musica Dei donum
CD reviews
Johann Sebastian BACH (1685 - 1750): "Mein Geist"
Le Banquet Céleste
rec: Nov 2024, Rouen, Chapelle Corneille
Alpha - 1190 (© 2025) (70'30")
Liner-notes: E/D/F; lyrics - translations: E/F
Cover, track-list & booklet
Scores
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Ich bin ein guter Hirt (BWV 85);
Mache dich, mein Geist, bereit (BWV 115);
Suite for cello No. 6 in D (BWV 1012)
Céline Scheen, soprano;
Alexander Chance, alto;
Thomas Hobbs, tenor;
Benoît Arnould, bass
Jean Bregnac, transverse flute;
Patrick Beaugiraud, Irene del Rio Busto, oboe;
Anneke Scott, corno da tirarsi;
Javier Zafra, bassoon;
Marie Rouquié, Simon Pierre, violin;
Michel Renard, viola;
Julien Barre, cello, cello piccolo;
Thomas de Pierrefeu, double bass;
Kevin Manent-Navratil, harpsichord, organ
At first sight, the works on the disc to be reviewed have nothing in common. The two cantatas are intended for very different moments in the ecclesiastical year, and they are separated by one of Bach's cello suites. However, a closer look reveals the connection: the Suite in D, the sixth of the suites for cello solo, is written for a cello with five strings, generally interpreted as what is known as the cello piccolo. Bach used this instrument also in nine cantatas as an obbligato instrument, among them the two cantatas included here.
The cello piccolo has a smaller soundbox than the common cello, and a fifth string, tuned to e', which extends its treble range. For a long time it was assumed that it was played in upright position, like the common cello. However, more recent research suggests that there were different ways of playing it, also da spalla (on the shoulder), da gamba (between the legs) and da braccio (in front of the chest). It is interesting to mention that the cello piccolo parts in some cantatas are included in the part of the first violin, suggesting that it was played by the first violinist. This may well indicate a performance da spalla or da braccio. One should realise that in Bach's time performers usually mastered more than one instrument, according to the tradition of the Stadtpfeifer. The fact that eight of the nine cantatas with cello piccolo are part of the second annual cantata cycle (1724/25) may suggest that at that time Bach had a player at his disposal who owned such an instrument. Bach exploited this situation by writing virtuosic obbligato parts for it.
As mentioned, the two cantatas are written for different stages of the ecclesiastical year. Ich bin ein guter Hirt (BWV 85) is intended for the second Sunday after Easter, known as Misericordias Domini. It was performed on 15 April 1725. As usual, the Gospel and the Epistle of that day are closely connected. The Gospel is taken from John 10, where Jesus presents himself as the Good Shepherd. Peter, in his first epistle, refers to this when he writes (ch 2, vs25): "For you were like sheep going astray, but now you have returned to the Shepherd and Overseer of your souls." The figure of the shepherd is the tenor of this cantata. It is scored for two oboes, strings and basso continuo, which play together only in the chorales in the centre and at the end.
The cantata opens with a dictum, scored for bass (acting, as so often, as vox Christi), oboe, strings and basso continuo. The text is the opening verse of this Sunday's Gospel: "I am the good shepherd. The good shepherd lays down his life for the sheep." It is a mixture of aria and arioso; the oboe first plays colla parte with the first violin, but then takes up an obbligato role. It is followed by an aria for alto, in which the violoncello piccolo has an obbligato part. The form is notable: instead of the common dacapo, the alto sings the text three times from start to finish. It is a lively aria, reflecting its content: "Jesus is a good shepherd, for he has already given his life for his sheep, which no one shall steel from him". We are here at the second Sunday after Easter, and this explains the recollection of Jesus' Passion. In the ensuing chorale the believer embraces the aria's content: "The Lord is my faithful shepherd, to whom I fully entrust myself". It is the opening stanza of a German versification of Psalm 23 by Cornelius Becker (1598). The melody is taken from the hymn Allein Gott in der Höh sei Ehr. The highly ornamented chorale melody is sung by the soprano, to which two oboes and strings add the counterpoint. After an accompanied recitative, which has the character of a sermon, the tenor sings an aria, in which the A part consists of one short line: "Seht, was die Liebe tut" (See what Love works). This requires frequent repetition, which has the effect of an emphasis of its text. That is further enhanced by the unusually high pitch, which is in strong contrast to the low pitch of the violins and violas, playing in unison. The cantata closes with the fourth stanza of the hymn Ist Gott mein Schild und Helfersmann (Ernst Christoph Homburg, 1658).
Mache dich, mein Geist, bereit (BWV 115) is a cantata for the 22nd Sunday after Trinity, and was first performed on 5 November 1724. It is part of Bach's cycle of chorale cantatas. As usual, the first and last stanza are included unaltered, whereas the others are reworked to recitatives and arias. The hymn has ten stanzas and was written by Johann Burchard Freystein (1695). The Gospel of this Sunday is from Matthew 18, where Jesus tells the parable of the unmerciful servant, in reaction to Peter's question how many times he should forgive a brother who sins against him. The libretto seems to have little connection to the Gospel. Could the unknown librettist rather refer to the Epistle (Philippians 1), where Paul refers to the "day of Christ"? The text focuses on God's judgment of the world at the end of times, which is the reason that the opening chorus says: "Make ready, my spirit, watch, supplicate, and pray that the evil time does not unexpectedly come upon you." The scoring of this chorus is for four vocal parts, with the hymn melody in the soprano, supported by a horn, and an orchestra in which transverse flute and oboe d'amore are juxtaposed to the strings playing in unison, creating a quartet texture. The ensuing aria is for alto, with the oboe d'amore as an obbligato instrument. It is a siciliano, marked adagio, which fits the text: "Ah, slumbering soul, what? do you still rest?" The word "wie?" (what?) is emphasized through repetition. The B-part opens in lively fashion: "Punishment may suddenly wake you up", but, if not, "cover you in the sleep of eternal death", and here the tempo slows down again. The following recitative for bass warns agains the tricks of Satan and the "flattery" of the "whole world and its members" which are "nothing but false brothers". The soprano aria's A part consists of lines from the hymn: "But pray too, even amidst your watch!". It is marked molto adagio and is scored as a quartet: soprano, transverse flute, cello piccolo and basso continuo. The opening word, "Bete", is emphasized through repetition. After a recitative for tenor, the cantata closes with the last stanza of the hymn.
The two cantatas are separated by the Suite in D for cello solo. The six suites have the same structure: they open with a prélude, which is followed by three dances: allemande, courante and sarabande, and closes with a gigue (spelled gique). The fifth movements are different: the first two suites have a pair of minuets, the third and second a pair of bourrées, whereas the last two have a pair of gavottes. The prélude of the Suite in D is marked by repetitive figures, giving it - as one commentator writes - and 'obsessive' character. The closing gigue includes hunting motives.
Julien Barre delivers a good performance, but some tempi I find a bit too slow. That goes especially for the allemande and the pair of gavottes. In particular the former tends to drag on. I have several recordings in which the allemande is played a bit faster, and I find them more satisfying. Barre's playing of the obbligato parts for cello piccolo in the cantatas is entirely satisfying. That goes for the playing of the other obbligato parts and the tutti as well. As far as the vocal parts are concerned, we have here a performance of the kind known as one-voice-per-part, following the theories laid down by Andrew Parrott and Joshua Rifkin. In order to work well, the singers have to blend perfectly. That is the case here; the tutti parts are very good. Overall the solos are also done rather well, although here and there I noted a little more vibrato then is ideal. That goes especially for Céline Scheen and Thomas Hobbs. The former does especially well in the aria in BWV 115. Alexander Chance is impressive in both his solos. He deals well with the coloratura in his aria in BWV 85, and delivers an expressive performance of the 'sleep aria' in BWV 115. Hobbs makes a good impresion in the aria 'Seht, was die Liebe tut; he has no problem with the high tessitura. Benoït Arnould is at his best in the dictum of the same cantata, but I find him a little too flat in the recitative in BWV 115.
All in all, this is a fine contribution to the Bach discography, and one of the more satisfying specimens of the one-voice-per-part performance practice. I would not mind further recordings of this kind of Le Banquet Céleste, which has happily continued after the departure of Damien Guillon.
Johan van Veen (© 2026)
Relevant links:
Le Banquet Céleste