Bach Cantatas Nos. 80 and 11 by Michael Rippon, Johann Sebastian Bach, Johannes Somary, English Chamber Orchestra, and Felicity Palmer

Bach Cantatas Nos. 80 and 11

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Bach Cantatas Nos. 80 and 11

Reader Reviews
The two cantatas featured here--one for Reformation Festival (BWV 80) and the other for Ascension Sunday (BWV 11--often listed as an Oratorio)--are among Bach's most exuberantly joyful works. Since they are deservedly popular, both cantatas have received numerous recordings over the years. Recently, however, it has become increasingly difficult to find single discs featuring two or three favorite Bach cantatas performed by modern instruments, traditional "oratorio" singers and non-specialist mixed choirs. For this reason, this ArchivMusic reissue, originally recorded by Vanguard in 1974, is most welcome. Somary is better known for his pioneering recordings of Handel oratorios; but his Bach is equally fine, if slightly old-fashioned. He favors moderate (but by no means soporific) tempos and ample (but by no means bloated) textures. He provides plenty of rhythmic lift (though the phrasing is more legato than is favored today) and underlines expressive detail effectively. The jazzy opening Chorus of BWV 11 is particularly uplifting, and the astonishing chorale fantasia on *A Mighty Fortress* with which BWV 80 begins is given its proper weight--and the benefit of Wilhelm Friedemann's extra parts for brass and timpani--unlike so many period-instrument versions of the work. On the other hand, not every listener, even those who enjoy more "traditional" performances of Bach, will appreciate the solo and choral singing which, though often imaginative, is at times distractingly vibrato-laden. Rippon is not the most agile soloist I've heard in the challenging bass aria from BWV 80. Tear is on his best behavior, though he is your typical "English oratorio tenor" (e.g., Alexander Young, Richard Lewis), which means he has a tendency to bleat. Felicity Palmer, recorded early in her career before her voice had begin to darken, projects her arias from both cantatas with poignant lyricism. Best of the soloists is the eloquent Helen Watts, a vetran oratorio singer who gave us some wonderful Bach and Handel during her long career, and does not disappoint us here. Despite the vicissitudes of the singing, this is still a cherishable CD if only because it gives us an opportunity to hear a style of Bach performance that steers a sensible middle course between today's ideals of period performance practice (which can still sound scrawny, brisk and businesslike) and older Bach interpreters such as Ramin, Werner and Richter who can seem too monumental and sometimes earthbound. Somary's Bach combines visceral impact, majesty and intimacy in just proportion. Vivid recording; no texts or notes, however (at least in my copy). Enthusiastically recommended for its abiding musical virtues. Comment | Permalink | function showYesNoCommunityResponse(uId,result,value) { var msgLayer = getElement("thanks" + uId); if ( result == "SUCCESS" ) { msgLayer.innerHTML = "Thanks for the valuable feedback you provided to other Amazon.com readers and reviewers. Your vote will be counted and will appear on the product page within 24 hours."; } else { showVoteErrorResponse(msgLayer,result,value); } } (Report this)

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