I just have to add: BWV 82 is not only the best music for oboe I've heard,
but probably the best 20 minutes a baritone can spend. Sure, there are a
couple of sustained low Gs and a mess of coloratura across your break. On
the other hand I've been working on it for years and realise that it will
never be truly ready unless I have a definite performance, such is the
challenging nature of the music.
I think a)Bach mostly had a specific singer in mind for each aria he wrote
(someone suggested himself as a candidate for the Baritone stuff) and
b)Bach thought of the Bass as a powerful manly voice, more or less the
modern Baritone, with about the same range of sub-categories. I don't think
he had bassi profuni in mind, and would be glad if someone could offer
evidence that he had ever heard such an animal.
john
At 01:56 AM 6/14/00 +0200, you wrote:
>Joel Figen wrote :
>
><< As long as we're on this subject, I've long had the impression that Bach
>didn't especially like the Bass voice, and often wrote what I consider his
>least attractive arias for Bass - this is purely subjective - the ones I
>really love are usually in some other range. Does anyone else have this
>impression?>>
>
>I don't share this opinion, but I wish Bach wrote more arias for baritones!
>;-)
>
>BWV 56 and 82 are superb, as are the arias from the Passions. I also like
>very much the arias from cantatas numbers 3 (so sorrowful), 8 (happy), 13
>(sorrowful), 30, 78, 122 (so full of "Trost"!), 123, 127, 135 (so strange
>with its "backwards" movements!), 139 (striking!), 147 (so happy!), 149 (so
>powerful), 157 (happy too!), 186...
>
>| Alain Zürcher, Paris, France
>| L'Atelier du Chanteur :
>| http://chanteur.net
>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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