In Gottes Namen

The Bach-Gesellschaft began publishing Bach's works in 1851 with a volume that started with BWV 1, the cantata Wie schön leuchtet der Morgenstern, BWV 1. It completed publication in 1900 with its forty-sixth volume. The volumes varied somewhat in editorial quality and accuracy; Britannica both lauds the editing of Wilhelm Rust for the edition and notes a deterioration of standards after his death, including a volume in which "the bass and violin are a bar apart for a whole line" (apparently a reference to sloppy editing). Nevertheless, the Bach-Gesellschaft's volumes were a groundbreaking achievement and contributed greatly to the study and appreciation of Bach's music. They remained the standard edition of Bach's complete works until the publication of the Neue Bach-Ausgabe, begun in 1954 and published by Bärenreiter.

The Bach-Gesellschaft began publishing Bach's works in 1851 with a volume that started with BWV 1, the cantata Wie schön leuchtet der Morgenstern, BWV 1. It completed publication in 1900 with its forty-sixth volume. The volumes varied somewhat in editorial quality and accuracy; Britannica both lauds the editing of Wilhelm Rust for the edition and notes a deterioration of standards after his death, including a volume in which "the bass and violin are a bar apart for a whole line" (apparently a reference to sloppy editing). Nevertheless, the Bach-Gesellschaft's volumes were a groundbreaking achievement and contributed greatly to the study and appreciation of Bach's music. They remained the standard edition of Bach's complete works until the publication of the Neue Bach-Ausgabe, begun in 1954 and published by Bärenreiter.

During the eighteenth century an oratorio was the dramatic setting of an action that was mostly of sacred character and was represented by several persons as well as by a choir and an orchestra. Various plot elements – even dramatic ones – determined the character of the particular composition. This also applies to the present Christmas Oratorio, which was pieced together in this form not by Telemann himself but for this new pre- sentation as a so-called pasticcio, a form that enjoyed popularity already in the eighteenth century.

Das Kleine Konzert is an international constituted Baroque orchestra, which is closely associated in its work with the Rheinische Kantorei. Hermann Max's elaborate representation of the Affekte including operatic dramatic effects requires a close cooperation with the instrumentalists. Since 1980 the Rheinische Kantorei has had its own baroque orchestra, Das Kleine Konzert. The name is modelled on that of ‘Das Große Konzert’ orchestra, which was foundedc in Leipzig in 1746 and was for a long time directed by Johann Adam Hiller before becoming, towards the end of the 18th century, the Gewandhaus Orchestra.

These performances may not get high grades from the professors, but Richter makes glorious music here. I owned most of these recordings on disc decades ago, and upon hearing them again was surprised at how deeply I was struck not only by the magnificent beauty of the interpretations, but also by the heartfelt commitment of the superb soloists. I have a zillion recordings of these cantatas, so go ahead and scoff, but Richter gets me closer to this music than anyone else. And what music it is! I hope I live long enough to listen to these 26 discs a thousand times. (blue-59 on Amazon)