BWV 43 was composed by Bach in 1726, about a decade earlier than BWV 11.
Unlike the tragic period Bach was experiencing for BWV 11, in 1726 he
was basking in the glow of a "just" salary compensation he had recently
received.  It certainly didn't hurt his composition skills as BWV 43
consists of four outstanding arias and two superb choral movements.  This
is Bach at close to his best, and I remain perplexed as to why the work
is not performed and recorded more frequently.  A lover of Bach cantatas
would reasonably consider BWV 43 a treasureable choral composition.  For
comparison purposes, I am using the same Herreweghe recording as for BWV
11.  A look at the timings reveal that Gardiner is faster in each aria,
chorus, and most of the recitatives.

The Cantata's chorus opens with moderately paced instrumental theme that
must have come from the heavens; its beauty and urgency are supreme.  Then
a glorious trumpet enters, the pace quickens, the chorus emerges, and the
power of the universe takes hold.  Gardiner's pacing in the beginning is
a little suspect, his trumpet is triumphant, and the chorus is not very
clear.  Koopman's beginning is superb, and his chorus is a significant
advantage over Gardiner's; the trumpet is not as crisp as Gardiner's.
Koopman's version is rather special; Gardiner's is not.

The tenor aria has an infectious swagger and fantastic instrumental
contributions featuring the violin; the tenor needs to be assertive.
Unfortunately, neither Johnson for Gardiner nor Pregardien for Herreweghe
get it right.  Johnson has a pleading quality to his interpretation,
and Pregardien sounds combative and not very pleasant to listen to.
What Herreweghe gets right is the orchestral presentation, providing
a superlative performance.  Gardiner has the disadvantage of a first
violin which has a piercing quality to it; this significantly reduced
my enjoyment.  Although Herreweghe is better, there's substantial room
for improvement from the solo vocalist.

The aria for soprano is dramatic, urgent, and lovely music.  Herreweghe is
very effective and Barbara Schlick has a deliciously vulnerable delivery,
although her tonal beauty is thin.  Gardiner is quick and sounds hurried;
urgency and drama are reduced.  Nancy Argenta's voice is small and not
expressive.

The fast paced bass aria opens with a trumpet singing out stunningly; the
bass swaggers boastfully.  One main difference between the two versions
is the singing.  Stephen Varcoe has the swagger right, but his voice has
little allure.  Peter Kooy has a great and deep voice, but there's little
swagger from it.  Gardiner's faster tempo is advantageous, and his trumpet
more incisive.  I'll go with Gardiner in the bass aria.

My favorite aria of the Cantata is the one for alto.  It has delightfully
swaying oboes and great urgency combined with a lightness and delicacy that
add up to one of Bach's greatest arias.  Herreweghe's oboes are dream-like
and Catherine Patriasz has full and very expressive voice.  Gardiner's
tempo is a little too quick, and Michael Chance's voice is unappealing.

The concluding Choral is one of great beauty and dignity.  Herreweghe
provides these quality in full measure - outstanding.  Gardiner is lighter
in texture with reduced dignity.

In BWV 43, Gardiner is not competitive with Herreweghe.  His faster tempos
are generally not effective, the atmosphere tends to be too light, and the
vocal soloists are not excellent or anywhere near it.  Herreweghe's version
is the one to seek out.  Anyone who collects Bach cantata discs would do
well to have at least one version of this superb cantata, and Herreweghe
is the best one I've heard.

Don Satz
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