Bach: Actus Tragicus

When Joshua Rifkin introduced his thesis that Bach composed most of his choral works for only one singer per part, he used the Mass in B Minor as his demonstration piece–in part, no doubt, for maximum shock effect. Since then, Rifkin’s theory has made the greatest headway with performances of Bach’s early cantatas–those he wrote before arriving in Leipzig in 1723. Even Christ lag in Todesbanden and the Actus tragicus, both considered canonic works of the choral literature, have benefited from fine single-voice recordings by groups such as the Taverner Consort and the American Bach Soloists. Now along comes Cantus Cölln and outdoes them all. Konrad Junghänel’s soloists make Bach’s music speak as well as sing: they don’t avoid all those German consonants (even if it means cutting off notes early), so the rhetorical aspect of these cantatas really comes through. It’s hard to single out any one singer when all four are so good, but first among equals is Johanna Koslowsky, who can float an ethereal chorale melody and toss off virtuoso runs with equal skill, all in a tone so pure she could almost pass for a boy soprano. The musicians do just as well by the two less-famous cantatas included here: Weinen, Klagen, whose title chorus became the Crucifixus of the B Minor Mass, and the winsome little wedding cantata Der Herr denket an uns. Harmonia Mundi already has one revered specialist in Bach’s vocal music on its roster (Philippe Herreweghe), but one would hope they’ll allow Cantus Cölln to record more Bach cantatas. Junghänel and his musicians are really good at this. –Matthew Westphal

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