Retrospect Ensemble - Bach Oratorios - Fanfare
24 August 2011
FanfareGeorge Chien
Bach is not the first name that comes to mind in
conjunction with the oratorio. Handel wrote oratorios; Bach wrote
cantatas. But he also wrote three oratorios that have survived, all
quite different from one another, and none that quite conform to our
current understanding of the oratorio form. The longest and most
familiar of the three, the Christmas Oratorio, is actually not a unified
piece, but a series of six cantatas, each of which was originally
intended to be performed on a separate day. The other two, conveniently
paired on this recording, are shorter than some of Bach's longer
cantatas, and one, the Ascension Oratorio, was mistakenly identified as a
cantata by the compilers of the original Bach catalog. In fact, it's
the Easter Oratorio that more closely resembles a cantata, except that
it has no chorales. Nor does it have, like the Ascension Oratorio and
the Christmas Oratorio, a Gospel narrative sung by an Evangelist. What
all three oratorios have in common is that they incorporate parody
movements derived from older sources, and all three are festively scored
with drums and trumpets.
Linn has given us a roster of the Retrospect
Ensemble's participants in the present recording but doesn't tell us
much about the ensemble other than that its artistic director, Matthew
Halls, an educator as well as a conductor, is active in its young artist
program. A photo of the ensemble in action suggests that its membership
is, indeed, youthful, though I do spot a few familiar names sprinkled
among its ranks: trumpeter Crispian Steele-Perkins, flutist Rachel
Brown, violist Jane Rogers-there may be more. Significantly, they don't
seem out of place with their relatively anonymous colleagues. Three of
the soloists, Carolyn Sampson, James Gilchrist, and Peter Harvey, are
highly regarded regulars on the Bach circuit. Countertenor Iestyn
Davies, whom I'd not heard before, should be joining them, sooner rather
than later. The ensemble is about the same size as John Eliot
Gardiner's with 12 strings, the requisite winds, a continuo organ, and
18 singers, not counting the solo quartet. Halls observes the
distinction between soli and ripieno textures in the choral movements,
calling on soloists from the choir for appropriate passages. Halls's
interpretations are above reproach, and his musicians respond at a very
high level. What's not to like? Heartily recommended.
Related Links
Matthew Halls
Retrospect Ensemble
JS Bach Easter and Ascension Oratorios
