Simeon's holy sight: 'Incomprehensible light' from Indianapolis Baroque Orchestra

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Brad Hughley, St. Paul's organist and director of music.
One of the revelatory expressions of faith in the New Testament proclaims the prophetic joy of a blind man in his encounter with the baby Jesus. This provided the theme of a concert at St. Paul's Episcopal Church Sunday afternoon focused on two cantatas by J.S. Bach, presented by St. Paul's Music. 

The concert title of the Indianapolis Baroque Orchestra's program, "Incomprehensible Light," translates a German phrase from a duet in the more elaborate of them, "Mit Fried und Freud ich fahr dahin" (BWV 125).

In Luke's gospel, Simeon testifies to his readiness to die as the promise of salvation includes the clarified eyesight that his earthly life has thus far denied him. The opening chorus of BWV 125 traces Simeon's brief hymn of praise. The performing forces of the IBO orchestra, five women from St. Paul's Choir, and three male soloists were under the direction of Brad Hughley.

The security of believing in heavenly life after death leads to an explicit eagerness to leave this one. Such enthusiasm may not be widely shared even among the faithful today, but the appeal of imperishable music supporting such sentiments remains intact. 

Jesus' support of the faithful dying is firm, the text asserts. That was expressively sung by countertenor Geoffrey Williams in the line "Mein Jesus sieht auf mich im Sterben," as "Sterben" (death) is repeated  with melismatic flourish. In a subsequent aria, the bass soloist, Jesse Blumberg, reinforces the miraculous restoration of Simeon's sight with a repeated emphasis on triumph over dying in the last phrase.

The duet referred to above found Blumberg suitably partnered with tenor Blake Beckemeyer in the climactic phrases that (in translation) assert "There resounds powerfully far and wide a most desired word of promise: Who believes shall be saved." The soloists gave a thrilling impact to their exchanges on the phrase "kräftig fort und fort," typical of the composer's knack for never missing a chance to preach through his sacred music. To round out the cantata at both choral ends, flute and oboe soloists shone in front of the ensemble.

The guest oboist, Priscilla Herreid, made crucial contributions to the concert's other cantata. Lovely phrasing and slight ornamentation supported the spirit and strength of the vocal solos entrusted to Blumberg. This cantata ("Ich habe genug" BWV 82) has been a favorite of mine for some 60 years,  known from the impressive account of baritone Mack Harrell in a Robert Shaw monaural LP recording. The opportunity to hear it in concert for the first time made "Incomprehensible Light" a can't-miss event for me. 

Blumberg has a much different voice from Harrell's, but it won me over immediately. Also commendable  was the subtle dynamic swelling of the instrumental accompaniment, especially in the first recitative, which matched the flexibility of the bass soloist. 

To create some welcome space between the two cantatas, the Concerto in C minor, BWV 1060R, gave more solo space to Herreid, linked in flawless partnership with Adriane Post, the IBO concertmaster. The nuances of imitative solo phrases were fine and well-integrated under Hughley's direction. Especially exciting, as a sign of the composer's expressive deftness even without sacred texts, was the tension built up by an underlying orchestral drone passage supporting flute and oboe in the Allegro finale.

You don't have to be ready to put on your long white robe (to borrow an image from another musical tradition frequently expressing desire for eternal life in bliss) to enjoy Bach's assimilation of St. Simeon's vision as represented by these cantatas, with the added pleasure of the Saxon master's instrumental supremacy.

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