Christ lag in Todesbanden
Bach Cantatas BWV 4, 106, 131
Ensemble Correspondances/Sébastien Daucé
Harmonia Mundi HMM902745 59:13 mins
For several years Sébastien Daucé and his Ensemble Correspondances have been delighting us with music by Marc-Antoine Charpentier. Now they are turning their attention to Bach and, if this new release is an indication of what may lie in store, we have much to look forward to.
The three cantatas are representative of Bach’s earliest essays in the form, only BWV 150, which may well just pre-date them, being absent. What a pity, since there is comfortable space on the disc to accommodate it. All the music dates from Bach’s short appointment as organist of Mühlhausen’s Blasiuskirche but, while it draws upon 17th century traditions, the three cantatas reflect a diversity of affective declamation.
Daucé at once realises the intimacy of the ‘Actus Tragicus’, BWV 106, with a tenderly poignant reading of the opening Sonatina, scored for two recorders, two violas da gamba and continuo. As the music unfolds, the vocal ensemble bring textual clarity to the Old and New Testament scripture. Indeed, this is a virtue throughout the recording where Daucé furthermore sustains transparent balance between voices and instruments. Rewarding instances are afforded by interplay among oboe, violin and bassoon in BWV 131.
The third cantata is Bach’s setting of Luther’s ‘Easter’ hymn, ‘Christ lag in Todesbanden’, BWV 4. Among its many satisfying features are a cohesive strength, achieved in part by the chorale variation technique by which a single melody provides the foundation of the entire piece, and the almost uninterrupted E minor, a significant Bach key. These musicians declaim the music with fervour and clarity.