Richard Morrison, in a review in today's Times, is somewhat dismissive of this piece.
He says:
The oratorio also has two of the most interminable arias in the whole of Bach’s vocal works, wonderfully intricate though their obbligato instrumental writing is.
You begin to understand why the work has been neglected.
I have this (old-style) recording, which I can't say I've found interminable. Nor do I neglect it: I shall play it over the weekend.
Elly Ameling (soprano), Helen Watts (contralto), Werner Krenn (tenor), Tom Krause (bass)
Helmut Winschermann (oboe), Johannes Bruning (violin)
Stuttgart Chamber Orchestra, Wiener Akademie-Chor, Karl Münchinger
What do others make of this 'slightly extended cantata'?
He says:
The oratorio also has two of the most interminable arias in the whole of Bach’s vocal works, wonderfully intricate though their obbligato instrumental writing is.
You begin to understand why the work has been neglected.
I have this (old-style) recording, which I can't say I've found interminable. Nor do I neglect it: I shall play it over the weekend.
Elly Ameling (soprano), Helen Watts (contralto), Werner Krenn (tenor), Tom Krause (bass)
Helmut Winschermann (oboe), Johannes Bruning (violin)
Stuttgart Chamber Orchestra, Wiener Akademie-Chor, Karl Münchinger
What do others make of this 'slightly extended cantata'?
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