Music / Cantatas on God’s Will, Canberra Bach Ensemble, directed by Andrew Koll. At St
Christopher’s Cathedral, Manuka, February 23. Reviewed by MICHAEL WILSON.

A concert featuring JS Bach’s cantatas on the theme of the mind of God is sure to be a rarity in Australia.

The selection of four works performed by the Canberra Bach Ensemble was so challenging technically that they have been preparing since 2020. The effort was well worth it, with the ensemble producing an integrated, thoroughly rehearsed sound in a well-matched acoustic.

A prolific composer by any measure, cantatas were a favourite form for Bach. He is thought
to have written 300 of them, although only around 200 survive. Easier to stage than his
great Masses and Passions, the cantatas exhibit Bach’s quintessential musical style, while
occasionally delivering unconventional surprises.

The program began not with Bach, but with an earlier six-part motet by Andreas Hammerschmidt.

Accompanied by organ, the choir used this to settle into the space and style of the program.

Without pausing, director Andrew Koll moved immediately into Cantata BWV 111 (What My God Wills Always Occurs).

Andrew Fysh’s bass aria was performed in the style of a light baritone, followed by the alto recitative sung by Maartje Sevenster in authentic baroque style: very little vibrato, giving a purity of tone.

Sevenster was joined by tenor Timothy Reynolds in a duet, which was nicely executed, but somewhat overwhelmed by the orchestra. Greta Claringbould (soprano) followed with her recitative, again performed confidently and expressively, with very restrained vibrato and a bell-like quality.

The highlight of BWV 92 (I Have Given My Heart and Mind) was a glorious introductory duet
on baroque oboe (Aaron Reichelt and Andrew Angus), underpinned by baroque bassoon
(Simon Rickard) and violone and organ continuo (Kyle Ramsay-Daniel and Anthony Smith).

The ever-adaptable Andrew Fysh adopted more of a true bass timbre in his recitative,
supported by an unusual rolling continuo line.

A chorale movement involving all soloists and a span of fast runs and odd intervals, and a relentless cello passage underneath, was devilishly difficult to bring off, but singers and players managed it with only slight timing disagreements in a couple of places. A full-throated chorale finale reminded us we were in fact listening to Bach, and not some more avant-garde composer.

The two cantatas performed in the second half are in a more conventional form. The tenor
aria in BWV 73 (Everything According to God’s Will Alone) was beautifully communicated by
Timothy Reynolds who proved he easily had the volume to cut through the full orchestra
playing at mezzo-forte.

The bass aria is the highlight of the work, and again Fysh was on show in his true bass register, with an animated and expressive presence. BWV 72 (Lord, As You Will) has a brighter and more optimistic character, the highlight being the tricky alto recitative and aria faithfully delivered by Sevenster accompanied by violin duet and continuo.

The acoustic of St Christopher’s is surprisingly live, giving a trebly resonance for both choir
and orchestra. The effect this had on the blending of sopranos and altos was especially magical, but it also served to help balance choir and orchestra where otherwise the orchestra may have dominated.

Andrew Koll’s spare conducting technique conveyed clearly what he wanted in terms of expressive quality and dynamics.

This was a very proficiently delivered program, with great attention to detail, including in
German language articulation. The impressive audience was left not only entertained, but
better educated in Bach’s signature contribution to the cantata form.