A—Ky—Dignified, churchy, cry to heavens; nice prominence of orchestral bass and overall balance with chorus
A—Ch—Christina Landshamer; gentle start, but quickly turns meaningful and soulful
A—Gl—Joyous, uplifting; crisp, clean melismas
A—LT—Anke Vondlung; brisk, fun, tavern song; she’s got great flounce and the orchestra is right there with here; if not for the heavy vibrato, she’d rival Töpper in Fricsay; takes an ad-lib in B section and oboe picks it right up, as with Bernius and Christie
A—Gr—Broad, assertive, hymnlike
A—DD—Smooth, flowing, harmonious; voices so similar in timbre that during exchange of melismas, it sounds as if it’s the same singer
A—QT—Moderate tempo, but maintains pain and stagger
A—Qu—Upbeat, good spirits; tenor quite uneven, sometimes too soft, sometimes too loud; good voices individually, but they don’t blend well
A—JC—Same
A—CSS—Brightly churchy; good, clean entrances and melismas; gradually builds in intensity rather than being belted out initially, which is a nice touch; good climactic cadence
A—Cr—Another version with trombones and timpani at the first measure, a little reined in; otherwise good gallop and uplifting voices; no chickens
A—Et—Christina Landshamer; tender, gentle, intimate love song; ever so slightly sharp intonation on higher notes; slightly buzzy bassoon, but that’s not her fault; lovely cadenza, with a couple of too-obvious breaths
A—S—Rafter-rattling; rousing, broad; good brass
A—H—Brisk, bright; choral entrances like conversations; chorus are up to the pace with melismas
A—B—Another fast pace; bright, upbeat conversations, but, like “Quoniam”, voices don’t blend well and tenor is often too loud; semi-detached strings at B