Johann Ludwig Bach: A Rediscovered Baroque Treasure | NDR Classical Review

The music seems to weep along with the words. “Those who sow in tears,” the text reads, and Johann Ludwig Bach sets this effect of sadness to music with heavy, sighing figures. It’s as if tears cling to the notes. But then the mood shifts in the second part of the movement: “They who sow in tears shall reap in joy.” Suddenly, jubilant flourishes burst forth. Here, conductor Johanna Soller and her Capella Sollertia ignite small fireworks of joy.

Voices with Clarity and Soul

This beginning of the cantata encapsulates the special appeal of the recording and the music itself. Johann Ludwig Bach has set the spiritual texts to tones with expressive power. The interpretation vividly and stylistically exploits the richness of effect. For example, when a cantata recalls Jesus’s journey to the cross in Jerusalem, and the figures of the strings seem to trace the laborious, dragging steps.

“Yes, you have given me much work,” reads the first line of the cantata. With baritone Sebastian Myrus, every word and every tone is understood. Myrus, who, together with Johanna Soller, has also created a new edition of the cantatas, is one of the outstanding performers in the recording. They all phrase naturally, sing with a slender sound, and organically sense the messages of the music. Like soprano Carine Tinney in the aria “Awake, rejoice, soul,” which unleashes a dance-like swing.

A Baroque Treasure on Four CDs

One can easily imagine why Johann Sebastian Bach so appreciated the music of his distant cousin. It exudes a unique emotional power and empathetically interprets the Christian message of the texts. Particularly moving is when Johann Ludwig takes up the chorale “O Great Love” and stretches it out in slow motion. Here, the composer touches with a rather simple tone. In other chorales, he overlays the vocals with a moving instrumental level and layers them into a complex texture.

The new recording, contained on four CDs and equipped with a well-founded booklet text, explores the richness and diversity of this music vividly and transparently. Johanna Soller, her Capella Sollertia, and the soloists have brought to light a baroque treasure that was only partially known through previous recordings. The cantatas of Johann Ludwig Bach are a wonderful discovery.

Born in 1677, Johann Ludwig Bach was a third cousin to the more famous Johann Sebastian Bach. While often overshadowed by his relative, Johann Ludwig enjoyed a successful career as a composer and violinist, serving as Kapellmeister in Meiningen for much of his life. He wrote a substantial body of work, including numerous cantatas, many of which have been recently re-evaluated and brought to new audiences thanks to scholarship and recordings like this one.

This new recording, featuring Johanna Soller and Capella Sollertia, focuses on the 18 Leipzig cantatas, a collection of works that demonstrate Johann Ludwig Bach’s skill in blending Italianate virtuosity with German contrapuntal tradition. The cantatas are characterized by their emotional depth and dramatic flair, qualities that Soller and her ensemble bring to life with remarkable clarity and sensitivity.

The performance practice employed by Soller and Capella Sollertia is particularly noteworthy. They prioritize historically informed performance, using instruments and techniques that would have been familiar to Bach himself. This approach results in a sound that is both vibrant and authentic, allowing the music to speak with its original voice. The use of ornamentation, for example, is carefully considered, adding to the expressive power of the music without sounding excessive or artificial.

The vocal performances are equally impressive. Sebastian Myrus, as mentioned, delivers a particularly compelling interpretation of the baritone arias, conveying a sense of both vulnerability and strength. Carine Tinney’s soprano voice is bright and agile, perfectly suited to the more virtuosic passages. The choral singing is also excellent, with the singers blending seamlessly to create a rich and resonant sound.

The significance of this recording extends beyond its musical merits. It also sheds light on a relatively neglected corner of the Bach family’s musical legacy. For years, Johann Ludwig Bach was often dismissed as a minor figure, overshadowed by his more famous cousin. However, recent scholarship has demonstrated that his music is of considerable artistic value, and this recording is a testament to that fact.

the release of this recording coincides with a growing interest in the broader Baroque period. As audiences continue to explore the music of composers like Vivaldi, Handel, and Corelli, they are increasingly recognizing the importance of Johann Ludwig Bach’s contributions to the era. This recording is likely to further fuel that interest, introducing a wider audience to his captivating and emotionally resonant music.

The four-CD set is accompanied by a detailed booklet that provides valuable context for the music. The booklet includes essays on Johann Ludwig Bach’s life and work, as well as detailed notes on each cantata. This information is essential for understanding the historical and musical significance of the recording.

this new recording of Johann Ludwig Bach’s Leipzig cantatas is a triumph. It’s a beautifully performed, thoughtfully researched, and expertly produced tribute to a composer who deserves to be much better known. It’s a discovery that will undoubtedly delight both seasoned Bach enthusiasts and newcomers to Baroque music alike.