JS Bach – Trinitatis Cantatas, BWV 47, 60 & 78; Trio Sonata No. 2 in C minor, BWV526; Prelude, BWV546 Céline Scheen (soprano), Thomas Hobbs (tenor), Benoît Arnould (bass); Le Banquet Céleste/Damien Guillon; Maude Gratton (organ) Alpha Classics ALPHA945 73:58 mins
Flanked by two Trinity cantatas in G minor, not to mention organ interludes cast in C minor, Cantata 60’s sunburst of D major cuts a welcome dash. But context apart, framed as a dialogue between fear and hope, what a remarkable conception that work is, its opening masterfully entwining fretfulness and reassurance as the organ reinforces the embedded chorale melody. Even the closing chorale is ear-turning, its harmonisation transcendental (incorporated by Alban Berg so hauntingly into his Violin Concerto). And before it, how modern-sounding the bass interpolation of ‘Selig sind die Toten’, calmly punctuating the alto’s trepidatious recitative.
Despite the album’s preponderance of minor keys, the programme never seems oppressive thanks to Damien Guillon’s judicious direction which cultivates an almost understated poise buttressed by a sure yet unfussy grasp of illuminating detail. The opening chorus of BWV78 is beautifully modulated as the troubled chromaticism and ostinato patterning meld to convey the bitterness of Christ’s death. The duet that follows is irresistibly joyous, underpinned by the exuberantly pointed accompaniment; and, spurred on by Jean Bregnac’s liquid flute, Thomas Hobbs’s mellifluous tenor radiates quiet reassurance as the aria ‘Das Blut, so meine Schuld durchstreicht’ unfolds.
Throughout, the instrumental playing is a delight. Maude Gratton leavens the cantatas with a spirited account of the organ Trio Sonata BWV 526; and proves suitably magisterial in the Prelude BWV 546 which, it turns out, shares motivic DNA with the opening of Cantata 47 – waiting impatiently in the wings, its energised polyphony champing at the bit.
Paul Riley