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BI 1631
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BI 1631
BACH, J.S.: Cantatas, Vol. 38 (Suzuki) - BWV 52, 55, 82, 58

BACH, J.S.: Cantatas, Vol. 38 (Suzuki) - BWV 52, 55, 82, 58

The Classical Shop
release date: May 2011

Recorded in 24 Bit / 44.1Khz

Originally recorded in 2008

Artists:

Bach Collegium Japan


Suzuki, Masaaki


Drechsler, Hans-Joachim


Peter Kooij

Soloist

Bach Collegium Japan Chorus



Venue:

Kobe Shoin Women's University Chapel, Japan



Record Label
BIS

Genre:




Total Time - 66:03
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BACH, J.S.: Cantatas, Vol. 38 (Suzuki) - BWV 52, 55, 82, 58

 

JOHANN SEBASTIAN BACH

Select Complete Single Disc for
     
 

Falsche Welt, dir trau ich nicht, BWV 52

 
1 Sinfonia 4:33
 Suzuki, Masaaki
2 Recitative: Falsche Welt, dir trau ich nicht! (Soprano) 1:02
 Suzuki, Masaaki
3 Aria: Immerhin, immerhin, wenn ich gleich verstossen bin! (Soprano) 3:26
 Suzuki, Masaaki
4 Recitative: Gott ist getreu! (Soprano) 1:13
 Suzuki, Masaaki
5 Aria: Ich halt es mit dem lieben Gott (Soprano) 3:30
 Suzuki, Masaaki
6 Chorale: In dich hab ich gehoffet, Herr (Chorus) 0:52
 Suzuki, Masaaki
     
 

Ich habe genug, BWV 82

 
7 Aria: Ich habe genug (Bass) 6:53
 Suzuki, Masaaki
8 Recitative: Ich habe genug (Bass) 1:08
 Suzuki, Masaaki
9 Aria: Schlummert ein, ihr matten Augen (Bass) 9:53
 Suzuki, Masaaki
10 Recitative: Mein Gott! wenn kommt das schone: Nun (Bass) 0:51
 Suzuki, Masaaki
11 Aria: Ich freue mich auf meinen Tod (Bass) 3:24
 Suzuki, Masaaki
     
 

Ich armer Mensch, ich Sundenknecht, BWV 55

 
12 Aria: Ich armer Mensch, ich Sundenknecht (Tenor) 6:05
 Suzuki, Masaaki
13 Recitative: Ich habe wider Gott gehandelt (Tenor) 1:32
 Suzuki, Masaaki
14 Aria: Erbarme dich! (Tenor) 4:23
 Suzuki, Masaaki
15 Recitative: Erbarme dich! (Tenor) 1:23
 Suzuki, Masaaki
16 Chorale: Bin ich gleich von dir gewichen (Chorus) 0:59
 Suzuki, Masaaki
     
 

Ach Gott, wie manches Herzeleid, BWV 58

 
17 Aria with Chorale: Ach Gott, wie manches Herzeleid (Soprano, Bass) 4:47
 Drechsler, Hans-Joachim
18 Recitative: Verfolgt dich gleich die arge Welt (Bass) 1:42
 Drechsler, Hans-Joachim
19 Aria: Ich bin vergnugt in meinem Leiden (Soprano) 5:02
 Drechsler, Hans-Joachim
20 Recitative: Kann es die Welt nicht lassen (Soprano) 1:18
 Drechsler, Hans-Joachim
21 Aria with Chorale: Ich hab fur mir ein schwere Reis (Soprano, Bass) 2:07
 Drechsler, Hans-Joachim
     
 Peter Kooij Soloist


 The four cantatas on this recording come from 1726-1727, Bach’s fourth year of service at the Thomaskirche in Leipzig. During this time Bach showed a preference for solo cantatas, entrusting the text to a single solo voice. Three of these cantatas are of this type, while the fourth (BWV58) is scored for two voices. We can only speculate as to Bach’s reason for using this form of cantata: a shortage of choristers, perhaps, or the availability of especially gifted soloists. It’s also possible that Bach was preparing himself, and the choir, for the St Matthew Passion, planned for the Easter of 1727. Bach may also have wished to achieve greater variation in his cantata repertoire, a suggestion supported by the fact that he now more often incorporated instrumental movements. One example is the opening sinfonia of BWV 52, based on a preliminary version of the first Brandenburg Concerto. While Volume 37 in this series focussed on the solo cantatas for alto, as performed by counter-tenor Robin Blaze, this one gives equal space to three other soloists familiar to followers of the series. Ich habe genung, one of the most well-known of all Bach’s cantatas, is here performed in the original bass version by Peter Kooij, giving voice to the text’s journey from weariness of life to the joyful longing for the hereafter in the lively final movement. Carolyn Sampson interprets BWV 52, in which the falseness of the world is contrasted with the steadfastness of God, and joins Kooij in the dialogue of the duet cantata BWV58. The third soloist, Gerd Türk, performs the remaining cantata for solo tenor, Ich armer Mensch, ich Sündenknecht – a mournful recognition of man’s sinfulness and a plea for the mercy of God. The whole is accompanied by the eminent ensemble of Bach Collegium Japan, and infused by the vision of Masaaki Suzuki, as described on German website klassik.com: ‘In Suzuki’s recordings the listener encounters a Bach full of élan and vitality, completely removed from any overly intellectual, protestant-puritan theoreticians, but instead opposing such an approach. Equally impressive as the architecture of Bach’s music is the liveliness and impulsiveness, not to say spontaneity, which it projects.’

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