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SG 147
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SG 147

Bach - Cantatas Vol 5

The Classical Shop
release date: November 2009

Originally recorded in 2009

Artists:

Gardiner, John Eliot


Robin Tyson

alto

Brindley Sherratt

bass

Christoph Genz

tenor

The Monteverdi Choir


The English Baroque Soloists



Venue:

Christkirche, Rensburg

13 Aug 2000

Dom, Braunschweig

27 Aug 2000

Record Label
SDG

Genre:

Choir




Total Time - 118:05
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Buttonbooklet
   
  Cantatas Vol 5  
   
  CD 1  
 

JOHANN SEBASTIAN BACH

  For the Eighth Sunday after Trinity  
 

Wo Gott der Herr nicht bei uns hält BWV 178

 
1 1. Cor (Choral) Wo Gott der Herr nicht bei uns hält 5:35
2 2. Choral e Recitativo: Alt Was enschenkraft und - witz anfäht 1:47
3 3. Aria: Bass Gleichwie die wilden Meereswellen 3:29
4 4. Choral: Tenor Sie stellen uns wie ketzern nach 1:44
5 5. Choral e Recitativo: Bass, Tenor, Alt Auf sperren sie den Rachen weit 1:19
6 6. Aria: Tenor Schweig, schweig bur, taumelnde Vernunft! 3:41
7 7. Choral Die Feind sind all in deiner Hand 1:48
   
 

Erforsche mich, Gott, und erfahre mein Herz BWV 136

 
8 1. Coro Erforsche mich, Gott, und erfahre mein Herz 4:12
9 2. Recitativo: Tenor Ach, dass der Fluch, so dort die Erde schlägt 1:15
10 3. Aria: Alt Es kömmt ein Tag 4:09
11 4. Recitativo: Bass Die Himmel selber sind nicht rein 1:05
12 5. Aria (Duetto): Tenor, Bass Uns treffen zwar der Sünden Flecken 4:11
13 6. Choral Dein Blut, der edle Saft 0:51
   
 

Es ist dir gesagt, Mensch, was gut ist BWV 45

 
  Part I  
14 1. Coro Es ist dir gesagt, Mensch, was gut ist 4:57
15 2. Recitativo: Tenor Der Höchste lässt mich seinen Willen wissen 0:45
16 3. Aria: Tenor Weiß ich Gottes Rechte 3:39
   
  Part II  
17 4. Arioso: Bass Es werden viele zu mir sagen an jenem Tage 2:42
18 5. Aria: Alt Wer Gott bekennt aus wahrem Herzensgrund 3:43
19 6. Recitativo: Alt So wird denn herz und Mund selbst von mir Richter sein 0:49
20 7. Choral Gib, dass ich tu mit Fleiß 1:08
   
  For the Tenth Sunday after Trinity  
 

Schauet doch und sehet, ob irgendein Schmerz sei BWV 46

 
21 1. Coro Schauet doch und sehet, ob irgendein Schmerz sei 6:45
22 2. Recitativo: Tenor S klage du, zerstörte Gottesstadt 2:05
23 3. Aria: Bass Dein Wetter zog sich auf von weiten 3:09
24 4. Recitativo: Alt Doch bildet euch, o Sünder, ja nicht ein 0:51
25 5. Aria: Alt Doch Jesus will auch bei der Strafe 4:19
26 6. Choral O großer Gott von Treu 1:43
   
 

Nimm von uns, Herr, du treuer Gott BWV 101

 
27 1. Coro (Choral Nimm von uns, Herr, du treuer Gott 5:33
28 2. Aria: Tenor Handle nicht nach deinen Rechten 3:16
29 3. Recitativo e Choral: Sopran Ach! Herr Gott, durch die Treue dein 2:08
30 4. Aria: Bass Warum willst du so zornig sein? 5:17
31 5. Recitativo e Choral: Tenor Die Sünd hat uns verderbet sehr 1:40
32 6. Aria (Duetto): Sopran, Alt Gedenk an Jesu bittern Tod! 6:13
33 7. Choral Leit uns mit deiner rechten Hand 0:53
   
 

Herr, deine Augen sehen nach dem Glauben! BWV 102

 
  Part I  
34 1. Coro, Herr, deine Augen sehen nach dem Glauben! 5:17
35 2. Recitativo: Bass Wo ist das Ebenbild, das Gott uns eingepräget 0:59
36 3. Aria: Alt Weh der Seele, die den Schaden 5:15
37 4. Arioso: Bass Verachtest du den Reichtum seiner Gnade 2:40
   
  Part II  
38 5. Aria: Tenor Erschrecke doch, du allzu sichre Seele! 4:03
39 6. Recitativo: Alt Beim Warten ist Gefahr 1:23
40 7. Choral Heut lebst du, heut bekehre dich 1:47
   
  CD 2 TT: 65:36      
   
 Robin Tyson alto
 Christoph Genz tenor
 Brindley Sherratt bass
 Gardiner, John Eliot
  Recorded live as part of the Bach Cantata Pilgrimage  


John Eliot Gardiner’s choral Pilgrimage exploring the magnificence and grandeur of all of Bach’s cantatas continues with this 2CD release, combining cantatas for the eighth and tenth Sunday after Trinity, recorded live in August 2000.

For the first set of Cantatas we join John Eliot in Rendsburg, Germany and begin with a performance of the glorious, vehement BWV 178 Wo Gott der Herr nicht bei uns hält, premiered in Leipzig on 20th July 1724. Deriving from the Gospel reading (Matthew 7:15-23), the cantata warns against hypocrites and false prophets. With its opening powerful chorus described as ’quite astonishing’ by John Eliot, the mood is set for this chilling cantata fraught with anger and a grim mood of foreboding.

In contrast, hope and belief permeate the following two cantatas; BWV 136 Erforsche mich, Gott, und erfahre mein Herz and BWV 45 Es ist dir gesagt, Mensch, was gut ist. The penitential tone of BWV 136 is stressed through the beautifully crafted pleas of ’Prüfe mich’ (’Try me’) which appear in the extensive opening choral fugue. BWV 45 is Bach’s last surviving cantata for this Sunday and is replete with emotional turmoil. From the clear weighty injunction ‘to do justly, and to love mercy, and to walk humbly with thy God’ of the first part, to the bold virtuosic bass aria condemning false prophets opening the second, the juxtaposition of the themes of damnation and salvation in this cantata are clear.

We are then taken to Braunschweig, Germany and open with Bach’s first Leipzig cantata for this Sunday, BWV 46 Schauet doch und sehet, ob irgendein Schmerz sei. Here on the tenth Sunday after Trinity the Gospel (Luke 19:41-48) tells us how Jesus predicted the imminent destruction of Jerusalem. Bach, unsurprisingly, excels producing a richly thematic cantata depicting clearly the story’s vivid, unsettling patterns of destruction and restoration, of God’s anger and Christ’s mercy.

The antithesis between God’s anger and mercy resurfaces in Bach’s two later cantatas for this Sunday; BWV 101 Nimm von uns Herr, du treuer Gott and BWV 102 Herr, deine Augen sehen nach dem Glauben! In contrast to BWV 101 that is based largely on the hymn of the day sung to the melody of Luther’s German version of the Lord’s Prayer, BWV 102 does not, stressing again Bach’s innovative and unpredictable genius.

With their customary brilliance and expert musicianship, the Monteverdi Choir and the English Baroque Soloists triumph, making this the ideal next instalment in what many have already come to regard as the first choice of recorded Bach Cantata series.

SDG147 & SDG150 - Bach Cantatas Vol 5 & 17

“It almost seems unnecessary to say that the two latest instalments of Sir John Eliot Gardiner’s recorded Bach Cantata cycle with the English Baroque Soloists and Monteverdi Choir match up to the earlier releases. But such is the excellence of the performances that Soli Deo Gloria really does deserve the support of music lovers as this extraordinary monument to the German master’s achievement in the genre comes to a close.” …
“All in all, two more wonderful releases from perhaps the most impressive recording project of our times.”    ****
 

MusicalCriticism.com - 25 November 2008

"Increasingly excelling performances of some of Bach’s finest mature cantatas:

Our Pilgrimage travels to Rendsburg and Braunschweig for a selection form Bach’s “golden years” of vocal writing, 1723-25. The immediacy of the sound in the former seems almost ideal for the intensity of Wo Gott der Herr, which thrusts us into an unyielding paranoia about God’s indifference to our plight. Gardiner summons as impressive, generative agitation that illuminates the imagery of shipwreck in the bass aria, as well as the tenor aria with its declamatory “Schweig, schweig” (Be silent) which, despite its final consolation, reeks of dissembling. Brindley Sherratt’s arioso, “Es warden viele”, is brilliantly blustery and single-minded.

The short journey to the resonant Braunschweig involves a new solo team and performances which are altogether more transporting. Of one reveres the “Qui tollis” from the B minor Mass, I wonder whether the opening of Schauet doch in its original context of dissolute lamentation doesn’t say even more? Certainly, Gardiner uses it brilliantly to take off with one of Bach’s most jarring fugal exegese. Equally breathtaking is the traumatic opening chorus, on Luther’s hymn “Vater unser”, of BWV101 with its almost flagellatory appoggiaturas to depict the breaking of Satan’s hold.

In BWV46 and BWV102 (with another sensational opening chorus), the arias and obbligato contributions are remarkable. Gardiner calls BWV102’s “Dein Wetter” on of Bach’s rare “tsunami” arias: bass Gotthold Schwarz carries this image ideally, accompanied by the fine trumpet-playing of Gabriele Cassone.

If not flawless compared to the studio series, this Pilgrimage encourages a heart-warming depth of engagement with the music. We can also endorse Gardiner’s summary that these works are more that doctrinal dissertations but creations of “overwhelming poetic transformative force”

Jonathan Freeman-Attwood

Gramophone - November 2008

"The six pieces in this set belong to Bach’s Leipzig period, when they were performed on the Eighth and Tenth Sundays after Trinity. John Eliot Gardiner’s fervent approach to this music is evident above all in the many fine choruses, notably in those belonging to the chorale-based Cantatas BWV101 and BWV178. The last-mentioned begins with one of Bach’s most impressive chorale fantasias, in which Gardiner emphasises the declamation of the chorale melody with a vigour recalling Karl Richter’s. Gardiner, though, brings an altogether more poetic dimension to the music, especially in the arias which are lightly articulated and unashamedly allied to the dance rhythms on which they are often based.

The Monteverdi Choir and the English Baroque Soloists are technically superb and expressive throughout: the opening chorus of Es ist der gesagt (BWV45), a wonderful concertante piece, is exhilarating in its crisp response to Bach’s supple vocal writing. The soloists are more variable. Christoph Genz is consistently rewarding, but Brindley Sherratt sounds rough-hewn and unfocused in BWV178. Though on stronger form in the dramatic bass arioso of BWV45 – one of the happiest moments for me in Bach’s entire oeuvre – he lacks commanding authority. Robin Tyson sings the intimately addressed alto aria of BWV45 with limpid eloquence, but is hard-edged in comparison with warner-sounding Daniel Taylor.

Despite such inconsistencies, Gardiner’s expressive range, unfettered by fashionable dogma, achieves compelling results on a level only intermittently achieved by rivals."   ****

Nicholas Anderson

BBC Music Magazine - November 2008



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