Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry One of the world’s brightest Baroque ensembles performing with one of the world’s...

Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry

One of the world’s brightest Baroque ensembles performing with one of the world’s most admired Baroque sopranos sounds an enticing proposition‚ and so it should. What is more‚ the solo cantatas on offer here are two of Bach’s most moving: Ich habe genug‚ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blut‚ a relatively early work with a text which moves from the wallowing self­pity of the sinnner to joyful relief in God’s mercy. Each contains music of great humanity and beauty‚ and each‚ too‚ contains an aria of aching breadth and nobility – the justly celebrated ‘Schlummert ein’ in the case of Ich habe genug‚ and in Mein Herze the humble but assured supplication of ‘Tief gebückt’. This aria alone ought to make the cantata a more familiar one‚ but there is plenty more to recommend it‚ including a grief­laden first aria with obbligato oboe‚ a dignified chorale with obbligato cello‚ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkby‚ who‚ thrillingly virtuosic though she can be‚ is perhaps at her best in this kind of long­breathed‚ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into it‚ and Kirkby’s allows her to shape vibrato­less long notes and phrases with utter security and ravishing vocal quality‚ with only the occasional high note sounding slightly pinched. Above all‚ however‚ her intelligence and unfailing attention to text are a lesson to all; in ‘Schlummert ein’‚ the way her voice subsides almost to nothing‚ retreating into the orchestral texture at ‘fallet sanft’ (fall asleep)‚ is entrancing. The support of the Freiburg Baroque Orchestra is total‚ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are ‘playing the words’. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfken‚ furthermore‚ are outstandingly musical. And if that were not enough‚ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloom‚ clarity and internal balance‚ and you have a CD to treasure.

-- Gramophone [11/2001]