Conductor
John Eliot Gardiner, said England's Independent newspaper, "has had the last laugh" -- Vol. 1 of his Bach cantata series was named Record of the Year at the 2005 Classic FM Gramophone Awards in London, after the big Deutsche Grammophon label pulled out of the project and dropped
Gardiner just before it got underway in 2000. No doubt a bit of gloating is appropriate along with justified satisfaction in a tough job well done --
Gardiner and his
Monteverdi Choir and
English Baroque Soloists undertook a "Bach cantata pilgrimage," singing all of Bach's cantatas on their liturgically appropriate dates while making a grand tour of acoustically appropriate European churches, many of them with links to the original circumstances in which Bach worked. The recordings,
Gardiner said, were "a corollary of the concerts, not their raison d'être" prior to each night's concert, engineers recorded the final rehearsal in situ. By the time these recordings were made in London, the concert series was well under way, and, in the words of bass
Dietrich Henschel, the performers "had become spiritually familiar with one another."
The results, issued on
Gardiner's own SDG label, fully live up to the awards hype.
Gardiner's interpretations, though they fall under the historical-performance classification, are personal, subjective, dramatic, and romantic. The program naturally coheres thanks to the common origins of the works in the phases of the liturgical year around which Bach organized his thinking (six cantatas are presented on two discs, three for the Feast of St. John the Baptist in mid-June and three for the first Sunday after Trinity), and every element of the sumptuous booklet presentation contributes to an appreciation of Bach's religious language, as audiences in German churches of the eighteenth century would have understood it.
So
Gardiner has indeed had the last laugh. But perhaps he would be the first to concede that the difficult birth of this project helped him push classical music toward its future, and even that the music is perhaps better, more urgent, than it might otherwise have been. In place of what would have been a series of implacably standardized albums on Deutsche Grammophon, we will now have releases that are individual, committed, and free.
Gardiner's liner notes are taken from journals he wrote during the Bach pilgrimage, and they help bring home the immediacy and excitement of this project. The next step, as recordings like this move online, will be to turn this kind of journal into a blog. The old superstructure of the classical recording industry is collapsing into ruin, but this recording provides some of the clearest testimony yet that new and exciting small enterprises will fill the void.