Bach: Cantatas "Auf, schmetternde Töne", BWV 207a - "Schleic

Neither of these fine occasional pieces has received as much attention from recording companies as many other of Bach's secular cantatas. Auf, schmeiternde Tone der mun tern Trompeten dates from 1735 when it was evidently performed to celebrate the name day of the Elector Frederick Augustus II on August 3rd. All the material but three secco recitatives and a Marche, which does not form an integral part of the work but which was probably played during a procession, originate in an earlier cantata (No. 207) dating from 1726. On that occasion the fortunate recipient of Bach's genius was a Leipzig university professor. The opening movement will at once be familiar though not, perhaps, in its present form; it's an ingenious adaptation of the third movement of Brandenburg Concerto No. I in F major. Here the key becomes D major, the horns of the concerto now supplanted by trumpets and drums. The three oboes are joined by a pair of flutes and a four-part chorus occupies the principal stands of the original composition. Yet another inspired gesture lies in Bach's addition of an initial quaver up-beat, both accommodating the metre of the text and at the same time transforming the character of the piece which now strikes an altogether more overtly celebratory note. And Bach has a further surprise in store for anyone familiar with the same Brandenburg Concerto in as much as he introduces a robust instrumental ritornello after the soprano-bass duet borrowed from its second Trio but now scored for trumpets, oboes d'amore, oboe da caccia and pizzicato strings.

Soloists, choir and orchestra give a first-rate account of this captivating score. Michael Chance is on splendid form offering gratitude, fulsome and obsequious, to the reigning monarch, Augustus. And the others, too, seem to find little wrong with their Arcadian landscape, flowing it would seem with milk and honey. The director, Frieder Bernius, keeps the choruses and recitatives moving at a brisk pace, punctuating the music stylishly and effectively. The other cantata, Schleicht, spielende We//en, dates from 1736 when it was performed as part of the birthday of the selfsame Augustus. This dramma per ,nusica takes as its libretto a singularly inconsequential dispute between the principal rivers of the countries united under Augustus's rule. Each river competes with the other for the special affection of the monarch. I would unquestionably lavish mine on the Vistula (bass) which flows through Warsaw. He praises Augustus in a swaggering A major polonaise accompanied by strings. Its melody and rhythm haunt the memory and the bass Peter Kooy makes the most of it. Thereafter each river has its say before the Pleisse (soprano)—she flows through Leipzig and, since Augustus and his consort are at present resident there, she claims a "special relationship" with the sovereign—in the single accompanied recitative of the work proposes a chorus of praise. In addition to these solo numbers are two outstandingly effective choruses framing the cantata; and they are superbly sung, light of tread, well focused and admirably declaimed.

In short I have no serious reservations about this release. It is musically satisfying and the recorded sound is excellent. Some 66 minutes of uninterrupted pleasure—strongly commended but I regret the omission of the Marche appended to No. 207a; it's a splendid piece.

-- Gramophone [9/1991]