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Fritz V. Herbold wrote (January 30, 2026):
BWV 36 is the nine’s cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen on December 14, 2007– 12 days after the 1. Sunday in Advent in 2007. See also the Bachipidia Bachpedia 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.
I am comparing all movements with 8 other HIP as well as one HIP/OVPP recording by Sigiswald Kuijken.
Notes: I like this very popular cantata very much. The BCW mentions 64 complete recordings so far. A first recording from Dec 16, 1948, with Arthur Mendel and The Cantata Singers and Orchestra is available on YouTube (among many others) at YouTube. There are 3 different recordings with both Gardiner and Harnoncourt, some available only on YouTube (see links at Cantata BWV 36 - Discography Part 1 on BCW).
Apart from the parodied secular cantatas 36a, b and c, there are two later versions for the 1. Sunday in Advent:
1. BWV 36.4 BWV 36 (1) BC (Bach Compendium) A 3a with 5 movements in one part, probably composed between 1728 and 1730 (see recording with Kevin Mallon) and
2. BWV 36.5 BWV 36 (2) BC (Bach Compendium) A 3b with 8 movements in two parts, performed December 2, 1731. This version is called ‘Two Part Version’ or ‘Final Version’ and is the most recorded version.
Scoring: see KB, NBA: I/1 and Bach Digital at Bacxh-Digital (early version) and Bach-Digital (later Version)
Since the NBA started the cantata series chronologically according to the Lutheran Church Calendar, this was the first volume edited in 1955 with the ‘Kritischer Bericht’(critical report) written by Alfred Dürr and Alfred Neumann, both well-known and very competent Bach scholars. I have always wondered why this volume places BWV 36 in a second place (after BWV 61 and before BWV 62, but I am not sure if this has been corrected in a later edition. In his ‘The Cantatas of J. S. Bach’ though, Dürr places BWV 36 correctly as the third (and last) cantata for the 1. Sunday in Advent.
Regarding the latest / two part version, both original score (S, A, T, B, 1 Oboe d ‘amore, 2 Violins, Viola and BC) and Parts (S, A, T, B, 2 Oboes d’ amore, Violin 1 (with doublets!), Violin 2 (with doublets) Viola and continuo consisting of one not-transposed part (with doublet – probably for violoncello and/or violone and/or bassoon) and one transposed (to C Major to be played at a’= 465 Hz) part for the organ)
Introduction Cantata BWV 38 by Alfed Dürr (from ‘The Cantatas of J. S. Bach’): ‘By the First Sunday in Advent 1731, when this cantata was heard for the first time in the version familiar to us today, some of its music already had a long history behind it. The opening chorus* and the arias go back to a secular cantata of the same name, BWV 36c, performed by Bach in early 1725 for the birthday of a teacher. This music was reused repeatedly in subsequent years: for the birthday of Princess Charlotte Friederike Wilhelmine of Anhalt-Cöthen on 30 November 17261 under the title Steigt freudig in die Luft (BWV 36 a); in honour of a member of the Leipzig Rivinus family of lawyers, as Die Freude reget sich (BWV 36b); and in a sacred paraphrase of the opening chorus and the arias, as a church cantata for the First Sunday in Advent. In this version only a final chorale was at first added to the movements adopted from the secular cantata (nos. 1, 3, 5 and 7 of the above text). The chorale was the last verse of the hymn Wie schön leuchtet der Morgenstern by Philipp Nicolai (1599), whose closing words ‘Come, you fair crown of joy, do not delay for long! I await you with longing’ (see Cantata 61/ 6 above) were clearly designed to reflect the Advent character of the newly assembled church cantata. However, Bach must have regarded this rather superficial adaptation as a half-way measure, for the new version of 1731, transmitted in a freshly written-out score with parts, is the product of radical remodeling. The opening chorus and the arias were preserved in overall design but improved in numerous details. Placed between them, however, were not recitatives, as in most other cantatas (and as in the secular original), but chorale arrangements, all (except for no. 4, the movement transferred from the earlier version) based on Martin Luther’s hymn Nun komm, der Heiden Heiland, the favorite Advent chorale of the time. The cantata was expanded into a two-part structure, and the former closing chorale placed at the end of the first half, which necessitated a change of text from verse 7 to verse 6 of Nicolai’s hymn. The whole work closed with the last verse of Luther’s hymn, in accordance with its new dominant role. The form the cantata now took is unique in Bach’s oeuvre. Chorus and arias are adopted from the then modern Neumeister type of cantata, but recitatives are abandoned in favor of chorale verses, largely drawn from one and the same hymn. Evidently, Bach here sought a new manner of synthesizing the ‘modern’ cantata with the chorale. And it is perhaps no mere chance that Cantata 140— not entirely dissimilar in form, uniting madrigalian* movements with a complete chorale— was performed only a week before.’
Remark: the total times of the discussed two part version interpretations here vary from 27:19 (Koopman) to 30:52 (Biller). I will discuss tempo, soloists, choir and instrumentation (including the different composition of the basso continuo (BC) of each movement below. Regarding key, pitch and temperament, all recordings discussed here are performed in D Major at Leipzig’s pitch of a’= 415 Hz (Cammerton) at equal temperament, with the exception of Lutz who uses nonequal temperaments following Young and Vallotti. Biller’s recording sounds a half tone higher, probably because he plays at the modern pitch of a’= 440 Hz. See also observations regarding pitch for Suzuki below.
Movement 1: Chorus, S, A, T, B, Oboe d’amore I & II, Strings and BC
Introduction by Alfred Dürr: ’ The opening chorus is unable to conceal its secular origin. As an Advent movement, it is justified by the Gospel, read beforehand, which tells of Jesus’s entry into Jerusalem. Musically, it is determined by two figures heard together at the start of the introduction: the short upward-swinging triplet motive in the strings and the more extended oboe melody. Formally, the movement is divided into two equivalent halves, each further subdivided into two contrasting passages, ‘Schwingt freudig …’ and ‘Doch haltet ein!’.
Remark: the tempos of this movement don’t vary much – all around 4 minutes, the fastest at 3:56 (Lutz) and slowest at 4:22 (Biller).
Gardiner 1 (January 1992): this is the first of 3 recordings with Gardiner mentioned in the BCW. See second recording below and a third very recent from December 7, 2024, recorded & filmed live Elbphilharmonie Grosser Saal, Hamburg, Germany (no video link available yet). Both first recordings are recorded with the excellent Monteverdi Choir and The English Baroque Soloists. Not surprisingly, The relatively high soprano parts are mastered perfectly; the balance between orchestral and choral parts, including both oboe’s d‘amore, strings and BC (2 violoncellos, double bass, bassoon and chest organ (I cannot hear the harpsichord). One of my first choices.
Philippe Herreweghe (November 1996): as in many other recordings, Herreweghe’s choir (although practically the same size as the Monteverdi Choir above) sounds especially transparent and joyous in comparison to many other choir parts. The oboe d’ amore I is played by Marcel Ponseele (the liner notes and BCW mention a total of 3 oboe players); the BC consists also of 2 violoncellos, double bass, bassoon and chest organ. Also one of my first choices.
Kevin Mallon (earlier version, January 2000): this is the only recording of the earlier version I have found so far in the BCW. This interpretation cannot be compared directly to the other first movements, but it sounds very transparent with the OVPP choir of excellent soloists (see liner notes), one oboe (not oboe d’amore!), the reduced strings section (violino I, violino II and viola) as well as the ‘light’ BC (violoncello, double-Bass, chest organ). Also one of my first choices because of the good transparency of all voices!
Gardiner 2 (December 2000): I don’t hear a remarkable difference compared to Gardiner 1 (see above). Choir and instrumentation sound almost identical . Also one of my first choices!
Koopman (May to November 2002): despite the much larger choir (total 19 singers) this performance also sounds very similar to both Gardiner as well as Herreweghe’s recordings. The relatively high soprano parts are also mastered perfectly as well as the orchestral l parts, including both oboe’s d‘amore, strings and BC (2 violoncellos, double bass, bassoon and chest organ. Also one of my first choices.
Lutz (December 2007): Lutz’ choir is the same size as with Kevin Mallon (see above) with 3 voices per part but he uses all choristers in the first (Chorus) and sixth (Chorale) movements. Both choir and instruments with 2 oboes d’amore, string section with 3 first violins, 3 second violins and 2 violas and BC (violoncello, violone, bassoon, chest Organ) sound well balanced and transparent. Also among my first choices.
Kuijken (December 2008): As with Mallon, the choir movements are played with one voice per part (OVPP), and I like the resulting transparency more than in all other recordings discussed here and the fact that this volume is recorded as ‘Super Audio CD’ certainly helps. The liner notes with all Kuijken recordings contain detailed explanations about the use of vocal forces and instrumentation. Accordingly, the relatively small string section is composed by 2 first, 2 second violins and 2 violas but the BC follows Kuijken’ s suggestion with the use of a ‘Violoncello da Spalla’ (instead of a violoncello) and a 8 foot violone. Both oboes d’amore sound fine and this is clearly my first choice for this movement.
Biller (December 2009): This recording at the St. Thomas Church with the Thomaner Choir Leipzig and the Gewandhausorchester Leipzig are recorded at modern pitch and sound a halftone higher than all other recordings. I always wonder why, because if they would play at the Leipzig ‘Cammerton’ they could also use the church organ using the transposed original organ voice in C. The size of the choir is not informed, but I suppose at least 6 voices per part. Although this is the only recording with boy voices for the soprano who master the high registers surprisingly well, this choir is far too large for my taste. The instruments are detailed in the liner notes: (only one!) oboe d’amore, violino I and II and viola and BC (no details). Not my first choice.
Suzuki (February 2010): Suzuki’s fine Bach Collegium Japan with Baroque orchestra and chorus is at the highest level here and comparable in size and quality to both Gardiner’s and Koopman’s choir. Both oboes d’amore , strings and BC (violoncello, violone, bassoon, chest organ AND harpsichord, although I can’t hear a harpsichord playing in this movement. This is also a Super Audio CD, enhancing the transparency. One of my first choices.
Spering (April 2015): the choir with 4 voices per part is a good compromise in size and sounds very joyous and transparent. The string section is the same size as with Suzuki. The liner notes mention 2 oboes (instead of oboes d’amore) but I am not sure of this is a typo. The BC is similar to all of the above with violoncello, double-bass and – this is a welcome differentiation the big church organ of the Melanchtonkirche in Cologne, Germany. Also one of my first choices!
Ranking: I like all movements above and I don’t really have a ranking, although a slight preference for both recordings with Kuijken and Marlo. All choirs are of excellent quality.
Movement 2: Chorale: S with Oboe d’amore I, Alto with Oboe d’amore II and BC
Introduction by Alfred Dürr: ’ In its fervor, the following chorale duet may be regarded as one of Bach’s happiest inspirations. Although the link with the chorale is clearly audible, both in the two voice parts (doubled by oboes d’amore*) and in the continuo, the expressivity of each individual figure is enhanced to the utmost, as in the pleading leaps of a sixth on ‘Nun komm’, the syncopations on ‘Des sich wundert alle Welt’, or the chromatic boldness of’ Gott solch Geburt ihm bestellt’.
Remark: the tempos of this movement vary– all between 3:30 and 4:30 minutes, the fastest at 3:21 (Gardiner 1) and slowest at 4:27 (Biller).
Gardiner 1 (January 1992): Canadian soprano, Nancy Argenta (real name: Herbison; see BCW) and German mezzo-soprano, Petra Lang (see BCW ) are both well-known Bach’s cantata soloists in many recordings. Their excellent voices mix very well. The BC introduction of the theme with cello and chest organ (no bassoon!) is very delicate/intimate and the discreet doubling oboes d‘ amore make this movement one of my first choices.
Philippe Herreweghe (November 1996): German soprano, Sibylla Rubens (see BCW) and English mezzo-soprano, Sarah Connolly (see BCW) mix equally well but the doubling oboes d’amore play too loud, overshadowing the sung parts too much. Not bad, but not my first choice.
Kevin Mallon (earlier version, January 2000): this duet is not present in the ‘one part version’
Gardiner 2 (December 2000): with both English soprano, Joanne Lunn (see https://www.bach-cantatas.com/Bio/Lunn-Joanne.htm ) and English counter-tenor, William Towers (see https://www.bach-cantatas.com/Bio/Towers-William.htm ) and the subtle entry of violoncello and chest organ, Gardiner reaches the same delicate and intimate performance as with his first recording above. Also one of my first choices.
Koopman (May to November 2002): French soprano, Sandrine Piau (see BCW) sounds a little operatic in the higher register – contrary to Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW), who sounds perfect here. Koopman also manages to create a very intimate opening with a ‘light’ BC (violoncello and a very elaborate chest organ playing, probably by Koopman himself!). The doubling oboes d’amore also play very discreetly, Among my first choices, but after both Gardiner recordings.
Lutz (December 2007): Spanish soprano, Núria Rial (see BCW) and Swiss mezzo-soprano, Claude Eichenberger (see BCW) are an excellent choice for this delicate chorale singing duet. The BC (violoncello, violone, chest organ (no bassoon!) reach the same delicacy as with Gardiner, but the soloists beat all other performances. My first choice after Biller.
Kuijken (December 2008): blind German soprano, Gerlinde Sämann (see BCW) and Slovak mezzo-soprano, Petra Noskaiová (see BCW) are excellent soloists but here the oboes d’amore are too strong in the forefront as well as the BC. One can hear the distinct sound the ‘a ‘Violoncello da Spalla’ (explained in the liner notes) together with a chest organ. The singing is not bad but overshadowed by the instruments. Not my first choice.
Biller (December 2009): this is the only recording with boy vices for both soprano (Paul Bernewitz (Soloist of the Thomanerchor Leipzig) OR Boy Soprano: Friedrich Praetorius (Soloist of the Thomanerchor Leipzig) and alt Stefan Kahle (Soloist of the Thomanerchor Leipzig). The liner notes make it clear that both boy sopranos perform in this cantata; probably one in this movement and the other in movement 7, see below). Their voices mix very well and the instrumental playing of both oboe’s d’amore and BC (probably not with the big church organ here) is also very tender. My first choice!
Suzuki (February 2010): Czech soprano, Hana Blažíková (see BCW) and English counter-tenor, Robin Blaze (see BCW) are both excellent soloists and the instrumental accompaniment including BC are well played, but the whole movement is too fast IMHO. Not bad but not my first choice.
Spering (April 2015): German soprano, Lydia Teuscher (see BCW) and German mezzo-soprano, Charlotte Quadt (see BCW) are also excellent and mix very well maintaining a clear diction. Both oboe’s d’amore and BC are kept somewhat in the background. I am not sure if the church organ is playing here. As good as both Gardiners and Koopman.
Ranking: I will always prefer boy voices in this kind of duets:
(1) Biller – (2) Lutz – (3), (4), (5), (6) and (7) Gardiner 1&2, Koopman, Spering and Suzuki - (9) Herreweghe and Kuijken
Movement 3: Aria T, Oboe d’amore I and BC
Introduction by Alfred Dürr: ’ The tenor aria, no. 3, celebrates the entry of Jesus in the image— then current— of the Bridegroom of the Soul.’
Tempi: vary between around 4 and 6 minutes; the fastest at 4:50 (Gardiner 1) and the slowest 6”02 (Lutz)
Gardiner 1 (January 1992): One of England's most distinguished singers, Anthony Rolfe-Johnson was a student of Ellis Keeler at the Guildhall School of Music in London, and later of Vera Rosza (see BCW). I don’t think he is at his prime here and some passages sounds somewhat shrill and I don’t like much his timbre. The prominent oboe d’amore plays his part very professionally as well as the BC with 2 violoncellos, double-bass, bassoons, chest organ; I can’t hear a harpsichord). Not my first choice.
Philippe Herreweghe (November 1996): German tenor, Christoph Prégardien (see BCW) is better here but still not my ‘ideal’ Bach tenor. Oboe d’amore and BC (exactly as with Gardine 1) play well. Not my first choice.
Kevin Mallon (earlier version, January 2000):
Gardiner 2 (December 2000): I like German tenor, Jan Kobow (see BCW) better here as in Gardiner 1. The oboe d’amore and BC (as above) is also more discreet and intimate. Among my first choices.
Koopman (May to November 2002): English tenor, James Gilchrist (see BCW) has a long experience as chorister at New College, Oxford, and choral scholar at King's College, Cambridge. I like his timbre better than Gardiner 2. Also Among my first choices.
Lutz (December 2007): German tenor, Johannes Kaleschke (see BCW) belongs to a younger generation nut has an ideal tenor timbre which I appreciate a lot. The oboe playing is perfect and the BC is ‘light’ with only violoncello and chest organ. One of my first choices!
Kuijken (December 2008): German tenor, Christoph Genz`(see BCW) comes close to the above with Lutz, but disappoints here with his timbre and oboe d’amore and BC are too strong at the forefront. Not my first choice.
Biller (December 2009): Christoph Genz sings again in this recording, and although somewhat better, I still don’t like his timbre. Oboe d’amore and BC sounds better here but this is still not my first choice
Suzuki (February 2010): Japanese tenor, Satoshi Mizukoshi (see BCW) sounds somewhat reserved, although the whole movement with an intimate instrumentation (oboe d’amore and BC). Not bad but still not my first choice.
Spering (April 2015): German lyric tenor, Sebastian Kohlhepp (see BCW) sounds well here and has a good diction and timbre. Accompaniment is somewhat loud (amore d’amore) not so much the BC. Among my first choices.
Ranking: I always have a problem to compare tenor soloists when performing Bach’s cantatas or oratorios, masses and especially in passion music as evangelist. I can’t avoid to compare them all to my favorite tenor Kurt Equiluz (mostly in Harnoncourt / Leonhardt cycle). Accordingly, my ranking may be biased.
(1) Lutz – (2) Gardiner 2 – (3) Koopman - (4) Gardiner 1 - (5) Spering – (6) Biller – (7) Suzuki – (8) Herreweghe – (9) Kuijken
Movement 4: Chorale, S, A, T, B, Instruments and BC
Introduction by Alfred Dürr:’ The same image pervades the closing chorale of Part I, a plain four-part setting which, despite the change of text it had to undergo, fits in well at this point.
Remark: the tempos of this movement vary between the slowest -1:44 with Spering to the fastest – 1:01 with Lutz. Regarding choir and instruments see movement 1, above. I like all interpretations with a preference for the transparent OVPP recording with Kuijken. Kevin Mallon’s earlier version doesn’t have this movement.
Second Part
Movement 5: Aria, B, strings and BC
Introduction by Alfred Dürr:’ The joyful opening aria of Part II, whose character again betrays its origin in a congratulatory cantata, bids the Lord welcome, beseeching Him to enter into the heart of the Christian. The pre-existing music proves to be particularly well-suited to the jubilant cries of ‘Welcome!’ in the Advent text.’
Remark: most of the tempos in this movement are around 3:30, from `2:65 (Mallon) to 3:55 (Biller)
Gardiner 1 (January 1992): German baritone, Olaf Bär (see BCW ) has good diction and a warm timbre. The whole movement is joyous but also more intimate (especially the string section than other recording of this aria. Among my first choices.
Philippe Herreweghe (November 1996): Dutch bass, Peter Kooij (see BCW) who sings mostly the bass part with Herreweghe is not at his best here. Some passages sound wobbly. The strings are equally intimate as with Gardine 1, above. Not my first choice.
Kevin Mallon (earlier version, January 2000): Steven Pitkanen is one of Canada’s finest young baritones (see BCW) but I don’t like his performance here – sounding slightly too operatic/exaggerated. The instrumental part is intimate and transparent. Not my first choice.
Gardiner 2 (December 2000): German bass-baritone, Dietrich Henschel (see BCW) has a strong and ‘darker’ voice here. The whole movement with an intimate string section sounds very similar as with Gardiner 1, see above, although not as balanced as but still one of my first choices.
Koopman (May to November 2002): German bass-baritone, Klaus Mertens (see BCW ) has the ‘warmest’ timbre of all bass soloist discussed here and the instrumentation is somewhat ‘reserved’, too much in the background. Nevertheless one of my first choices.
Lutz (December 2007): German bass, Klaus Häger (see BCW ) might not yet be as well-known as all the above, but has a young strong voice with excellent diction. The mix with the also intimate orchestral apart and BC makes this my first choice.
Kuijken (December 2008): Belgian baritone, Jan van der Crabben (see BCW) mostly sings the bass-baritone parts with Kuijken, but his articulation/diction is somewhat exaggerated as well as the louder instrumental accompaniment. Not bad, but not my first choice.
Biller (December 2009): German bass-baritone, Andreas Scheibner (see BCW) reminds the recording above, although the instrumental part is played more delicately. Not my first choice.
Suzuki (February 2010): Peter Kooij (see Herreweghe above) is much better here with Suzuki in this faster interpretation. The balance with the instrumental parts is perfect here. One of my first choices.
Spering (April 2015): this is a case where the big church organ plays in the BC without overshadowing the strong voice of Austrian baritone, Rafael Fingerlos (see BCW) . Certainly a very ‘authentic’ interpretation and one of my first choices.
Ranking: I like the variety of these individually different interpretations and abstain from a ranking, that wouldn’t be fair IMHO. I have a slight preference for Lutz and Spering though.
Movement 6: Chorale, T, Oboes d’amore I & II, BC
Introduction by Alfred Dürr: ’ The sixth movement forms a marked contrast: it is a chorale setting, with the unvaried cantus firmus in long notes in the tenor, accompanied by a lively figuration on two oboes d’amore, which seems to represent the battle and victory of God’s Son over the ‘ailing flesh’ of mankind. Ostinato figures in the continuo strengthen the impression of severity in this movement.’
Remark: tempos vary between 1:35 (Spering) and 2:11 (Biller)
Ranking: as in movement 3, also with tenor, 2 oboes d’amore and BC.
Movement 7: Aria S, Violino I solo and BC
Introduction by Alfred Dürr: ’ All the lovelier, by contrast, is the effect of the soprano aria (no. 7), with muted solo violin, whose text affirms that even the praise of sinful man is pleasing to the Creator. The words of the middle section, ‘Denn schallet nur der Geist darbei’ (‘ For even if only the spirit sounds’), give rise to charming echo effects between soprano and violin.’
Remark: tempos vary between 6:55 (Koopman) and 9:14 (Spering)
Gardiner 1 (January 1992): Canadian soprano, Nancy Argenta (real name: Herbison) (see BCW) sounds too operatic for my taste but the violin solo playing and ‘light’ BC are very well played. Not my first choice.
Philippe Herreweghe (November 1996): German soprano, Sibylla Rubens (see BCW) sounds better than Argenta and the violin solo playing and ‘light’ BC sound very intimate. Among my first choices.
Kevin Mallon (earlier version, January 2000): Canadian soprano, Teri Dunn (see BCW) is not perfect here IMHO. Some parts in the higher register sound also somewhat operatic. The violino solo is louder and sounds more present. The BC also sounds light. Not bad but not my first choice.
Gardiner 2 (December 2000): English soprano, Joanne Lunn (see BCW) I like Joanne Lunn’s because of her boyish timbre (similar to Ruth Holton, not discussed here). Both violin solo and BC are discreet and intimate. One of my first choices.
Koopman (May to November 2002): this interpretation is too fast for my taste. French soprano, Sandrine Piau (see https://www.bach-cantatas.com/Bio/Piau-Sandrine.htm ) is not technically as good and also too operatic in the higher register as I remember her in other recordings. Volino solo and BC play also play in a very intimate way. Not among my first choices.
Lutz (December 2007): Spanish soprano, Núria Rial (see BCW) sings with many Lutz recordings and has a fine and in this aria very intimate voice that combines perfectly with the excellent violino solo played by leader John Holloway and an also very intimate BC played only by chest organ and violoncello. One of my first choices.
Kuijken (December 2008): blind German soprano, Gerlinde Sämann (see BCW ) sounds very similar as Núria Rial (above) accompanied by an also very ‘light’ BC, although at a quicker tempo. Also one of my first choices.
Biller (December 2009): German boy soprano: Paul Bernewitz, soloist of the Thomanerchor Leipzig (see https://www.paul-bernewitz.de/en/about/) sings the only interpretation with a boy’s voice here (apart from the earlier recording with Harnoncourt). He masters the jumps in the high registers fairly well and the ‘slim’ original voice (as Bach used) compensates for some technical difficulties. The violin plays ‘con sordino’ and the BC, probably only organ and violoncello. Among my first choices.
Suzuki (February 2010): Czech soprano, Hana Blažíková (see BCW) sounds somewhat operatic here and shrill in some high notes. The solo violino and BC parts (chest rogan and violoncello?) are also played very intimately. Not bad but not my first choice.
Spering (April 2015) German soprano Lydia Teuscher (see BCW) dominates the higher notes with perfection. I like her almost ‘boyish’ timbre and the also intimate accompaniment with the solo violin and ‘light’ BC. One of my first choices!
Ranking: (1) Spering – (2) Lutz – (3) Biller - (4) Kuijken - (5) Herreweghe – (6) Gardiner 2 – (7) Suzuki – (8) Gardiner 1 – (9) Koopman – (10) Kevin Mallon
Movement 8: Chorale, S, A, T, B, Instruments and BC
Introduction by Alfred Dürr: ’ As at the end of Part I, the closing chorale is a plain four-part setting, and it allows the individual’s praise of God to merge into that of the whole Christian congregation.’
Remark: the tempos of this movement vary between 0:34 (Koopman) and 1:39 (Kevin Mallon).
Ranking: I like all interpretations of this relatively short chorale with their individual readings specially regarding tempo and choir size, but will always prefer the OVPP versions, in this case, with Sigiswald Kuijken. |
