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SG 0159
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BACH, J.S.: Cantatas, Vol. 9 (Gardiner) - BWV 47, 96, 114, 116, 148, 169

The Classical Shop
release date: October 2013

Originally recorded in 2009


John Eliot Gardiner


Texas All-State Women's Choir


Katherine Fuge


Mark Padmore


Stephan Loges


Frances Bourne


Nathalie Stutzmann


Charles Humphries


Monteverdi Choir


English Baroque Soloists


Record Label




Total Time - 137:53
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BACH, J.S.: Cantatas, Vol. 9 (Gardiner) - BWV 47, 96, 114, 116, 148, 169




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Bringet dem Herrn Ehre seines Namens, BWV 148

1 Bringet dem Herrn Ehre seines Namens (Chorus) 03:24
2 Aria: Ich eile, die Lehren des Lebens zu horen (Tenor) 04:58
3 Recitative: So, wie der Hirsch nach frischem Wasser schreit (Alto) 01:21
4 Aria: Mund und Herze steht dir offen (Alto) 04:45
5 Recitative: Bleib auch, mein Gott, in mir (Tenor) 00:54
6 Chorale: Amen zu aller Stund (Chorus) 00:50
 Frances Bourne Soloist
 Mark Padmore Soloist

Ach, lieben Christen, seid getrost, BWV 114

7 Ach lieben Christen, seid detrost (Chorus) 04:01
8 Aria: Wo wird in diesem Jammertale (Tenor) 10:04
9 Recitativo: O Sunder, trage mit Geduld (Bass) 01:45
10 Chorale: Kein Frucht das Weizenkornlein bringt (Soprano) 01:44
11 Aria: Du machst, o Tod, mir nun nicht ferner bange (Alto) 04:47
12 Recitativo: Indes bedenke deine Seele (Tenor) 00:50
13 Chorale: Wir wachen oder schlafen ein (Chorus) 01:00
 Katherine Fuge Soloist
 Charles Humphries Soloist

Wer sich selbst erhohet, der soll erniedriget werden, BWV 47

14 Wer sich selbst erhohet (Chorus) 05:22
15 Aria: Wer ein wahrer Christ will heissen (Soprano) 09:55
16 Recitative: Der Mensch ist Kot, Stank, Asch und Erde (Bass) 01:36
17 Aria: Jesu, beuge doch mein Herze (Bass) 04:09
18 Chorale: Der zeitlichen Ehrn will ich gern entbehrn (Chorus) 00:45
 Katherine Fuge Soloist
 Stephan Loges Soloist

Der Geist hilft unser Schwachheit auf, BWV 226

 Texas All-State Women's Choir Choir

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Herr Christ, der einige Gottessohn, BWV 96

1 Herr Christ, der einge Gottessohn (Chorus) 05:57
2 Recitative: O Wunderkraft der Liebe (Alto) 01:27
3 Aria: Ach, ziehe die Seele mit Seilen der Liebe (Tenor) 07:28
4 Recitative: Ach, fuhre mich, o Gott, zum rechten Wege (Soprano) 00:49
5 Aria: Bald zur Rechten, bald zur Linken (Bass) 02:45
6 Chorale: Ertot uns durch dein Gute (Chorus) 00:55
 Katherine Fuge Soloist
 Nathalie Stutzmann Soloist

Gott soll allein mein Herze haben, BWV 169

7 Sinfonia 07:32
8 Arioso: Gott soll allein mein Herze haben (Alto) 03:02
9 Aria: Gott soll allein mein Herze haben (Alto) 05:47
10 Recitative: Was ist die Liebe Gottes? (Alto) 01:04
11 Aria: Stirb in mir, Welt (Alto) 04:36
12 Recitative: Doch meint es auch dabei (Alto) 00:35
13 Chorale: Du susse Liebe, schenk uns deine Gunst (Chorus) 01:02
 Nathalie Stutzmann Soloist

Du Friedefurst, Herr Jesu Christ, BWV 116

14 Du Friedefurst, Herr Jesu Christ (Chorus) 04:07
15 Aria: Ach, unaussprechlich ist die Not (Alto) 03:56
16 Recitative: Gedenke doch, o Jesu (Tenor) 00:59
17 Trio: Ach, wir bekennen unsre Schuld (Soprano, Tenor, Bass) 04:26
18 Recitative: Ach, lass uns durch die scharfen Ruten (Alto) 01:07
19 Chorale: Erleucht auch unser Sinn und Herz (Chorus) 00:53
 Katherine Fuge Soloist
 Nathalie Stutzmann Soloist

Vor deinen Thron tret ich hiermit

 Texas All-State Women's Choir Choir
 John Eliot Gardiner Conductor

Volume 9 in the series features cantatas for the seventeenth and eighteenth Sunday after Trinity, recorded live in October 2000. We join John Eliot Gardiner, The Monteverdi Choir and The English Baroque Soloists on their Bach Cantata pilgrimage in the spectacular dark brown gothic Allhelgonakyrkan (All Saints Church) in Lund.

The concert explodes into action as the long fanfare-like ritornello for solo trumpet and strings herald the opening of BWV 148 Bringet dem Herrn Ehre seines Namens (Give the Lord the Glory due his Name). This is then followed by the chorale cantata BWV 114 Ach, lieben Christen, seid getrost (Ah, dear Christians, be brave), from Bach’s second Leipzig cycle. In typical Lutheran fashion, the text begins in despair and ends with the hope of redemption. The contrast between despondency and consolation is clear in the second movement for tenor, obbligato flute and continuo. Sung by the fantastic Mark Padmore, “This is one in a series of bleak but hypnotic arias epitomising the beleaguered soul at which Bach excels”, states Gardiner.

We then hear BWV 47 Wer sich selbst erhöhet, der soll erniedriget werden (Whoever himself exalteth shall be abashed). Gardiner states in his notes that this was a choral fugue that grew on the choir, and by the encore of the second concert it had registered its considerable power with both the performers and the listeners. The programme ends with the most instrumentally conceived of Bach’s double-choir motets, BWV 226 Der Geist hilft unser Schwachheit auf (The Spirit Helpeth Our Infirmities). Interestingly, this is the only one for which original doubling parts for winds and strings have survived. It is also the only motet composed by Bach for which a specific purpose is known - the funeral service of JH Ernesti, the rector of the Thomasschule in Leipzig. 

We then travel to the Thomaskirche in Leipzig and open the programme with BWV 96 Herr Christ, der ein’ge Gottessohn (Lord Christ, the only Son of God). Next comes BWV 169 Gott soll allein mein Herze haben (God alone shall have my heart), the last and considered by many to be the most consistently beautiful of Bach’s Cantatas for solo alto. This is then followed by the superb choral cantata BWV 116 Du Friedefürst, Herr Jesu Christ, first performed on 26 November 1724. The choir then retreat to the very crucible where for the last twenty-seven years of his life Bach worked. They form a horseshow around his final resting place and sing a cappella what legend has identified as Bach’s very last piece, BWV 668 Vor deinen Thron tret’ ich hiermit, the so-called Deathbed Chorale.




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