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SG 0156
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BACH, J.S.: Cantatas, Vol. 4 (Gardiner) - BWV 9, 107, 170, 186, 187

The Classical Shop
release date: October 2013

Originally recorded in 2009


John Eliot Gardiner


Texas All-State Women's Choir


Katherine Fuge


Joanne Lunn


Richard Wyn Roberts


Michael Chance


Kobie van Rensburg


Monteverdi Choir


English Baroque Soloists


Record Label




Total Time - 118:33
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BACH, J.S.: Cantatas, Vol. 4 (Gardiner) - BWV 9, 107, 170, 186, 187




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Es ist das Heil uns kommen her, BWV 9

1 Es ist das Heil uns kommen her (Chorus) 04:48
2 Recitative: Gott gab uns ein Gesetz (Bass) 01:05
3 Aria: Wir waren schon zu tief gesunken (Tenor) 07:56
4 Recitative: Doch musste das Gesetz erfullet werden (Bass) 01:14
5 Duet: Herr, du siehst statt guter Werke (Soprano, Alto) 05:20
6 Recitative: Wenn wir die Sund aus dem Gesetz erkennen (Bass) 01:17
7 Chorale: Ob sich's anliess, als wollt er nicht (Chorus) 00:58
 Joanne Lunn Soloist
 Michael Chance Soloist

Vergnugte Ruh, beliebte Seelenlust, BWV 170

8 Aria: Vergnugte Ruh, beliebte Seelenlust (Alto) 06:50
9 Recitativo: Die Welt, das Sundenhaus (Alto) 01:28
10 Aria: Wie jammern mich doch die verkehrten Herzen (Alto) 06:20
11 Recitativo: Wer sollte sich demnach wohl hier (Alto) 01:12
12 Aria: Mir ekelt mehr zu leben (Alto) 05:47
 Michael Chance Soloist

Der Gerechte kommt um, BWV deest

 Texas All-State Women's Choir Choir

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Argre dich, o Seele, nicht, BWV 186

1 Argre dich, o Seele, nicht (Chorus) 03:41
2 Recitative: Die Knechtsgestalt, die Not, der Mangel (Bass) 01:32
3 Aria: Bist du, der mir helfen soll (Bass) 02:48
4 Recitative: Ach, dass ein Christ so sehr (Tenor) 02:18
5 Aria: Mein Heiland lasst sich merken (Tenor) 02:48
6 Chorale: Ob sichs anliess, als wollt er nicht (Chorus) 02:29
7 Recitative: Es ist die Welt die grosse Wustenei (Bass) 01:25
8 Aria: Die Armen will der Herr umarmen (Soprano) 03:19
9 Recitative: Nun mag die Welt mit ihrer Lust vergehen (Alto) 01:30
10 Duet: Lass, Seele, kein Leiden (Soprano, Alto) 03:24
11 Chorale: Die Hoffnung wart' der rechten Zeit (Chorus) 02:24
 Katherine Fuge Soloist
 Richard Wyn Roberts Soloist

Was willst du dich betruben, BWV 107

12 Was willst du dich betruben (Chorus) 03:31
13 Recitative: Denn Gott verlasset keinen (Bass) 00:56
14 Aria: Auf ihn magst du es wagen (Bass) 02:42
15 Aria: Wenn auch gleich aus der Hollen (Tenor) 02:27
16 Aria: Er richt's zu seinen Ehren (Soprano) 02:28
17 Aria: Darum ich mich ihm ergebe (Tenor) 02:50
18 Chorale: Herr, gib, dass ich dein Ehre 01:48
 Katherine Fuge Soloist
 Kobie van Rensburg Soloist

Es wartet alles auf dich, BWV 187

19 Es wartet alles auf dich (Chorus) 06:41
20 Recitative: Was Kreaturen halt (Bass) 01:01
21 Aria: Du Herr, du kronst allein (Alto) 04:15
22 Aria: Darum sollt ihr nicht sorgen (Bass) 02:25
23 Aria: Gott versorget alles Leben (Soprano) 04:24
24 Recitative: Halt ich nur fest an ihm (Soprano) 01:20
25 Chorale: Gott hat die Erde zugericht' (Chorus) 02:05
 Katherine Fuge Soloist
 Richard Wyn Roberts Soloist
 John Eliot Gardiner Conductor

Gardiner’s Gramophone and BBC Music Magazine award-winning Bach Cantata series on his hugely successful label, Soli Deo Gloria, releases volume 4 in the series featuring Cantatas for the Sixth and Seventh Sunday after Trinity. Recorded live in July and August 2000.

Following a moving concert commemorating the 250th anniversary of Bach’s death, set within the magical surroundings of the Scottish island of Iona, John Eliot Gardiner, The Monteverdi Choir and The English Baroque Soloists continue on their Bach pilgrimage and head to Ansbach to perform at the prestigious Ansbach Bach Festival - “The Mecca…of Bach celebrations” as described by Gardiner. The programme includes  BWV 9 Es ist das Heil uns kommen her (Salvation has come to us) and the well known chamber cantata BWV 170 Vergnügte Ruh, beliebte Seelenlust (Pleasant Rest, Beloved Soul’s Joy), expertly sung by internationally renowned counter-tenor, Michael Chance. This is the first of two solo cantatas for alto that Bach wrote in the summer of 1726 and comprises of the three large arias for alto, between which are placed two recitatives. A highlight of the three is the first, an aria of pure enchantment, which tells, through rich and passionate music, that “pleasant rest” can be attained only though union with heaven. The programme ends with the very moving funeral motet Der Gerechte kommt um (See, the righteous must die), attributed to Bach, an incredibly beautiful five-voiced Latin motet composed by Johann Kuhnau. The magnificence of this motet made this very popular with both the choir and orchestra thereby resulting in it being used as a regular encore on the Bach Cantata pilgrimage. 

Thirty miles east from the hustle and bustle of a busy Edinburgh hosting its world famous festival, we join John Eliot and the Monteverdi forces in the collegiate church of St. Mary’s situated in the modest, tranquil market town of Haddington, Scotland. BWV 186 Ärgre dich, o Seele, nicht (Trouble thyself not, O soul), comprises eleven movements and is structured in two parts. A movement that stands out is the glorious duet for soprano and alto (No.10), in which the crucial injunction ‘Sei, Seele, getreu!’ (‘O soul, be true!’) is reserved until the last two bars. We then hear BWV 107 Was willst du dich betrüben (Why wilt thou trouble thyself, oh my dear soul), a chorale cantata set per omnes versus, that is, with all the verses of a hymn set unaltered. The final chorale, BWV 187 Es wartet alles auf dich (They are all waiting on thee) is again structured in two parts and comprises of music that is both gentle and seductively beautiful. Bach parodies the music of this cantata a decade later in his G minor Missa (BWV 235).

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