Werner: Bach – Cantatas Vol.1,2 (20 CD, FLAC)

Audio CD
SPARS Code: ADD
Number of Discs: 20
Format: FLAC (image+cue)
Label: Erato
Size: 6.8 GB
Recovery: +3%
Scan: no

VOLUME 1

Nun komm, der Heiden Heiland, BWV 61
Recorded in Ilsfeld, Germany, 1961
Darzu ist erscheinen der sohn Gottes, BWV 40
Recorded in Heilbronn, Germany, June 1964
Unser Mund sei voll Lachens, BWV 110
Recorded in Ilsfeld, Germany, 1961
Selig is der Mann (Concerto in Diagolo), BWV 57
Recorded in Ilsfeld, Germany, June 1963
Liebster Jesu, mein Verlangen, BWV 32
Recorded in Ilsfeld, Germany, June 1963
Ich habe genug, BWV 82
Barry McDaniel (bass)
Recorded in Heilbronn, Germany, November 1964
Ich hab in Gottes Herz und Sinn, BWV 92 *
Recorded in Schwaigern, Germany, October 1972
Du wahrer Gott und Davids Sohn, BWV 23 *
Recorded in Schwaigern, Germany, October 1972
Alles nur nach Gottes willen, BWV 72 *
Recorded in Schwaigern, Germany, October 1972
Wie schön leuchtet der Morgenstern, BWV 1
Recorded in Heilbronn, Germany, 1965
Himmelskönig, sei willkommen, BWV 182
Recorded in Ilsfeld, Germany, 1961
Kommt, eilet und laufet, ihr flüchtigen Füsse (Easter Oratorio), BWV 249
Recorded in Heilbronn, Germany, June 1964
Christ lag in Todes Banden, BWV 4
Recorded in Ilsfeld, Germany, 1961
Der Himmel lacht! Die Erde jubilieret, BWV 31
Recorded in Ilsfeld, Germany, June 1963
Bleib bei uns, denn es will Abend werden, BWV 6
Recorded in Ilsfeld, Germany, October 1959
Du Hirte Israel, höre, BWV 104
Recorded in Schwaigern, Germany, 1966
Halt im Gedächtnis Jesum Christ, BWV 67
Recorded in Ilsfeld, Germany, October 1960
Ich bin ein guter Hirt, BWV 85 *
Recorded in Schwaigern, Germany, February 1970
Ich werdet weinen und heulen, BWV 103
Recorded in Schwaigern, Germany, July 1966
Bisher habt ihr nichts gebeten in meinem Namen, BWV 87
Recorded in Ilsfeld, Germany, October 1959
Gott fähret auf mit Jauchzen, BWV 43
Recorded in Ilsfeld, Germany, 1961
Lobet Gott in seinen Reichen (Ascension Oratorio), BWV 11
Recorded in Schwaigern, Germany, 1966
O ewiges Feuer, o Ursprung der Liebe, BWV 34
Recorded in Ilsfeld, Germany, 1961
Also hat Gott die Welt geliebt, BWV 68
Recorded in Ilsfeld, Germany, June 1963
Brich dem Hungrigen dein Brot, BWV 39 *
Recorded in Schwaigern, Germany, October 1972
Christ unser Herr zum Jordan kam, BWV 7
Recorded in Schwaigern, Germany, July 1966
Der Himmel erzählen die Ehre Gottes, BWV 76
Recorded in Ilsfeld, Germany, October 1959
Freue dich, erlöste Schar, BWV 30 *
Recorded in Schwaigern, Germany, April 1971

VOLUME 2
Ich hatte viel Bekümmernis, BWV 21
Recorded in Ilsfeld, Germany, 1962
Meine Seel erhebt den Herren, BWV 10
Recorded: Concert Hall, Heilbronn, Germany, 1965
Schlage doch, gewünschte Stunde, BWV 53/Anh.II 23
Recorded in Ilsfeld, Germany, June 1963
Herz und Mund und Tat und Leben, BWV 147
Recorded in Ilsfeld, Germany, June 1963
Herr, gehe nicht ins Gericht, BWV 105
Recorded in Ilsfeld, Germany, June 1963
Ich weiss, dass mein Erlöser lebt, BWV 160/Anh.III 157
Recorded: Protestant Church, Weinsberg, Germany, March 1957
Herr, deine Augen sehen nach dem Glauben!, BWV 102
Recorded in Schwaigern, Germany, October 1972
Lobe den Herren, den mächtigen König der Ehren, BWV 137
Recorded in Schwaigern, Germany, October 1972
Jesu, der du meine Seele, BWV 78
Recorded in Ilsfeld, Germany, October and November 1972
Jauchzet Gott in allen Landen, BWV 51
Emiko Iiyama (soprano); Maurice André (trumpet)
Recorded in Schwaigern, Germany, October 1972
Liebster Gott, wenn werd ich sterben?, BWV 8
Recorded in Ilsfeld, Germany, autumn 1961
Herr Gott, dich loben alle wir, BWV 130
Recorded in Ilsfeld, Germany, autumn 1961
Nun ist das Heil und die Kraft, BWV 50
Recorded: Concert Hall, Heilbronn, Germany, June 1964
Es erhub sich ein Streit, BWV 19
Recorded: Concert Hall, Heilbronn, Germany, June 1964
Man singet Freuden vom Sieg, BWV 149
Recorded: Concert Hall, Heilbronn, Germany, October 1964
Schmücke dich, o liebe Seele, BWV 180
Recorded in Schwaigern, Germany, February 1970
Ich will den Kreuzstab gerne tragen BWV 56
Barry McDaniel (bass); Pierre Pierlot (oboe)
Recorded: Concert Hall, Heilbronn, Germany, November 1964
Was Gott tut, das ist wohlgetan, BWV 98
Recorded in Ilsfeld, Germany, June 1963
Ach wie flüchtig, ach wie nichtig, BWV 26
Recorded in Ilsfeld, Germany, autumn 1961
Es reisset euch ein schrecklich Ende, BWV 90
Recorded in Ilsfeld, Germany, June 1963
Wachet! betet! betet! wachtet!, BWV 70
Recorded in Schwaigern, Germany, February 1970
Wachet auf, ruft uns die Stimme, BWV 140
Recorded in Schwaigern, Germany, February 1970
Gott, der Herr, ist Sonn und Schild, BWV 79
Recorded: Concert Hall, Heilbronn, Germany, June 1964
Ein feste Burg ist unser Gott, BWV 80
Recorded in Ilsfeld, Germany, October 1959
Nach dir, Herr, verlanget mich, BWV 150
Recorded in Ilsfeld, Germany, 1966
Aus der Tiefe rufe ich, Herr, zu dir, BWV 131
Recorded: Concert Hall, Heilbronn, Germany, June 1964
Gottes Zeit ist der allerbeste Zeit, BWV 106 (Actus tragicus)
Recorded: Concert Hall, Heilbronn, Germany, June 1964
Preise Jerusalem, den Herrn, BWV 119
Recorded in Schwaigern, Germany, July 1965
Bekennen will ich seinen Namen, BWV 200
Barbara Scherler (alto)
Recorded in Ilsfeld, Germany, July 1966
Jauchzet Gott in allen Landen, BWV 51
Ingeborg Reichelt (soprano); Walter Gleissle (trumpet)
Recorded: Protestant Church, Weinsberg, Germany, March 1957
Wachet auf, ruft uns die Stimme, BWV 140
Recorded in Ilsfeld, Germany, October 1959
Ich bin ein guter Hirt, BWV 85
Recorded in Ilsfeld, Germany, October 1959
Du Hirte Israel, höre, BWV 104

I applaud Warner/Erato’s decision to reissue Fritz Werner’s entire Bach legacy in three generously packed and amazingly intexpensive volumes (two for cantatas and a third for the Passions, Oratorios, Motets and Mass in B Minor). Werner hailed from a generation of Bach “specialists” that favored a dedicated, unpretentious approach to the Leipzig Cantor’s sacred works. Scholarship is worn lightly, and modern instruments are employed along with a modest-sized choir and soloists with lighter voices than was the operatic norm at the time.

Werner ended up recording about sixty Cantatas for Erato from 1957 through 1974, and it is those which are anthologized here, and in a companion volume, under the appropriate rubrics for the liturgical year. Do not expect anything like the professionalism of today’s period performance practice ensembles. The choral singing, though pleasingly transparent of tone, can be indistinct in diction and unreliable in intonation. The orchestral playing, despite some fine wind and brass soloists, is rather lacking in refinement. The vocal soloists, on the other hand, are often oustanidng–particularly Helmut Krebs, Agnes Giebel and Barry McDaniel, who were among the most gifted oratorio singers of their generation.

Werner’s tempos are apt to be slow, his phrasing overly smooth, and his rhythmic articulation lazy, at least when heard from the vantage of such early music practitioners as Gardiner, Suzuki and Koopman. Taken on its own terms, however, Werner’s laissez-faire approach tends to bring out the lyricism and meditative qualities of the music better than the more aggressive style in favor today. Werner also conveys the intimacy and charm of the music more effectively than many of his contemporaries. Karl Richter, who gave us a similar cycle of 75 cantatas arranged for the liturgical year, sounds too interventionist and heavy-handed when compared to Werner. Many will prefer Werner’s more subdued, yet incisive account of BWV 28 (“Gottlob! Nun geht das Jahr zu Ende”), for instance, to Richter’s hyperintense, even grandiose version. And much the same can be said wherever Werner’s and Richter’s cantata cycles overlap. Though I frequently prefer Richter’s trenchant insights into Bach’s musico-theological symbolism, I increasingly find his inflated textures and rigid manner distracting. Werner, on the other hand, could never be accused of being square or mechanical, though he can be disappointingly flaccid where one expects some exuberance and flair (as in BWV 110, for instance).

Taken as a whole, however, Werner’s Bach cantata series represents a thoughtful and engaging way of performing this sublime music. Moreover, there are several Cantatas (such as BWV 8, 43, 61 and 130) in which Werner remains unsurpassed, even after several decades, numerous competitors, and a revolution in our understanding of Baroque performance practice. Many collectors will fondly remember these recordings from the halcyon days of LP, when they were circulated here by Musical Heritage Society. I am pleased to report that the sound on these CDs is vastly superior in clarity and focus to those old MHS pressings, so listeners inclined toward nostalgia for the days when each new Bach cantata recording was an adventure of discovery need not hesitate to replace their well-worn LPs with these modestly-priced volumes from Warner (all three of which are available on this website; consult my review for Volume III). Younger listeners formed by today’s more exacting performance standards might also find musical as well as spiritual refreshment in sampling a long-vanished, but often rewarding, style of Bach interpretation.