Paul Agnew & Les Arts Florissants take us to Leipzig in 1722 & 1723

We started with Telemann. Solely one among his two Leipzig cantatas survives, nonetheless we heard a distinct one, wirtten considerably earlier (1711 to 1719). Wer sich rächet (He who takes revenge) setting a textual content by Erdmann Neumeister is in seven actions with solos for alto, tenor and bass. We started with a refrain that combined vigorous, keen strings with vivid refrain creating an actual Baroque crowd-pleaser. The next accompagnato was thought of and relatively pretty, utilizing totally different solo voices and shading right into a full refrain. Tenor Thomas Hobbs gave us a gentle, direct recitative the place narrative was to the fore besides, intriguingly it ended with an arioso-like second earlier than Hobbs’ aria correct, ‘Fried’ und Liebe’. This latter was lyrical with robust particulars counterpointed by character instrumental taking part in. A bass recitative from Edward Grint additionally ended with an arioso second earlier than his aria ‘Segne den, der dich verflucht’ with a solo violin. The vocal line was remarkably direct, nearly a chorale and the aria relied on the ornamental solo violin for elaboration. We ended with as robust chorale. The work was Vivaldi-like in its use of crowd-pleasing results together with music that was partaking with out ever going very deep.

By full distinction this adopted by Kuhnau’s cantata Lobe den Herrn meine Seele (Reward the Lord, O my soul) which was written in 1722, the 12 months of Kuhnau’s demise. This used smaller forces, simply violin, cello, bass, oboe, bassoon and keyboard with two soloists, alto Maarten Engeltyes and bass Edward Grint with no refrain. In eight actions it started with an instrumental sonata adopted by arias and duets with two brief recitatives. The opening instrumental motion was appealingly trio sonata-ish, with loads of motion. The primary duet, ‘Lobe den Herrn’ was partaking with relatively busy instrumental writing. The alto aria, ‘Der deinem Mund fröhlich machet’ was dance-like with loads of passagework. After a short bass solo, the duet ‘Barmherzig und gnädig ist der Herr’ was slower and relatively pretty. One other recitative from Edward Grint led to the vigorous ‘Hallelujah’ duet. The cantata was extremely efficient and charming, with out stretching musical boundaries or plumbing the depths. Any congregation content material with this music may hardly be prepared for Bach’s depth of feeling.

We ended the primary half with Bach’s first audition cantatas, Du wahrer Gott und Davids Sohn. The opening motion was a duet for Miriam Allan and Maarten Engeltyes, the 2 solo traces intertwining but contrasting with the quicker transferring wind solo traces, the end result creating one thing relatively poignant. The relatively severe accompanied recitative for Thomas Hobbs featured the refrain, resulting in a refrain motion that was positively dance-like with engagingly vigorous choral counterpoint. This was initially the ultimate motion, however Bach adjusted issues when he arrived in Leipzig and we ended with robust chorale ‘Christe, du Lamm Gottes’, the chromatic choral concord contrasting with the flowery oboe writing weaving round it.

After the interval we turned to Graupner. He was identified for his operas and Paul Agnew recommended in his spoken introduction that we may hear the operatic influences.The cantata, Aus der Tiefen rufen wir (Out of the depths we cry unto Thee), actually started with a refrain that was putting in its nearly quasi-romantic writing, this led to a sequence of accompanied recitatives for tenor, soprano and bass that led to a repeat of the opening refrain. The entire creating one single refined multi-section motion, that was adopted by a last chorale that combined robust direct choral writing with vigorous orchestral accompaniment. The work was efficient certainly and notable extra for the subtle building than the depth of emotion.

We ended with a return to Bach for his cantata Jesus nahm su sich die Zwölfe. An expressive oboe solo led to an arioso the place Thomas Hobbs’ brief solo as Evangelist led seamlessly to Edward Grint’s solo as Jesus with lastly the refrain responding in extremely vivid method. There was a delicate, lyrical disappointment to Maarten Engeltyes’s solo ‘Mein Jesu, ziehe mich nach dir’ regardless of the music’s dance rhythms and an elaborate solo oboe line. A protracted accompanied recitative from Edward Grint demonstrated his vivid narrative expertise, significantly because the music was enlivened with full of life vocal thrives. Thomas Hobb’s solo was additionally in dance mode, however this time it was joyful. We ended with a exceptional chorale had been quick and vivid instrumental passagework was paired with a brisk chorale. It felt like a exceptional experiment and also you questioned what the Leipzig congregation with its weight loss program of Kuhnau considered it. 

Afterwards Paul Agnew commented that within the Nekrolog written after his father’s demise, CPE Bach stated that JS Bach directed with absolute certitude, however typically very quick certainly. So Agnew and his forces gave us the brisk last chorale once more, solely this time very quick certainly! An intriguing train in experimental musical archaeology.