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BI 1991
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BI 1991
BACH, J.S.: Cantatas, Vol. 53 (Suzuki) - BWV 9, 97, 177

BACH, J.S.: Cantatas, Vol. 53 (Suzuki) - BWV 9, 97, 177

The Classical Shop
release date: June 2013

Recorded in 24 Bit / 44.1Khz
album available as a Studio Master
Originally recorded in 2013

Artists:

Bach Collegium Japan

Orchestra

Masaaki Suzuki

Conductor

Masaaki Suzuki

Soloist

Hana Blazikova

Soloist

BBC Chorus

Choral

Venue:

Kobe Shoin Women's University Chapel

Venue

Record Label
BIS

Genre:

Choir


Classical

Total Time - 66:05
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BACH, J.S.: Cantatas, Vol. 53 (Suzuki) - BWV 9, 97, 177

     
Select Complete Single Disc for
 

PAUL FLEMING

 

In allen meinen Taten, BWV 97

 
1 In allen meinen Taten (Chorus) 3:55
2 Aria: Nichts ist es spat und fruhe (Bass) 3:19
3 Recitative: Es kann mir nichts geschehen (Tenor) 0:33
4 Aria: Ich traue seiner Gnaden (Tenor) 6:07
5 Recitative: Er wolle meiner Sunden (Alto) 0:41
6 Aria: Leg ich mich spate nieder (Alto) 2:56
7 Duet: Hat er es denn beschlossen (Soprano, Bass) 3:14
8 Aria: Ihm hab ich mich ergeben (Soprano) 3:21
9 Chorale: So sei nun, Seele, deine (Chorus) 0:43
 Masaaki Suzuki Soloist
     
 

JOHANN AGRICOLA

 

Ich ruf zu dir, Herr Jesu Christ, BWV 177

 
10 Ich ruf zu dir, Herr Jesu Christ (Chorus) 6:11
11 Aria: Ich bitt noch mehr, o Herre Gott (Alto) 5:33
12 Aria: Verleih, dass ich aus Herzensgrund (Soprano) 5:46
13 Aria: Lass mich kein Lust noch Furcht von dir (Tenor) 4:20
14 Chorale: Ich lieg im Streit und widerstreb (Chorus) 1:02
 Hana Blazikova Soloist
     
 

PAUL SPERATUS

 

Es ist das Heil uns kommen her, BWV 9

 
15 Es ist das Heil uns kommen her (Chorus) 4:37
16 Recitative: Gott gab uns ein Gesetz (Bass) 1:09
17 Aria: Wir waren schon zu tief gesunken (Tenor) 4:01
18 Recitative: Doch musste das Gesetz erfullet werden (Bass) 1:15
19 Duet: Herr, du siehst statt guter Werke (Soprano, Alto) 5:10
20 Recitative: Wenn wir die Sund aus dem Gesetz erkennen (Bass) 1:21
21 Chorale: Ob sich's anliess, als wollt er nicht (Chorus) 0:51
 Masaaki Suzuki Soloist
     
 Masaaki Suzuki Conductor


 The three cantatas on this recording come from the first half of the 1730s, by which time J.S. Bach was no longer writing a new cantata every week. In these later works, Bach’s affinity for instrumental colour is coming more clearly to the fore, as are elements of the new ‘empfindsamer Stil’ with its tendency towards expressive melodies rich in syncopations and suspensions, and towards homophonic writing. The three cantatas are also linked in that they are all chorale cantatas, harking back to Bach’s second year in Leipzig (1724–25), when the cantatas that he wrote were each based in their entirety on a well-known hymn. The opening cantata, In allen meinen Taten BWV 97, is a setting of nine strophes from a poem by Paul Fleming, one of the great German baroque poets, and begins with a splendid French overture, in which the orchestra intones a solemn, slow introduction with the typical dotted rhythms, followed by a lively fugal section during which the choir makes its entry. This is followed by BWV 177, Ich ruf zu dir, Herr Jesu Christ, which at its centre has the aria Verleih, dass ich aus Herzensgrund… a heartfelt prayer from the soprano and oboe da caccia for the capacity to forgive one’s enemies. The hymn Es ist das Heil uns kommen her, on which the closing BWV 9 is based, remains an important hymn in the German Evangelical Church. The text – and Bach’s setting of it – eloquently conveys the message that it is through faith rather than deeds that mankind may achieve salvation.

                       Critic’s Choice 2013

"...During 2013 the last four volumes have risen to various heights, but Vol 53 (of 55) distills late Bach with touchingly special wisdom and poise."

Jonathan Freeman-Attwood - Gramophone magazine - December 2013


"... The expertise as we get close to the end of Suzuki’s cycle has become wonderfully unobtrusive."

David Stancliffe - Early Music Review - August 2013


"...The soloists blend delightfully with what is an impressively unified chorus. It almost goes without saying how well the instrumentalists of the Bach Collegium Japan respond. Suzuki brings everything together in masterly fashion... The level of performance consistency of this BIS series is nothing short of remarkable. It really is hard to find fault when this music is presented in such an exemplary manner." 
  
Michael Cookson - MusicWeb-International.com - July 2013   

                 ’Gramophone Choice’

"...This is a wonderful celebration of all-too-rare late Bach vocal works, revealed to us by Suzuki with joy and an impeccable understanding of its unique essence."

Jonathan Freeman-Attwood - Gramophone magazine - August 2013


                     Performance ****      Recording ****

Suzuki’s performance forces. 12-voice choir (including soloists) and three-to-a-part violins, are superbly clean & tidy while allowing him generous dynamic and dramatic range. Highly commended."

George Pratt - BBC Music magazine - August 2013


                           Music ****½ (Very Good/Excellent)          Sound ***** (Excellent)

Matthias Hengelbrock - Fono Forum magazine - July 2013


 "...His [Suzuki] solo singers and instrumentalists are in sparkling form, he shpes the choruses beautifully, alert to the lyrical impulses that glide through Bach’s intricate rhythmic textures. This is Suzuki back to his beguiling best."   *****

Graham Lock - Early Music Today magazine - June-August 2013


"...The soloists in this set are on top form. They have a lot of work to do. Their own voices – like those of the chorus – are measured and urbane; yet full of feeling... by and large the singers not only perform well in themselves; they also have a true enough understanding of the "soul" of Bach’s music to meld well with the chorus and orchestra. Similarly the solo instrumentalists in their wider context constantly hold your interest without ever drawing attention to themselves. No solo contribution risks overshadowing the others’ work. Gerd Türk and Hana Blazikova sing with particular aplomb and are especially persuasive throughout. The acoustic – of the relatively recently-completed (1981) Shoin Women’s University Chapel in Kobe (Japan) is resonant but not intrusively so. It allows every syllable of soprano Blazikova’s, countertenor Blaze’s, tenor Türk and bass Kooy’s articulation to make its full impact. In common with established practice by BIS, the recording quality is excellent ... If you’re already collecting this series, you’ll of course want to add this. If you want a sampler, give it a try: these period instrument performances have a lot going for them."
 
Mark Sealey - classical.net - April 2013



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