a minute; the fastest at 5:50 (Herreweghe) and slowest at 7:11 (Koopman).
Koopman (09-1995): as commented above and in tliner notes, Koopman assembled his ‘own’ version of the B Minor score at the Leipzig pitch of a’= 415 Hz, ‘dispensing’ the use of the reinforcing brass instruments. This is a version not performed by Bach. Both German soprano, Barbara Schlick (see BCW) and Austrian mezzo-soprano, Elizabeth von Magnus (see BCW), are experience soloists in Bach’s cantata recordings, both having performed with many other well-known conductors. I like both their individual timbres that combine very well in this performance. The very intimate and transparent sounding ‘lament’ is enriched by both oboes d’amore, with top soloist Marcel Ponseele playing the oboe I part. One of my first choices for HIP recordings.
Suzuki (05-1998): also recorded the B Minor version at a’= 415 Hz. with 2 oboe’s d’amore but reinforces correctly the 4th. movement with the brass instruments (see movement 4 below). This movements sounds as perfect as with Koopman, with both excellent Japanese soprano, Midori Suzuki (see BCW), and Japanese counter-tenor Yoshikazu Mera (see BCW), both equally perfect in, technique, timbre and combination. Both oboes d’amore are also played very intimately and transparent. I like this rendition as well as Koopman’s for HIP recordings.
Gardiner (03-2000): Gardiner had access to the critical report of the NBA I, 8-1-2 and plays the C Minor version with ‘normal’ oboes at the Leipzig pitch of a’= 415 Hz. Both soloists English soprano, Ruth Holton (see BCW), and less known German mezzo-soprano, Claudia Schubert (see BCW). I am a huge fan of Holton with her ‘boyish’ and slim timbre; alas not the case for Claudia Schubert, who sounds too operatic for my taste. Nevertheless both voices are technically good and combine well. The oboe playing is not as sensitive and intimate as with both Koopman and Suzuki. In my ranking a third place.
Kuijken (03-2007, OVPP): Kuijken also preferred the C Minor version with ‘normal’ oboes at the Leipzig pitch of a’= 415 Hz. Norwegian soprano, Siri Karoline Thornhill (see BCW) and Slovak mezzo-soprano, Petra Noskaiová (see BCW), combine well, are technically excellent and manage the intimate ‘lamentoso’ declamation one expects here. Among my first choices, but not at the top.
Herreweghe ( 03-2007): plays the ‘original’ B Minor version with 2 oboes, also at the Leipzig pitch of a’= 415 Hz. Both soloists German soprano, Dorothee Mields (see BCW), and Canadian counter-tenor, Matthew White (see BCW), combine well and are perfect in all details. As with Koopman, the first oboe is also played by Marcel Ponseele here. In my ranking after Kuijken.
Rudolf Lutz (03-2009): also recorded the C Minor version with ‘normal’ oboes at the Leipzig pitch of a’= 415 Hz. Austrian soprano, Miriam Feuersinger (see BCW), and Austrian counter-tenor, Markus Forster (see BCW), although mixed are a perfect match for this movement with a very intimate and transparent performance. Together with the excellent playing of the oboes, this is my third choice after Koopman and Suzuki.
Georg Christoph Biller (02-2013): this recording is remarkable in so far, that both soprano and alto parts are sung by 2 boy soloists per part instead of one: boy Sopranos: Johannes Hildebrant & Jakob Feyer (Soloists of the Thomanerchor Leipzig); boy Altos: Jakob Wetzig & Henrik Weimann (Soloists of the Thomanerchor Leipzig). This is an interesting technical solution for a good sounding combination of perfectly matching timbres and volume. Unfortunately there are some ‘glitches’ in both singing and oboe playing. Biller plays the Rehearsal version in B Minor, but at the modern pitch of a’= 415 Hz., with oboes d’amore and brass instruments (see movement 4). This is my last choice in my ranking.
Ranking: (both HIP and OVPP)
Koopman (1) = Suzuki (2) = (Lutz (3), Kuijken (4) Herreweghe (5), Gardiner (6), Georg Christoph Biller (7)
Movement 2: T, Strings, Oboe (d’Amore) I and II and BC
Introduction Cantata BWB 18,2 by Alfed Dürr (from ‘ The Cantatas of J.S. Bach’):
‘In the accompanied recitative, no. 2, the top instrumental part, played by two oboes and first violin in unison, delivers in long-held notes the first verse of the hymn Christe, du Lamm Gottes. In the words ‘Ah! do not pass by’, a picture is here conjured up of the blind man at the wayside. And by means of the chorale his appeal to Jesus as He approaches Jerusalem is elevated to a prayer for mercy from the whole of Christendom. Here the unique art of Bach, which so far surpasses that of his contemporaries, is revealed in full.’
Remarks:
· I am commenting only on the tenor soloists and the instrumental citation of the melody of the German Agnus Dei (Christe Du Lamm Gottes) with the in unisono playing oboes (d’amore) and strings. Version and pitch were already discussed in movement 1, above.
· Total times vary slightly around a minute and half; the fastest at 1:14 (Gardiner) and slowest at 1:25(Koopman and Lutz).
Koopman (09-1995): experienced Scottish tenor, Paul Agnew (see BCW), has sung many solo parts, also with Gardiner and other conductors. This short recitative depends a lot on declamation and emphasis, which Agnew manages with technical perfection and a very pleasant timbre (also as evangelist in the passion music’s). As informed in movement 1, the oboe d’amore I is played by Marcel Ponseele.
Suzuki (05-1998): the equally experiences German tenor, Gerd Türk (see BCW), has all the same qualities as Agnew, above and is at the same level, especially in terms of declamation and volume. The unisono oboes and reduced strings playing is also perfect here, same as Koopman in my ranking.
Gardiner (03-2000): English tenor, James Oxley (see BCW), although not as well-known accomplishes the same level as with both tenors discussed above, regarding sensitive declamation, technique and timbre. The unisono playing of oboes and strings for the instrumental citation of the German Agnus Dei is also very sensitive and transparent. Same position in my ranking.
Kuijken (03-2007, OVPP): German tenor, Marcus Ullmann (see BCW). I don’t like his timbre as well as all other tenors discussed here, but his sensitive lament is also perfect. The OVPP reduced strings (3 first, 2 second violins and only one viola) are very transparent with both oboes. Also same position in my ranking.
Herreweghe (11-2007): German tenor, Jan Kobow (see BCW), timbre reminds Ullman, above, and is at the same level in declamation and intimacy. Herreweghe also has a reduced string section (3 first, 3 second violins and 2violas) combining well with the sensitive oboe playing (Marcel Ponseele playing oboe I). Also same position in my ranking.
Rudolf Lutz (03-2009): American tenor, Jens Weber (see BCW), although not so well-known in Bach has also performed with Kuiken and, although his timbre is somewhat at the shrill side, his declamation and technique are as good as all others IMHO. The instrumental citation sounds as well elaborated as with all other recordings discussed here. Also same position in my ranking.
Georg Christoph Biller (02-2013): German tenor, Tobias Hunger (see BCW), reminds Weber (above) regarding timbre. But his sensitive declamation is also perfect as is the instrumental declamation with strings and oboes d’amore.
Ranking: (both HIP and OVPP):
Although I am very critical of tenor soloists singing Bach, I like all interpretations with their differences in timbre but equally perfect in declamation. The instrumental citation is also perfect in all renditions. As a consequence I find it difficult to insert them in a ranking, every one of them has its own appeal.
Movement 3: Chor (Chorus), S, A, T, B, Oboes (d’amore) I and II, Strings and BC
Introduction Cantata BWB 18,3 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’), without illustration:
‘With its rondeau structure and homophonic texture, the following chorus, no. 3, is akin to a measured dance movement and closely resembles the choruses from the secular cantatas of the Cöthen period. The episodes, or couplets, are invariably designed as tenor-bass duets, another feature that has models in that period. Yet how ingeniously these stylistic means are made to serve the present purpose! The declamation in the refrain bars, especially in the upper parts, is faultless: Perhaps it is no accident that the opening of the continuo part (and later that of the bass part) is suggestive of the chorale Christe, du Lamm Gottes.’
Remarks:
· I excluded a discussion of the Leonhardt and Leusink recordings because their choirs are too large for my taste. Such large choirs are not really adequate as HIP interpretations, IMHO. The same goes for Biller’s rendition, although included here because of the boy soprano and alto soloists and choir. Basically, my ranking is inversely proportional to the size of the used choirs in the remaining HIP recordings.
· Regarding the mentioned tenor / bass duets above, I have already discussed the tenor part in movement 2 and will be including the bass soloists performing in these duets.
· Total times vary: the fastest at 3:12 (Suzuki) and slowest at 5:12 (Kuijken).
Koopman (09-1995): with 5 sopranos, 4 altos, 5 tenors and 5 basses, Koopman ( and Gardiner) has the 2nd largest choir after Biller, nevertheless he manages a very good transparency with his professional Amsterdam Baroque Orchestra & Choir. While the first line ‘Aller Augen warten, Herr’ are sung by the full choir, the remaining lines are performed as duets with tenor Paul Agnew, already discussed in movement 2 and German bass-baritone, Klaus Mertens (see BCW), certainly one of my favorite bass soloists with his excellent technique and warm timbre. The well played instrumental ritornellos contribute to a very joyous and transparent rendition. One of my first choices.
Suzuki (05-1998): with a slightly smaller choir of 4 sopranos, 4 altos, 4 tenors and 4 basses, that is very close to Bach’s situation in Leipzig. The duets performed by tenor Gerd Türk (see movements 2) and one of the 4 mentioned bass choristers that took over the role of soloists are also perfect. Suzuki unfortunately fails to produces a better transparency since the tempo is too fast here and the instrumental ritornellos are too ‘fuzzy’ IMHO. Not my first choice, probably last before Biller.
Gardiner (03-2000): with the excellent but also relatively large Monteverdi Choir with a choir of 6 sopranos, 4 altos, 4 tenors and 5 basses and the duets performed by James Oxley (see movement 2) and a chorister from one of the 5 basses, I don’t think the choir is at its best here, since it also sounds fuzzy and even shrill in the higher registers. Both tenor James Oxley (see movement 2) and an also unnamed bass soloists from the choir and the instrumental ritornellos are perfect, although the tempo is also at the fast side. Not among my first choices.
Kuijken (03-2007, OVPP): this performance stands in stark contrast to the previous recordings discussed above. Since this is an OVPP recordings, the contrast between full choir parts and tenor / duets is not as clear. Although the instrumental ritornellos are well played, the tempo her is too slow for my taste. My last choice in my ranking.
Herreweghe ( 03-2007): with a relatively quick although very joyous tempo, Herreweghe took the same approach as with Koopman, Suzuki and Gardiner (above) and the result is comparable. The instrumental ritornelli are well executed, A fourth place in may ranking.
Rudolf Lutz (03-2009): also with a relatively small choir of 4 sopranos, 4 altos, 3 tenors and 3 basses, that is also very close to Bach’s situation in Leipzig. Tenor Jens Weber (discussed in movement 2) is joined in the duet by the excellent Swiss baritone, Fabrice Hayoz (see BCW), resulting in a good mix, although not ideal IMHO. As always, the instrumental ritornello playing is excellent. This the third place in my ranking, after Koopman and Suzuki.
Georg Christoph Biller (02-2013): as commented before, Biller’s boys and men’s choir is too large for my taste. The duets are performed by German tenor, Tobias Hunger (see BCW), and German bass-baritone Gotthold Schwarz (see BCW), and the instrumental ritornellos are very good. Nevertheless my last choice because of the fuzzy sounding full choir parts.
Ranking: (both HIP and OVPP)
Koopman (1), Suzuki (2), Lutz (3), Gardiner (4) Herreweghe (5) Kuijken (6), Georg Christoph Biller (7).
Movement 4: Choral, S, A, T, B, Oboes (d’amore) I and II, Strings and BC (+ Canto (Cornet, Trombones I, II and II in the 1723/24 Rehearsal versions in B Minor)
Introduction Cantata BWB 18,3 by Alfed Dürr (from ‘ The Cantatas of J. S. Bach’):
‘The concluding chorale, a setting of the German Agnus Dei (Brunswick, 1528), is of sublime intensity. Oboes and strings form an independent structure which incorporates a prelude and interludes. In order to counterbalance them, the vocal parts were in 1724 reinforced by a choir of trombones (with cornett as treble instrument, in accordance with contemporary practice), which make their first entry in this movement. The chorale setting is through-composed; in other words, each of the three verses is set differently as follows: Verse 1 (‘adagio’): motivically independent instrumental texture (though developed out of the chorale melody); the chorale, with the melody in the soprano, is delivered line by line in a texture either chordal or lightly broken up into polyphony Verse 2 (‘andante’): chorale cantus firmus in three-part canon, for soprano, oboes, and violin I, with polyphonic subsidiary parts; the oboes are independent in the episodes. The strings not involved in the canon double the voice parts. Verse 3: chorale melody delivered line by line in the soprano, with a polyphonic substructure. The oboes unite in an independent part, rich in syncopations. The strings accompany the oboes in the episodes and double the voices in the vocal passages. Thus, in compelling solemnity this uniquely splendid chorale movement points forward to the time when we commemorate the Passion of Christ.’
Remarks:
· As informed in Dürr’s general introduction, on Good Friday 1725, this same chorale setting served as the conclusion of the second version of the St John Passion; but it was subsequently removed from that context, whereas it retained its place in the present cantata. This explains the relative ‘gravitas’ of this beautiful choral setting.
· See my criteria for the choirs commented in movement 3, above.
· I am basically ranking the choirs as in movement 3, but also the important independent performance of the instrumentation (including the playing of the brass instruments if pertinent).
· Total times vary over a minute: the fastest at 4:08 (Lutz) and slowest at 5:38 (Kuijken).
Koopman (09-1995): as commented earlier in movement 1, Koopman performs the B Minor version, although without adding the brass reinforcements in this last movement. In spite of the relatively large choir (after Gardiner and Biller) this is a superb interpretation both in terms of transparency of the choir and instrumental performance. One of my first choices.
Suzuki (05-1998): with a similar size of the choir and perfect instrumental performance as with Koopman, above. But here we have the voice doubling of all 4 choir parts with the brass instruments, in this case a cornetto (with the soprano), and trombones I, II and II with the alt, tenor and bass parts respectively. Same ranking as with Koopman.
Gardiner (03-2000): with the same choir size as Koopman, but a relative slow tempo this rendition sounds ‘heavier’ with more gravitas than Koopman and Suzuki, but in terms of transparency of the choir and instrumental performance also comparable. Same ranking as with Koopman and Suzuki.
Kuijken (03-2007, OVPP): this recording is the slowest among all other discussed. With one voice per part this performance is the most transparent, although the instruments sound to loud in the forefront. Also at the top ranking together with all above.
Herreweghe ( 03-2007): Herreweghe with 43 voices per part comes very close to Bach’s own conditions – at least for the Leipzig performance. The equilibrium of choir and instrumental parts is optimal. Also same ranking as with Koopman, Suzuki and Gardiner.
Rudolf Lutz (03-2009): with a similar choir size, this recording sounds very similar to Herreweghe’s. Also at the top ranking together with all above.
Georg Christoph Biller (02-2013): I am not sure about the size of the Thomaner Choir, but it is far too huge for my taste. This is my last choice in the total ranking.
Ranking: (both HIP and OVPP)
Koopman (1) = Suzuki (2) = Herreweghe (3) = Gardiner (4) = Lutz (5) = Kuijken (6), Georg Christoph Biller (7). |
