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SG 0165
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BACH, J.S.: Cantatas, Vol. 2 (Gardiner) - BWV 2, 10, 21, 76, 135

BACH, J.S.: Cantatas, Vol. 2 (Gardiner) - BWV 2, 10, 21, 76, 135

The Classical Shop
release date: October 2013

Originally recorded in 2010


John Eliot Gardiner


Texas All-State Women's Choir


James Gilchrist


Katherine Fuge


Rachel Beckett


Daniel Taylor


Maya Homburger


Lisa Larsson


Vernon Kirk


Robin Tyson


Monteverdi Choir


English Baroque Soloists


Record Label




Total Time - 146:05
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BACH, J.S.: Cantatas, Vol. 2 (Gardiner) - BWV 2, 10, 21, 76, 135




Ach Gott, vom Himmel sieh darein, BWV 2


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1 Ach Gott, vom Himmel sieh darein (Chorus) 03:53
2 Recitative: Sie lehren eitel falsche List (Tenor) 01:06
3 Aria: Tilg, o Gott, die Lehren (Alto) 03:24
4 Recitative: Die Armen sind verstort (Bass) 01:46
5 Aria: Durchs Feuer wird das Silber rein (Tenor) 05:05
6 Chorale: Das wollst du, Gott, bewahren rein (Chorus) 01:01
 Daniel Taylor Soloist
 James Gilchrist Soloist

Meine Seel erhebt den Herren, BWV 10

7 Meine Seel erhebt den Herren (Chorus) 03:24
8 Aria: Herr, der du stark und machtig bist (Soprano) 05:40
9 Recitative: Des Hochsten Gut und Treu (Tenor) 01:10
10 Aria: Gewaltige stosst Gott vom Stuhl (Bass) 02:18
11 Duet and Chorale: Er denket der Barmherzigkeit (Alto, Tenor) 02:24
12 Recitative: Was Gott den Vatern alter Zeiten (Tenor) 02:23
13 Chorale: Lob un Preis sei Gott dem Vater und dem Sohn 01:00
 Lisa Larsson Soloist
 Daniel Taylor Soloist



Geistliche Chormusik, Op. 11, SWV 369-397

 Texas All-State Women's Choir Choir



Die Himmel erzahlen die Ehre Gottes, BWV 76

15 Die Himmel erzahlen die Ehre Gottes, und die (Bass, Chorus, Tenor, Soprano, Alto) 03:49
16 Recitative: So lasst sich Gott nicht unbezeuget! (Tenor) 01:37
17 Aria: Hort, ihr Volker, Gottes Stimme (Soprano) 05:47
18 Recitative: Wer aber hort (Bass) 00:39
19 Aria: Fahr hin, abgottische Zunft! (Bass) 03:16
20 Recitative: Du hast uns, Herr, von allen Strassen (Alto) 01:42
21 Chorale: Es woll uns Gott genadig sein (Chorus) 02:20
22 Sinfonia 02:31
23 Recitative: Gott segne noch die treue Schar (Bass) 00:55
24 Aria: Hasse nur, hasse mich recht (Tenor) 02:46
25 Recitative: Ich fuhle schon im Geist (Alto) 01:11
26 Aria: Liebt, ihr Christen, in der Tat! (Alto) 03:58
27 Recitative: So soll die Christenheit (Tenor) 00:56
28 Chorale: Es danke, Gott, und lobe dich (Chorus) 02:21
 Lisa Larsson Soloist
 Daniel Taylor Soloist

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Ich hatte viel Bekummernis, BWV 21

1 Sinfonia 03:14
2 Ich hatte viel Bekummernis (Chorus) 03:41
3 Aria: Seufzer, Tranen, Kummer, Not (Soprano) 04:31
4 Recitative: Wie hast du dich, mein Gott (Tenor) 01:26
5 Aria: Bache von gesalznen Zahren (Tenor) 05:12
6 Was betrubst du dich, meine Seele (Chorus, Soprano, Alto, Tenor, Bass) 03:11
7 Recitative: Ach Jesu, meine Ruh (Soprano, Bass) 01:29
8 Duet: Komm, mein Jesu, und erquicke (Soprano, Bass) 04:25
9 Sei nun wieder zufrieden, meine Seele (Chorus, Soprano, Alto, Tenor, Bass) 06:18
10 Aria: Erfreue dich Seele, erfreue dich, Herze (Tenor) 02:45
11 Das Lamm, das erwurget ist (Chorus, Soprano, Alto, Tenor, Bass) 03:05
 Katherine Fuge Soloist
 Robin Tyson Soloist

Ach Herr, mich armen Sunder, BWV 135

12 Ach Herr, mich armen Sunder (Chorus) 05:05
13 Recitative: Ach heile mich, du Arzt der Seelen (Tenor) 00:51
14 Aria: Troste mir, Jesu, mein Gemute (Tenor) 02:56
15 Recitative: Ich bin von Seufzen mude (Alto) 01:02
16 Aria: Weicht, all ihr Ubeltater (Bass) 02:41
17 Chorale: Ehr sei ins Himmels Throne (Chorus) 01:02
 Robin Tyson Soloist
 Vernon Kirk Soloist

Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044

18 I. Allegro 08:42
19 II. Adagio ma non tanto e dolce 05:15
20 III. Alla breve 06:33
 Rachel Beckett Soloist
 Maya Homburger Soloist
 John Eliot Gardiner Conductor

Volume 2 in the Bach Cantata series, featuring Cantatas for the second and third Sunday after Trinity, recorded live in July 2000. Performing to an audience of more than 1200, we join John Eliot Gardiner, The Monteverdi Choir and The English Baroque Soloists at the halfway point of their Bach Cantata pilgrimage for a concert in one of the great architectural landmarks of Catholic Europe, the Basilique Saint-Denis (Cathedral Basilica of Saint Denis).

Featuring internationally acclaimed soloists including James Gilchrist, Lisa Larsson, Daniel Taylor and Stephen Varcoe, the programme opens with BWV 2 Ach Gott, vom Himmel sieh darein (Oh God, look down from Heaven), a chorale cantata based upon Martin Luther’s German hymn adaptation of Psalm 12. The psalm describes how easily man is led astray by heresy and Bach deals with such grim subject matter by resorting to composing in an archaic motet style. The result is austere beauty and has the engrossing quality of ritualised worship. Then follows BWV 10 Meine Seel erhebt den Herren (My soul doth magnify the Lord), the fifth work in Bach’s second Leipzig cantata cycle, and Schütz’s superb motet Die Himmel erzählen die Ehre Gottes (The heavens are telling of God in glory). Published in 1648 and dedicated to the choir of St Thomas in Leipzig, the latter is a motet that John Eliot remembers fondly, since it is a work he has known since he was six and he can still hear his father’s ringing tenor declaiming its powerful text. The concert ends with Bach’s prodigious cantata, BWV 76 Die Himmel erzählen die Ehre Gottes, a lengthy and complex bipartite cantata, comprising fourteen movements and divided into two equal parts. 
We then head to Zürich to hear John Eliot and his Monteverdi forces perform within the stunning Fraumünster Kirche, distinctive for its slender, blue spire. They open with the two-part Weimar Cantata BWV 21 Ich hatte viel Bekümmernis (I had much affliction), considered to be ’ of the most extraordinary and inspired of Bach’s vocal works’, as stated by John Eliot Gardiner in his booklet note. BWV 135 Ach Herr, mich armen Sünder (O, Lord, I poor sinner) follows. With only two cantatas for this Sunday in existence, the concert ends with Bach’s so-called Triple Concerto, BWV 1044 (Concerto for flute, violin and harpsichord). Despite its similarity to Brandenburg Concerto No.5, it seems to inhabit a different stylistic milieu to that of Bach’s other concerti - one much close to that of his eldest sons.

"…benchmarks in the performance of Bach’s endlessly inventive choral music." 

Anna Picard - Independent on Sunday


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