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Three of Bach's four cantatas for solo alto were written within the period of a few months in the year, 1726. It is surmised by musicologists that they were written for a specific singer, for they are very difficult, and not easily sung by the moderately skilled personage. There are strenuous technical demands on the vocal and expressive qualities of the singer, who must be an accomplished coloratura capable of expressive cantible singing as well as possessing accurate intonation. A female or a castrato voice were out of the question, but a high falsetto was not.
German theological tradition reaching far back into the 17th century endowed each of the 4 human voice types with symbolic connotation. The theologian Theodor Schneider writes:"The bass is appointed/that was the belief/to be seen by Jesus/who is the basis and foundation of our salvation; you Descants/trebles,sopranos/soar on high/and thus/let your prayer penetrate the clouds/and do not erase/until you reach the Almighty Trinity; see/they open up the roof on high and set poor man down before the feet of the Lord Jesus; the Holy Ghost himself bore the Alto(s) and caused them/if not with their mouths/ yet with their hearts to cry: Jesus/ you Son of David/have mercy on us!" The alto was accorded the voice of the Holy Ghost. All three of these cantatas are very attractive and quite interesting.
contents:
"Vergnügte Ruh, beliebte Seelenlust," BWV 170
"Widerstehe doch der Sünde," BWV 54
"Geist und Seele wird verwirret," BWV 35
Andreas Scholl (Countertenor)
Marcel Ponseele (Oboe)
Markus Markl (Organ)
Collegium Vocale Orchestra
dir. Philippe Herreweghe
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