Albert Storace reviews a concert dedicated to the music of J.S. Bach and of Buxtehude during this year’s Valletta International Baroque Music Festival.

The concert was definitely one of the major highlights of the fourth edition of the Valletta International Baroque Music Festival. The performers were the famed Collegium Vocale Gent from Belgium under the direction of the very distinguished Philippe Herre-weghe. Add a quartet of superb soloists – German soprano Dorothee Mields, French counter-tenor Daniel Guillem, British tenor Thomas Hobbs and Dutch bass Peter Koolj – and you had the basic ingredients to make for a special performance.

No place could provide a better venue than the baroque splendour of our magnificent St John’s Co-Cathedral, full to capacity for this supremely enjoyable event. Three of the four cantatas performed were by J. S. Bach and one was by Buxtehude. The latter is a very worthy composer who is mainly remembered as organist and whose organ works are very rarely heard during local organ recitals, if at all.

The soloists and chorus wellproved their worth, as did the instrumental ensemble in the two opening Bach cantatas

Most music lovers are familiar with the story how Bach turned down the post of organist upon Buxtehude’s retirement, because it was offered on condition that Bach should marry the former’s, apparently, unattractive daughter. The two were thus never destined to become in-laws, but at St John’s their music was heard side by side during the second half of the concert. They glorified God and hoped in His mercy because the text chosen for the settings of all these four cantatas is a clear one of faith. It is of faith in God’s steadfastness, reliability, support and commitment in His relationship with man. This is the true meaning of Du Treuer Gott and not ‘the true God’, as it is usually translated.

Philippe Herreweghe conducting the ensemble.

Buxtehude’s cantata Nimm von uns, Herr, du treuer Gott, BuxWV 78 and J.S. Bach’s cantata BWV 101 with the same title, are set to the same text, but scored differently. The former leaves all the singing to the chorus in a beautiful flow of music voicing the humble and penitential mood of the supplicants, the wicked (but now contrite) servants who acknowledge their shortcomings, yet hope in divine mercy.

Bach’s scoring, as far as the instruments are concerned, is very rich, ambitious and more varied vocally. That is because after a choral introduction there are arias for the soloists, chorales and recitatives featuring soprano and tenor and a sole duet for soprano and counter-tenor. Often described as ‘dismal’, this duet’s gloom was rendered more palatable by the way it was interpreted and rendered more interesting because of the transverse flute and oboe da caccia obbligato passages.

By then, of course, the soloists and chorus had well proved their worth, as did the instrumental ensemble in the two opening Bach cantatas during the concert’s first half.