J.S. Bach / Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205 (Jacobs)

Johann Sebastian Bach (1685-1750)

Cantata BWV 205, 'Dramma per musica': Zerreißet, zersprenget, zertrümmert die Gruft (3 August 1725)

Pallas (Soprano) - Efrat Ben-Nun
Pomona (Alto) - Katharina Kammerlohr
Zephyrus (Tenor) - Christoph Prégardien
Aeolus (Bass) - Klaus Häger

1. Zerreißet, zersprenget, zertrümmert die Gruft (Chorus)
2. Ja! ja! Die Stunden sind nunmehro nah (Recitative: Aeolus) 05:32
3. Wie will ich lustig lachen (Aria: Aeolus) 06:59
4. Gefürcht'ter Aeolus (Recitative: Zephyrus) 10:56
5. Frische Schatten, meine Freude (Aria: Zephyrus) 11:22
6. Beinahe wirst du mich bewegen (Recitative: Aeolus) 15:08
7. Können nicht die roten Wangen (Aria: Pomona) 15:41
8. So willst du, grimmger Aeolus (Recitative: Pomona, Pallas) 18:56
9. Angenehmer Zephyrus (Aria: Pallas) 19:40
10. Mein Aeolus, ach, störe nicht die Fröhlichkeiten (Recitative: Pallas, Aeolus) 23:58
11. Zurücke, zurücke, geflügelten Winde (Aria: Aeolus) 26:17
12. Was Lust! Was Freude! Welch Vergnügen! (Recitative: Pallas, Pomona, Zephyrus) 29:46
13. Zweig und Äste (Duetto: Pomona, Zephyrus) 31:19
14. Ja, ja! ich lad euch selbst zu dieser Feier ein (Recitative: Pallas) 34:25
15. Vivat! August, August vivat! (Chorus) 35:03

RIAS Kammerchor & Akademie für Alte Musik Berlin, dir. René Jacobs (1994)

"'Zerreißet, zersprenget' has, in addition to strings and continuo, two horns as well as three trumpets and timpani, pairs of flutes and oboes, an oboe d'amore, a viola d'amore and a viola da gamba. Quite why this unprecedentedly large orchestra was employed remains unexplained, for the recipient honored in this celebratory cantata in 1725 was not a royal personage but only a professor of philosophy at the university, August Friedrich Müller, whose nameday fell on 3 August.

The libretto of 'Der zufriedengestellte Aeolus' BWV 205, written by Bach's frequent collaborator Picander, begins by visaging pent-up storm winds striving to burst out and ravage the earth as summer comes to an end: this Bach depicts in an opening chorus of remarkable dramatic power and complex texture, with furiously rushing scales, drum rolls and blustering brass. Aeolus, god of the winds, gloats at the thought of the threatened havoc, first in a recitative most unusually accompanied by the whole orchestra, with angry repeated-chord gestures by the brass, and then in an aria of scornful laughter (which is onomatopoeically suggested by reiterated quavers and a long roll on the word 'laugh'). Zephyrus, god of mild breezes, attempts to plead with him, and in a lovely aria with viola d'amore and gamba, full of winding counterpoint, sings the virtues of coolness and calmness. He is impatiently brushed aside as Pomona, goddess of fruit, and Pallas, goddess of wisdom, approach the surly giant. Pomona tries to melt his insensate violence by begging him, in a melodic line containing expressive chromaticism and with the aid of an oboe d'amore obbligato, to pity the thought of her withered leaves. He does not deign to reply, so Pallas comes forward and adopts the strategy of appealing first to the gentle Zephyrus and then to Aeolus to support her appeal: her aria (which Bach used again later in Cantata No. 171) has a delightful violin obbligato which ranges as high as top G sharp. She implores him not to disrupt the festivities now taking place: when he contemptuously asks why these are so special, she mentions August Müller's name, which impresses him so much that immediately (with two flutes added in the recitative that suggest his softening) he yields -- but not before imperiously asserting his authority over the winds in a final aria which is unique in being accompanied by trumpets and horns (independently of each other) without the strings. The other three characters express their relief in the briefest of trios, recitatives and duets before Pomona and Zephyrus, with an obbligato for two flutes in unison, sing of their happiness. Pallas invites all her friends to the Müller celebration (her cry 'Come up!' on a brilliant upward scale), and the work ends with a homophonic rondeau, lavishly scored, punctuated by chorus cries of 'Vivat!'" - Lionel Salter

Painting: The Winds [detail], Giovanni Tiepolo

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