The third volume in Gardiner's Bach Pilgrimage series consists of four
cantatas for the 3rd Sunday after Epiphany - BWV 72, 73, 111, and 156.
The 3rd Sunday always comes in winter, and Bach likely tried to keep these
cantatas short in consideration of the cold's effect on the congregation.
The four cantatas are recorded infrequently, but that's no indication of
their quality.

After a short search for comparison recordings, I could only come up
with a comparison for BWV 73 (Herreweghe on Virgin).  So I'll start
with that one.  The opening chorus is a rather unique one with the choral
passages interspersed with three solo recitatives.  The opening begins
with an infectious orchestral ritornello and hypnotic four-note motif.
The chorus needs to be strong as the music is somewhat heroic and very
demonstrative.  This movement is stunning in its impact and strength of
spirit.  Concerning that four-note motif, it was originally supported by
a horn, but subsequently the organ became customary.  Both versions have
excellent choruses, although Gardiner's is slightly light, and the solo
singing is fine.  But Herreweghe scores heavily over Gardiner concerning
the four-note motif and accenting.  Gardiner uses the horn, and its impact
is negligible.  Herreweghe's organ is delightful and gets the movement
started beautifully.  Concerning accenting, Gardiner provides a smooth
orchestral setting with accents not strong.  Herreweghe's performance is
much more angular with a winning swagger and reveals the movement as a
masterful conception.

In the tenor aria that follows, the Spirit of Joy is asked to enter a soul
which has experienced so little joy.  This is a beautiful piece with great
tenderness, deep joy, and a requirement for urgency from the tenor.
Herreweghe's reading is over 4 minutes compared to Gardiner's whose is
a little over 3 minutes.  The different tempos make for very different
interpretations.  Herreweghe provides a serenity and satisfaction which
is lovely; his tenor, Howard Crook, displays a very attractive voice with
ample urgency.  Gardiner's reading has a delightful bounce to it reflecting
a lighter and more playful attitude than Herreweghe; Gardiner's Julian
Podger relatively thin tone can not compete with Crook, but the urgency he
conveys is superlative.  Overall, both versions are equally satisfying.

A bass recitative leads into the bass aria which expresses the need to
totally give oneself to God.  In Gardiner's version, the violins are crisp,
urgent, and "on the edge".  Herreweghe's are much smoother, and I much
prefer Gardiner's.  Herreweghe's bass, Peter Kooy, is appropriately strong
and lyrical.  Stephen Varcoe, for Gardiner, has a relatively weak bass
voice.  Even so, I really love Gardiner's violin contributions and prefer
his version.  The short and concluding chorale is a serious tribute to God
which Herreweghe does excellently.  Gardiner is quicker and his chorus
sounds relatively weak - not good.

Summing up, both Gardiner and Herreweghe are very rewarding.  Aside from
some lackluster instrumental playing in the bass recitative, Herreweghe's
BWV 73 is a superb performance.  Gardiner is not quite as good, having some
weak choral contributions and a too-smooth reading of the outstanding first
movement.

BWV 72 is one of Bach's best cantatas.  The opening chorus has me feeling
that danger is coming fast; that's not a feeling I often get with Bach, but
it's always strong when it comes.  Gardiner's chorus does well, but I would
have liked more strength.  Next is a recitative, arioso, and aria for alto
Sara Mingardo.  It's a beautiful piece, and Mingardo has a full,
attractive, and appropriately touching voice.

A bass aria leads to the soprano aria which is, for me, the highlight
of the cantata.  The text begins with, "My Jesus will do it.  He will
make your burden sweet".  And the music is deliciously sweet in a subtle
way, uplifting, and strongly conveys a deep satisfaction and comfort.
Gardiner's soprano, Joanne Lunn, doesn't have the strongest or most
attractive voice around, but she conveys the meaning of the music
perfectly.  As outstanding as this aria is before Lunn enters, it moves up
further through her contribution.  The work ends with a chorale which is
life-affirming and lovely.  I have no idea why this cantata is not recorded
more frequently; it is masterful music with gorgeous themes and subtlety
throughout.

I don't find BWV 111 at the high level of BWV 72 or 73.  The music is very
good, but I don't think that Gardiner and his performing forces lift the
work at all.  The aria for alto and tenor is the biggest problem; Varcoe
and Mingardo sound hardly acceptable together - her full voice and his thin
one don't mesh at all.  In addition, Varcoe is at his worst, providing a
rather unmusical reading.

BWV 156 takes us back to great music.  Bach composed this work at a time
when family tragedies were prevalent in his life.  "I stand with a foot in
the grave" is the title of the text, but neither the text nor Bach's music
is morose or bleak for belief and trust in God will overcome earthly
plight.

Instead of opening with the usual chorus, BWV 156 begins with a
slow-paced and gorgeous sinfonia which many will instantly recognize
from Bach's concerto output; Gardiner's oboe is lovely.  An aria for tenor
and chorale for sopranos, which is very much in the form of a duet, follows
the sinfonia.  Again, the music is gorgeous.  After an effective bass
recitative, a bouncy and vibrant alto aria puts some cheer into the work;
Gardiner's violins are outstanding and Mingardo is ever reliable and
effective.  Another bass recitative ushers in the ending chorale which
just oozes "the end" - a great way to finish the recording.

In this and the previous Gardiner Bach Pilgrimage recordings (which are
not reissues), I've noticed a tendency for Gardiner to deliver relatively
"light" performances.  This permeates the orchestral contributions as well
as the choral work.  This isn't a criticism, just an observation.  If
rather heavy performances are your preference, this series would likely not
satisfy.  However, Gardiner still provides his usual great sense of pacing
and incisive violins.  In the recording at hand, his vocal soloists are
very good excepting for Varcoe.  I am particularly impressed with Joanne
Lunn and Julian Podger who are wonderfully expressive in their roles.

Don's Recommendation:  I think of the contents of the disc as three
great and obscure Bach cantatas with the bonus of an enjoyable and
equally obscure 4th cantata.  Overall, the performances are very good but
not outstanding.  And since it's unusual to find a cantata disc of only
infrequently recorded works, I give this Archiv CD (463582) a very strong
recommendation, more for the specific repertoire than for the performances.

Don Satz
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