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SG 0138
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SG 0138
(this is a multiple CD album sold separately)

BACH, J.S.: Cantatas, Vol. 27 (Gardiner) - BWV 129, 165, 175, 176, 184, 194, 1048

The Classical Shop
release date: October 2013

Originally recorded in 2000


John Eliot Gardiner


German Wind Soloists


Daniel Taylor


Ruth Holton


Nathalie Stutzmann


Lisa Larsson


Peter Harvey


Monteverdi Choir


English Baroque Soloists


Record Label


Orchestral & Concertos


Total Time - 110:32
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BACH, J.S.: Cantatas, Vol. 27 (Gardiner) - BWV 129, 165, 175, 176, 184, 194, 1048




Select Complete Single Disc for

Brandenburg Concerto No. 3 in G Major, BWV 1048

1 I. — 05:24
2 II. Adagio 01:33
3 III. Allegro 04:59
 German Wind Soloists Ensemble

Erwunschtes Freudenlicht, BWV 184

4 Recitative: Erwunschtes Freudenlicht (Tenor) 03:24
5 Aria: Gesegnete Christen, gluckselige Herde (Soprano, Alto) 08:17
6 Recitative: So freuet euch, ihr auserwahlten Seelen (Tenor) 01:56
7 Aria: Gluck und Segen sind bereit (Tenor) 04:36
8 Chorale: Herr, ich hoff je, du werdest die (Chorus) 01:17
9 Guter Hirte, Trost der Deinen (Chorus, Soprano, Bass) 02:16
 Lisa Larsson Soloist
 Nathalie Stutzmann Soloist

Er rufet seine Schafen mit Namen, BWV 175

10 Recitative: Er rufet seinen Schafen mit Namen (Tenor) 00:26
11 Aria: Komm, leite mich (Alto) 04:35
12 Recitative: Wo find ich dich (Tenor) 00:27
13 Aria: Es dunket mich, ich seh dich kommen (Tenor) 03:07
14 Recitative: Sie vernahmen aber nicht (Alto, Bass) 01:05
15 Aria: Offnet euch, ihr beiden Ohren (Bass) 04:18
16 Chorale: Nun, werter Geist, ich folge dir (Chorus) 01:51
 Nathalie Stutzmann Soloist

Select Complete Single Disc for

Hochsterwunschtes Freudenfest, BWV 194

1 Hochsterwunschtes Freudenfest (Chorus) 04:26
2 Recitative: Unendlich grosser Gott (Bass) 01:06
3 Aria: Was des Hochsten Glanz erfullt (Bass) 04:19
4 Recitative: Wie konnte dir, du hochstes Angesicht (Soprano) 01:26
5 Aria: Hilf, Gott, dass es uns gelingt (Soprano) 05:33
6 Chorale: Heil'ger Geist ins Himmels Throne (Chorus) 01:58
 Ruth Holton Soloist
 Peter Harvey Soloist

Es ist ein trotzig und verzagt Ding, BWV 176

7 Es ist ein trotzig und verzagt Ding (Chorus) 01:54
8 Recitative: Ich meine, recht verzagt (Alto) 00:43
9 Aria: Dein sonst hell beliebter Schein (Soprano) 02:58
10 Recitative: So wundre dich, o Meister, nicht (Bass) 01:27
11 Aria: Ermuntert euch, furchtsam und schuchterne Sinne (Alto) 02:21
12 Chorale: Auf dass wir also allzugleich (Chorus) 01:05
 Ruth Holton Soloist
 Daniel Taylor Soloist

O heiliges Geist- und Wasserbad, BWV 165

13 Aria: O heil'ges Geist- und Wasserbad (Soprano) 03:32
14 Recitative: Die sundige Geburt verdammter Adamserben (Bass) 01:17
15 Aria: Jesu, der aus grosser Liebe (Alto) 02:29
16 Recitative: Ich habe ja, mein Seelenbrautigam (Bass) 02:03
17 Aria: Jesu, meines Todes Tod (Tenor) 02:58
18 Chorale: Sein Wort, sein Tauf, sein Nachtmahl (Chorus) 00:34
 Ruth Holton Soloist
 Daniel Taylor Soloist

Gelobet sei der Herr, mein Gott, BWV 129

19 Gelobet sei der Herr (Chorus) 03:48
20 Aria: Gelobet sei der Herr (Bass) 03:37
21 Aria: Gelobet sei der Herr (Soprano) 04:56
22 Aria: Gelobet sei der Herr (Alto) 04:53
23 Chorale: Dem wir das Heilig itzt (Chorus) 01:38
 Ruth Holton Soloist
 Daniel Taylor Soloist
 John Eliot Gardiner Conductor

This release combines cantatas for Whit Tuesday and Trinity Sunday. Brandenburg Concerto No.3 precedes the two surviving Cantatas for Whit Tuesday. Pressed for time at the end of a busy Whit weekend during his first year in Leipzig, Bach based BWV 184 Erwünschtes Freudenlicht (1724) on a hasty revision of a lost Köthen secular cantata. One might momentarily mistake the second movement of this cantata as the origin of the celebrated duet from Lakmé, before considering the long odds of Delibes ever having clapped eyes on this obscure piece. The pastoral mood continues a year later in BWV 175 Er rufet seinen Schafen mit Namen (1725). This is a more elaborate work, the eighth of the nine consecutive texts Bach set by Christiane Mariane von Ziegler.

Recorded in St Magnus Cathedral, Kirkwall after one of the more dramatic journeys on the Bach Cantata Pilgrimage, the first cantata for Trinity Sunday, BWV 165 O heil’ges Geist- und Wasserbad, was composed in 1715 in Weimar. It is a true sermon-in-music, based on the Gospel account of Jesus’ night-time conversation with Nicodemus on the subject of ’new life’. A grand French-style overture heralds the start of BWV 194 Höchsterwünschtes Freudenfest. The cantata seems to have begun life as a secular Köthen piece some time between 1717 and 1723, and was then adapted for the dedication of the new organ at Störmthal (2 November 1723). The programme ends with the genial and uplifting work, BWV 129 Gelobet sei der Herr, mein Gott.


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