musica Dei donum
CD reviews
"Stille Klagen" (Quiet mourning)
Griet De Geyter, soprano
Il Gardellino
rec: Jan 20 - 23, 2020, Hilversum (NL), Lutherse Kerk
Passacaille - PAS 1040 (© 2020) (68'10")
Liner-notes: E/D/F/NL; lyrics - translations: E
Cover & track-list
Spotify
Johann Sebastian BACH (1685-1750):
Fantasia super Jesu, meine Freude for organ (BWV 713)c;
Jesu, meine Freude, chorale arrangement for organ (BWV 1105)c;
Mein Herze schwimmt im Blut, cantata for soprano, oboe, strings and bc (BWV 199)b;
Dieterich BUXTEHUDE (1637-1707):
O dulcis Jesu, sacred concerto for soprano, 2 violins and bc (BuxWV 83);
Sonata for violin, viola da gamba and bc in a minor, op. 1,3 (BuxWV 254);
Georg Philipp TELEMANN (1681-1767):
Ach Herr, strafe mich nicht, Psalm 6 for soprano, oboe, strings and bc (TWV 7,2)a
Marcel Ponseelea, Lidewei De Sterckb, oboe;
Joanna Huszcza, Michiyo Kondo, violin;
Ingrid Bourgeois, viola;
Ira Givol, cello;
Mieneke van der Velden, viola da gamba;
Peter Rikkers, violone;
Frank Coppieters, double bass;
Leo van Doeselaar, organ (soloc)
Those who know their Bach, will recognize the title of this disc: "Stille Klagen" is taken from the opening line of the first aria of the cantata BWV 199, Mein Herze schwimmt im Blut: "Silent sighing, quiet mourning, ye may all my pains be telling, for my mouth is tightly closed". The subtitle of this disc sums up what its programme is about: "Remorse and Redemption in German Baroque". It reflects a central thought in Christian faith, and in particular in Lutheran theology: man has fallen in sin and needs redemption through Jesus's Passion and death at the Cross. The three vocal items on this disc treat this subject in different ways.
Dieterich Buxtehude set a medieval text, which is often attributed to Bernard of Clairvaux, but that is anything but sure. However, it is certainly an example of medieval mysticism, which reflects the idea of unio mystica, the union of the soul with God. It is a marked specimen of Jesulatry, as expressed in the opening section: "O sweet Jesus, o love of my heart, I desire you, I wish to die and be with you". The text refers to the "false honours of the world" and the "threats of Satan", against which Jesus's "strong right hand" will defend the soul. The scoring for a solo voice even increases the emotional nature of the piece, and Buxtehude uses all the rhetorical tricks in the book to make sure it has its full impact, as Alex Potter discusses in the liner-notes. The first section sets the tone for the whole piece. The violin parts fully participate in emphasizing the mystic character of this work, which is ranked among the sacred concertos in Buxtehude's oeuvre.
Georg Philipp Telemann set the text of Psalm 6 three times, twice for a solo voice: soprano and alto respectively. This psalm is the first of the traditional seven penitential psalms, which since early times were sung during Lent. This status they had lost in Lutheran Germany, but even so, some of these psalms were regularly set, such as Psalm 130, Aus der Tiefe. Psalm 6 is also a tale of remorse and redemption. It opens with an acknowledgement of man's weakness, which is the effect of human sin. In the centre the protagonist describes his despair: "[All] night I make my bed to swim, I water my couch with tears". In the last sections, the protagonist takes heart: "[The] Lord hath heard the voice of my weeping. The Lord will receive my prayer". Therefore he wants his enemies - "workers of iniquity" - to depart from him and to be ashamed suddenly. The fifth section is the highlight of the piece with regard to expression; the text inspires Telemann to use descending figures to illustrate the desperate state of mind of the sinner. It is strong contrast to the closing section, which ends suddenly - the last word of the text.
Mein Herze schwimmt im Blut (BWV 199) by Johann Sebastian Bach ties in with the Gospel reading of the Sunday at which is was to be performed. In Luke 18 (vs 9-14) Jesus tells the parable of the Pharisee and the publican. The former thanks God that he is not as the sinners, such as "that publican". The latter just asks God to have mercy upon him. The cantata is written from his standpoint: "My heart swims in blood, for sin's brood in God's holy eyes turns me into a monster", thus begins the opening recitative. In the ensuing aria the protagonist expresses his inability to speak: his "silent sighs" and the "watery fountains of tears" bear witness to his state of mind. The publican's expression is then picked up in the recitative: "God, be gracious to me, a sinner". The aria is an expression of remorse and urges for forgiveness: "Yet have patience with me". After a short recitative the chorale "Ich, dein betrübtes Kind", points to the source of forgiveness: Jesus' "deep wounds". These shall be "my resting-place", as the next recitative says. The cantata closes with an aria in the rhythm of a gigue, expressing the joy about the reconciliation with God.
In addition to these three vocal works, we get three instrumental works by Buxtehude and Bach respectively. The disc opens with the third sonata from Buxtehude's Opus 1. The Sonata in a minor is one of the composer's most contrapuntal chamber works. The connection with the subject of this disc lies in the prominent place of descending chromatic figures, first in the fifth section (largo) and then in the closing lento. Johann Mattheson characterised the key of A minor as 'plaintive'.
Jesu, meine Freude was one of the best-loved hymns in Lutheran Germany. Its text includes strong references to medieval mysticism. Like Buxtehude's sacred concerto (and his Passion cantata cycle Membra Jesu nostri), it shows that Lutheranism did not banish this part of tradition; on the contrary. It fits in the programme in that it expresses the thought that Jesus protects the faithful from attacks of the enemies (cf Telemann's Ach Herr, strafe mich nicht) and that "[misery], distress, affliction, disgrace and death, even if I must endure much suffering, will not separate me from Jesus". Bach's organ arrangement BWV 1105, which probably dates from his time in Lüneburg, is harmonically quite daring.
Griet De Geyter is a young Belgian soprano and very much a rising star in the early music scene. She is a member of several vocal ensembles (such as Utopia) and has participated in many performances of baroque repertoire, for instance in Bach's St Mattthew Passion with the Netherlands Bach Society under Jos van Veldhoven. It is easy to understand why she is in demand as a soloist. She has a gorgeous voice, which is well developed in her entire tessitura, as she shows in this recording. Her singing is very stylish, and she gives much attention to the text. She shows great awareness of the rhetorical features of the three vocal works included here as well as their Affekts. This results in incisive performances which make a lasting impression. Of all the performances of Bach's Cantata BWV 199 I have heard over the years, this is definitely the best, as it goes to the heart of what it is about. The only point of criticism here may be that the last aria could have been a bit more exuberant, and the tempo a bit faster. Equally, in Buxtehude and Telemann every nuance comes off. In Buxtehude, the dark streaks of "non minas satanae" etc, which require a different way of using the voice, are just as convincing as the most mystical episodes, which ask for more intimacy and sweetness. This is Griet De Geyter's first solo recording; it should not be her last.
The instrumental contributions leave nothing to be desired. Il Gardellino delivers a performance of great intensity of Buxtehude's sonata, and is very well aware of the text in the vocal items. Marcel Ponseele and Lidewei De Streck deserve accolades for their contributions in Telemann and Bach respectively. Leo van Doeselaar is well-known for his stylish performances of early organ music, and he shows that again here. Unfortunately, the booklet does not include any information about the organ. On the internet I learned that its builder and the year of building are not known for sure, but that it seems likely that it dates from around 1700, and was built by Peter Weidtman the Elder from Ratingen near Düsseldorf.
Johan van Veen (© 2021)
Relevant links:
Griet De Geyter
Il Gardellino