Album Title: Bach: Cantatas, Vol. 43: Unser Mund sei voll Lachens: BWV 57, 110, 151 [SACD] Composer: Johann Sebastian Bach Conductor: Masaaki Suzuki Audio CD (April 1, 2009)
Composer Johann Sebastian Bach (1685 - 1750) 1-7. Cantata No. 110, "Unser Mund sei voll Lachens," BWV 110 (BC A10) (21:54) 1. Ⅰ. [Chorus, Soprano, Alto, Tenor, Bass]. Unser Mund sei voll Lachens und unsre Zunge… 6:22 8-15. Cantata No. 57, "Selig ist der Mann, der die Anfechtung erdulet," BWV 57 (BC A14) (22:21) 8. Ⅰ. Aria (Basso). Selig ist der Mann, der die Anfechtung erduldet… 3:49 16-20. Cantata No. 151, "Süßer Trost, mein Jesus kömmt," BWV 151 (BC A17) (16:16) 16. Ⅰ. Aria (Soprano). Süßer Trost, mein Jesus kömmt… 8:26
바흐: 칸타타 Vol.43 (BWV 110, 57, 151) 연주: 바흐 콜레기움 저팬, 마사키 스즈키(지휘), 한나 블래지코바(소프라노), 피터 쿠이즈(베이스), 로빈 블레이즈(카운터-테너), 제르드 투르크(테너) 수록곡: 칸타타 제110번<웃음이 우리들의 입에 가득하게 하소서>, 제57번 <시험을 이겨낸 자는 행복하도다>, 제151번<부드러운 위로, 나의 예수가 오셨도다> 1725년부터의 크리스마스 칸타타 3곡이 이번 Vol.43을 구성하고 있다. 첫 번째 곡 칸타타 제110번 <웃음이 우리들의 입에 가득하게 하소서>는 우리에게 친숙한 곡이라 할 수 있다. 아름다운 선율과 행복한 크리스마스를 연상시키는 멜로디로 인해, 매년 크리스마스 시즌이 돌아오면 많은 사랑을 받는 곡이다. 두 번째 곡 칸타타 제57번 <시험을 이겨낸 자는 행복하도다>는 차분하고 경건한 분위기를 시종 이어가며, 베이스와 소프라노의 절묘한 조화를 이끌어내고 있는 작품이다. 마지막 작품, 칸타타 제151번 <부드러운 위로, 나의 예수가 오셨도다>는 성탄절 3일째 축일의 예배를 위해서 만들어진 칸타타로서 예수의 탄생을 예견하고 있는 작품이다. 본 작품의 작사자는 이 151번이 예수님이 하느님이 아들인 것과 하늘나라에서 아버지의 오른편에 앉아서 천사들 위에 군림하고 있다는 내용을 기본으로 하여 자유로운 환상을 만들어 구세주 예수의 탄생을 ‘달콤한 위로’로서 기뻐하고 사람들에게 하늘의 문을 다시 열어줄 예수를 찬미하는 아리아와 레치타티보를 두 곡씩 작사하고 마지막 곡으로 니포라우스 헤르만의 코랄 <예수를 믿는 이여, 모두모여 주를 찬미하여라>의 제8절인 <오늘 다시 예수는 아름다운 정원으로 통하는 문을 열어>를 사용하였다. (BIS SACD 1761)
The three cantatas recorded here – BWV110, 57 and 151 – take us back to the Christmas period of 1725 and thus come from Bach's third year of service in Leipzig. They belong to a group of eight Christmas-related cantatas that were composed in rapid succession around the turn of the year 1725–26. In these works Bach shows a predilection for texts by the Darmstadt court poet Georg Chris tian Lehms (1684–1717): the texts for six out of the eight works come from Lehms' Gott gefälliges Kirchen-Opffer. This collection, published in 1711, was intended to be set to music by the Darmstadt court Kapellmeisters Christoph Graup ner and Gottfried Grünewald, and Bach had already used isolated texts from it in his Weimar period (in works such as BWV 54 and BWV 199). The Christmas cantatas on this disc are thus related not just as regards their origins and first performances but also in literary terms. Unser Mund sei voll Lachens, BWV 110 The introductory chorus – a piece in overture form in the style of Lully, with its characteristic ceremonial outer sections in dotted rhythm and a fugal Allegro as its middle section – is not a new composition: Bach turned instead to an orchestral suite from the latter part of his Weimar period or from his early time in Köthen. This work, an early version of the Fourth Orchestral Suite, BWV1069, did not include parts for flute, trumpet and timpani. Bach only added those parts for this Christmas cantata, also incorporating, in the fugal middle section, the vocal parts to the opening words of the cantata – in itself a remarkable compositional achievement, especially because the result is so well unified: one could hardly imag ine a more appropriate musical setting for these words and emotions. The portrayal of laugh ter, which Bach has distilled from the instrumental work, must have echoed for a long time in the ears of the Leipzig congregation. After the splendour of the opening movement, the meditative tenor aria turns its attention inwards with its 'quiet' instrumentation and densely interwoven flute motifs. And after a brief bass accompagnato that reminds us of the sub lime greatness of God, the alto aria resumes the previous direction with a humble, questioning prayer: God, why do you do all this for us? The answer, al most hidden in the text, is: aus Liebe (through love). This may have been what prompted Bach to choose as a solo instrument the oboe d'amore, the attrac tive, slight ly veiled tone of which characterizes the sound of the movement. It is somewhat surprising that Bach does not return to the trumpets and drums in the following movement, 'Ehre sei Gott in der Höhe' ('Glory to God in the highest,'), fav ouring once again a cham ber instrumentation, a duet in which the accompaniment is confined to the basso continuo. Admittedly he had recourse here to an ear lier composition that had been heard in Leipzig two years earlier during Vespers on Christmas Eve as an additional number in his Magni ficat (BWV 243a) with the text 'Virga Jesse flo ruit'. When adapting it to the cantata text, however, Bach revised the piece so extensively that one could easily take this jubilant display piece for an original composition. After so much 'chamber music', the trumpet's wake-up call at the beginning of the bass aria (sixth movement) emerges all the more strikingly. The entire movement is characterized by this signal-like triad motif – taken up by the solo bass on the words 'Wacht auf,' ('Wake up') – together with the lively, joyful coloraturas of the voice, trumpet and strings. The movement is also reminiscent of the aria 'Großer Herr, o starker König' ('Mighty Lord and Great King') that was to be included four years later in the Christmas Oratorio. The following chorale strophe (by Kaspar Füger, 1592) con cludes the cantata very much in the spirit of its opening words, with joyful praise of God. Selig ist der Mann, BWV 57 At the beginning of the cantata there are words from the Epistle of James (1:12), although the librettist places them in Jesus' mouth. Bach used these words as the basis for an atmospherically charged, dignified arioso. In the instrumental introduction he introduces two musical motifs that later, together with the words of the vocal part, will take on particular significance. Firstly there is a brief motif describing a semi-circle; towards the end, this appears in the vocal line four times in succession, serving as a musical de - piction of the 'Krone' ('crown') men tioned in the text. The second is a surprisingly long note that occurs numerous times in the intro duction and, in the vocal part, proves to be a sym bol of patience; it was evi dently conceived to suit the words 'erduldet' ('endureth') and 'be währet' 'tried'), but also ap pears on the words 'selig' ('blessed'), 'Krone' ('crown') and 'emp fahen' ('receive'). As a result, the declamation is far re moved from natural speech rhythm, and acquires a sublimity that is wholly appropriate for the words of Jesus. Each of the cantata's three arias has its own distinct character. In the soprano aria 'Ich wünschte mir den Tod' ('I would wish for death') Bach strikes a note of deepest sorrow; sighing motifs above heavy repeated bass notes emphasize the desire for death, but the image is constantly lightened by the simple, song-like reference 'wenn du, mein Jesu, mich nicht liebtest' ('if you, my Jesus, did not love me'). Heroic sonorities, fanfare motifs and string tremoli dominate the bass aria 'Ja, ja, ich kann die Feinde schlagen' ('Yes, yes, I can smite the enemies'). By contrast, the soprano's final aria, 'Ich ende be hände mein irdisches Leben' ('I rapidly put an end to my earthly life') is dance-like and playful, a fashionable passepied – admittedly in the minor key but nonetheless characterized by joyful coloratura writing. Bach intro duces an unexpected touch of drama with the movement's abrupt ending, when the soprano asks: 'Hier hast du die Seele, was schenkest du mir?' ('Here you have my soul; what will you give me?'). The answer, surprisingly, is not given by the bass but rather by the chorus with a strophe placed in Jesus' mouth by the author of the words, Ahasverus Fritsch (1668): a pro phecy of eternal union and of the ascent to heaven after life on earth. Süßer Trost, mein Jesus kömmt, BWV 151 The great opening soprano aria in three sections, one of Bach's finest inspirations, stands proudly above the rest of the cantata. The outer sections of the movement are set in the manner of a Christ mas pas torale in rocking 12/8-time. The flute and sopra no have broad, arching melodies, and the flute line is moreover richly ornamented. They join forces in an ｅxpression of rapturous, eager anticipation of Jesus' arrival. In the lively central part of the aria, however, expectation yields to realization: 'Herz und Seele freuet sich' ('My heart and soul rejoice'), and the metre is that of a dance – a gavotte, about which Bach’s learned colleague in Hamburg Johann Mattheson (1681–1764) once tellingly observed: 'the emotion it conveys is indeed exultant joy'. Agile chains of triplets appear in the vocal line on the word 'freuet' ('rejoice'); the flute takes up these figures and makes them the principal motivic element in this part of the aria. Like the opening aria, the rest of the cantata is also on a scale appropriate for chamber music. Evidently Bach was keen to spare his singers and players, whose workload on those particular days was especially arduous. Three days later, on the Sunday after Christmas, they would have to perform another cantata (BWV 28) and, three days after that – on New Year's Day of 1726 – yet another (BWV 16). The two recitatives are thus accom panied only by basso continuo, and in the alto aria the oboe d'amore, violins and viola are gath ered in a single unison part – although, ad mittedly, the frugality of the movement may also be an allusion to the text, to the lowliness of Je sus' birth, his 'Armut' ('poverty') and his 'schlech ten Stand' ('hapless [i.e. simple] condition'). on this occasion the choir, too, has only a modest task: it rounds off the cantata with the last strophe of the well-known hymn 'Lobt Gott, ihr Christen alle gleich' ('Let all together praise our God') by Niko laus Herman (1560). Production Notes Unser Mund sei voll Lachens, BWV 110 It is very interesting to observe how the French overture that forms the opening of BWV 1069 was adapted for use in BWV 110. There is no space here to go into this matter in detail, but it is worth noting that not only is the instrumentation dif ferent, but in order to ensure that the music of the middle section fits the tessitura of the choir, Bach has also changed the entry order of the voices between bars 24 and 28. These five bars reappear at a later point in the cantata movement (at bars 147 to 152), an insertion which results in a full recap itula - tion that was not a feature of the original work. The articulation marks on the triplets that make up most of the middle section of this movement are as usual written in detail, not in the score but in the parts. Although not entirely consistent, the most common procedure is for five quavers to be linked by a slur between the first and second beats of the second bar of the theme. This is interesting, as it is possible that this articulation was added during the making of the parody. As there is no extant original material for Suite No. 4, however, it is impossible to say for certain. Süßer Trost, mein Jesus kömmt, BWV 151 The Bach Collegium Japan was founded in 1990 by Masaaki Suzuki, who remains its music director, with the aim of introducing Japanese audi ences to period instrument performances of great works from the baroque period. The BCJ comprises both orchestra and chorus, and its major activities in clude an annual concert series of J. S. Bach's can tatas and a number of instrumental programmes. Since 1995 the BCJ has acquired a formidable rep uta tion through its recordings of Bach's church cantatas. In 2000, the 250th anniversary year of Bach's death, the BCJ extended its activities to the international music scene with appearances at major festivals in cities such as Santiago de Compostela, Tel Aviv, Leipzig and Melbourne. A highly successful North American tour in 2003, including a concert at Carnegie Hall in New York, has been fol lowed by appearances at the Ansbach Bach-woche and Schleswig-Holstein Music Festival in Germany as well as at the BBC Proms in London, and in the autumn of 2008 a high-profile European tour took the BCJ to Madrid, Paris, Brussels and Berlin. Be sides the much acclaimed recordings of cantatas, releases by the ensemble include performances of a number of large-scale works by Bach, such as the St John Passion and the Christmas Oratorio which were both selected as Gramophone's 'Recom mend ed Recordings' at the time of their release. The St John Passion also received a Cannes Classical Award in 2000, while in 2008 the recording of the B minor Mass received the prestigious French award Diapason d'Or de l'Année and was short list ed for a Gramophone Award. Other highly ac claimed BCJ recordings include Monteverdi's Vespers and Handel's Messiah. Since founding the Bach Collegium Japan in 1990, Masaaki Suzuki has become established as a lead ing authority on the works of Bach. He has re mained the ensemble's music director ever since, taking the BCJ to major venues and festivals in Europe and the USA and building up an out standing reputation for truthful performances of expressive refinement. He is now egularly in vited to work together with renowned European soloists and groups, such as Collegium Vocale Gent and the Frei burger Barockorchester, and he recently appeared in London with the Britten Sinfonia in a programme of Britten, Mozart and stravinsky. Suzuki's impressive discography on the BIS label, featuring Bach's complete works for harpsichord and performances of Bach's cantatas and other choral works with the BCJ, has brought him many critical plaudits – The Times (UK) has written: 'it would take an iron bar not to be moved by his crispness, sobriety and spiritual vigour'. Masaaki Suzuki combines his conducting career with his work as organist and harpsichordist. Born in Kobe, he graduated from Tokyo National Univer sity of Fine Arts and Music and went on to study the harpsichord and organ at the Sweelinck Conser vatory in Amsterdam under Ton Koopman and Piet Kee. Founder and head of the early music depart ment, he teaches at the Tokyo National University of Fine Arts and Music and Kobe Shoin Women's Univer sity. In 2001 he was awarded the Cross of the Order of Merit of the Federal Republic of Germany. The Czech soprano Hana Blažíková studied at the Prague Conservatory under Jiří Kotouč, graduating in 2002. Focusing on baroque, Renaissance and mediæval music, she has also taken part in interpretation courses with Poppy Holden, Peter Kooij, Monika Mauch and Howard Crook. She collaborates with various international ensembles and orchestras, including collegium Vocale Gent, Sette Voci, Capella Regia, Collegium Marianum, Musica Florea and Collegium 1704. Hana Blažíková has appeared at festivals such as the Prague Spring, Oude Muziek Utrecht, Resonanzen in Vienna, Tage Alter Musik in Regensburg and the Festival de Sablé. In 2004 she sang the role of Susanna in Le Nozze di Figaro at the Karlovy Vary Theatre, and in the summer of 2005 she appeared as Zerlina in Don Giovanni at the Prague Estates Theatre. Hana Blažíková also plays the gothic harp, and gives concerts accompanying herself. Robin Blaze is now established in the front rank of interpreters of Purcell, Bach and Handel, and his career has taken him to concert halls and festivals in Europe, North and South America, Japan and Aus tralia. He studied music at Magdalen College, Oxford and won a scholarship to the Royal College of Music where he is now a professor of vocal stud ies. He works with many distin guished conductors in the early music field, and is a regular and popular artist at the Wigmore Hall. He made his début with the Berlin Philharmonic Orchestra and Nicholas Krae mer singing Handel’s Belshazzar in 2004 and has also appeared with other major symphony orch estras. Robin Blaze's opera engagements have in cluded Athamas (Semele) at Covent Garden and English National Opera; Didy mus (Theodora) for Glyndebourne Festival Opera; Arsamenes (Xerxes), Oberon (A Midsummer Night’s Dream) and Hamor (Jephtha) for English Na tional Opera. Gerd Türk received his first vocal and musical training as a choir boy at Limburg Cathedral. After studying in Frankfurt am Main, he completed stud ies of baroque singing and inter pretation at the Schola Cantorum Basiliensis under Richard Levitt and René Jacobs, and took part in masterclasses with Ernst Haefliger, Hanno Blaschke, Kurt Equiluz and Norman Shet ler. Gerd Türk has worked with the fore most early music conductors, appear ing in the world's most prestigious concert halls. He has been a member of the ensemble Cantus Cölln, and has close contact with the Ensemble Gilles Bin chois. He teaches at the Schola Cantorum Basiliensis and gives masterclasses at the Tokyo Geijutsu University (Tokyo National University of Fine Arts and Music). Peter Kooij began his musical career as a choir boy. After learning the violin, he studied singing under Max von Egmond at the Sweelinck Conservatory in Amsterdam. Concert engagements have taken him to the world's fore most musical venues in cluding the Amsterdam Concert ge bouw, the Vienna Musikverein, Carnegie Hall in New York and the Royal Albert Hall in London, where he has sung under the direction of Philippe Herreweghe, Ton Koopman, Frans Brüggen and Gustav Leonhardt. His numerous recordings feature not only most of Bach's vocal works but also a repertoire that extends from Monteverdi to Kurt Weill including Auf dem Wasser zu singen, a Schubert recital on the BIS label. He is the founder of the De Profundis chamber orch es tra and the Sette Voci vocal ensemble, of which he is also the artistic director. Peter Kooij is a professor at the Royal Conservatoire in The Hague and, since 2000, a guest lecturer at the Tokyo Geijutsu University. He has been invited to give masterclasses in Germany, France, Portugal, Spain, Belgium, Finland and Japan.
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