Alex Potter, bwv 127, BWV 138, BWV 161, Collegium Vocale Gent, Dorothee Mields, Estomihi, Guy Cutting, Peter Kooij, Philippe Herreweghe, Purification of Mary, Shunske Sato, Thomas Hobbs, Trinity 15, Trinity 16
On January 31, 2021, Philippe Herreweghe and his Collegium Vocale Gent performed three cantatas at the beautiful concert hall “De Singel” in Antwerp, Belgium. In my humble opinion, this was a very moving and inspired performance, and my hat is off to everyone on stage, that they were able to find this energy and inspiration in Bach’s music, in the texts, and in making music together, because they were performing without an audience. Please find the live video recording here on YouTube. Soloists are Dorothee Mields, soprano; Alex Potter, alto; Guy Cutting, tenor; and Peter Kooij, bass.
I provide a bit of a review and a bit of a listening guide here, with links to my blog posts from previous years about these three cantatas. I did not grow up with any of these cantatas, they weren’t part of the repertoire my mother played on the turntable at home. I learned about them in the process of doing research and writing for this blog (and through other people, in the case of Cantata 127).
Cantata 127 Herr Jesu Christ, wahr’ Mensch und Gott
This cantata, written for today, the last Sunday before Lent, is a great choice for the start of a concert, because it immediately grabs you and draws you in. I already hold a special place in my heart for this music because of the soprano aria (beautifully sung here by Dorothee Mields) being performed at my mother’s funeral service in The Hague in 2010. But even without that, the work is in my all-time top 10. And I am not alone: Bach biographer Spitta called it “perhaps the most important” cantata, and it received “the most beautiful” qualification by Arnold Schering as well as Ton Koopman.
The cantata is part of Bach’s 1724/1725 cycle of chorale cantatas, and compared to all previous compositions in that cycle, this opening chorus is the most complex and intricate. Click on the link at the end of this paragraph to read why. I love hearing Collegium Vocale sing this. Dorothee Mields and Peter Kooij are fabulous in their arias, and I enjoy hearing and watching tenor Guy Cutting sing. He’s a new star in the Herreweghe firmament. The soprano aria is of course stunning, but what about that bass aria? Whether a foreshadowing of the St. Matthew Passion or a dramatic end to the series of chorale cantatas, Bach had clearly made “studies” for it in his previous three cantatas of that year. Read all about it in my blog post from 2018.
Cantata 138 Warum betrübst du dich, mein Herz
I am so happy with the video recording from January 31, because it eliminates a dilemma for me. When I first wrote about this cantata (written for the 15th Sunday after Trinity in 1723), I wasn’t able to choose between Herreweghe’s recordings from 1992 and 2013, but I feel the video recording from this year is the clear winner! I love the inspired singing by all four soloists, but find Alex Potter’s singing in this cantata especially stunning. In his recitative (starting at 26:23), the combination of his understanding of the text and what he can do with his voice moves me deeply. So much that when the choir basses then follow with their beautiful entrance, I am close to tears. If you feel I’m getting too sentimental here, don’t worry. My blog post from 2016 is about completely different things: a European children’s animation, a possible, “movie script scenario,” explanation of the relatively simple text in this cantata, and Bach’s recycling of the bass aria.
Cantata 161 Komm, du süße Todesstunde
What a wonderful surprise that Herreweghe included this cantata (written for the 16th Sunday after Trinity but also for the Purification of Mary/Presentation of Jesus at the Temple, which was February 2) in this program. It is such a beautiful and moving composition. In my blog post from this past fall I could only describe how in 2019, when programming the All Souls program for the Netherlands Bach Society, Alex Potter had the brilliant idea to combine the recorders from the Weimar version of this cantata with the sung chorale Herzlich tut mich verlangen nach einem sel’gen End from the Leipzig version. What a delight to see that Herreweghe had adopted this exact idea for this performance in Antwerp, and that we can thus hear and see Alex Potter and Dorothee Mields perform this opening movement together. I love all the singing and playing in this cantata very much, but for me, the tenor aria can’t rival the magic of Shunske Sato accompanying Thomas Hobbs in those All Souls concerts by the Netherlands Bach Society in 2019 (as described here).
Wieneke Gorter, February 13, 2021.