¶ … Bach's Cantina Recordings
Comparison of Bach Cantata Recordings: Richter and Gardiner
Just a few generations ago, Bach's Cantatas had seemed to silence; but "since that time, in the intervening four decades, there has been an explosion of interest in this neglected music, borne out by numerous recording projects" (Lehman & White 508). Although the Cantatas were written generations ago, their music is still relevant in today's cultural environment. Bach's brilliance is allowed to shine on, and has become flexible in the various interpretations of his works. Karl Richter and John Eliot Gardiner are two composers that have made modern recordings of Bach's Cantatas from much different stylistic vantage points. The two recordings are compared here in order to understand the variety that they have brought to Bach's much older works.
There has been a recent jolt of interest in Bach's Cantina's within the last century or so. Here, the research suggests that "we live in a golden age of cantata recordings. And despite the current state of the music industry and the world economy, this momentum seems likely to continue, exemplified by the interesting variety of new recordings" under way (Lehman & White 508). In the last century, as recording devices have become more specialized and clear, several composers have returned to Bach to breathe new life into the volumes of his Cantatas. This interest has been allowed to translate into some amazing performances and recordings, each having their own unique flavor and flare to them. Richter and Gardiner are just two examples of new recordings of Bach's Cantatas; yet, their differences help illustrate the variety and fluid nature of how modern recordings have been interpreting Bach's styles and tones.
Karl Richter's recordings were set decades ago. They are an older version of the Cantina recordings, where the old styles still rein a heavy influence over Richter's interpretation of the music (Lehman & White 508). Richter is known for his more classical style, although he does take some clear modernist artistic licenses in these recordings. He is often referred to as being one of the members of the "old Bach guild" (Ritter 1). Essentially, Richter was trying to stay true to the period in which the Cantatas were actually written. This often means he made choices in his composition that stood out in a more modern context. His choices of instruments and styles all reflected a very dedicated period piece. As such, "it is the closest to the spirit of the music" (Popescu 1). In this sense, he presents a very romantic interpretation of Bach's works. His reference for Bach's older style makes the recordings incredibly romantic and nostalgic of an era long past in classical music history. Richter's "basso continuo is completely late-romantic in style and execution" (Popescu 1). Still, research on his works highlight the idea that Richter's recordings "were fairly advanced" (Ritter 1). In this, he managed to blend a more traditional interpretation with the latest innovations in music technology and practice during his era. He has a sense of "intensity and focus on bringing out the human feelings in vocal Bach works" (Antila 1). His works speak to the human soul on a much more dramatic and deep level. Richter especially brings a sense of mystical devotion that is absent from most period recordings" (Ritter 1). This mysticism is present even when listening to the recordings today.
The particular dynamics of Richter's work show further differences when compared to Gardiner. The style of the two composers is clearly different in their structural approach as well as their general thematic undertones. Richter was known for his huge performances. His orchestra was often packed with many more instruments and singers that Bach's original score had asked for (Popescu 1). Richter's recordings highlight a higher pitch. There is much more violin vibrato in Richter than seen in Gardiner. This helps set a lighter tone...
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