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SG 150
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SG 150

Bach - Cantatas Vol 17

Released Date:
01 Nov 2009

Originally recorded in 2009
Artists:

Gardiner, John Eliot


Charles Humphries

alto

Lucy Ballard

alto

Peter Harvey

bass

Ruth Holton

soprano

James Gilchrist

tenor

The Monteverdi Choir


The English Baroque Soloists



Venue:

Gethsemanekirche, Berlin

1 & 2 Jan 2000

Producer:

Isabella de Sabata



Engineer:

Matthijs Ruijter


Tiemen Boelens



Record Label
SDG

Genre:

Choir




Total Time - 95:23
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  Cantatas Vol 17  
   
 

JOHANN SEBASTIAN BACH

  For New Year's Day  
 

Lobe den Herrn, meine Seele II BWV 143

  
1 1. Coro Lobe den Herrn, meine Seel 1:17
2 2. Choral: Sopran Du Friedefürst, Herr Jesu Christ 1:49
3 3. Recitativo: Tenor Wohl dem, des Hülfe der Gott Jakob ist 0:19
4 4. Aria: Tenor Tausendfaches Unglück, Schrecken 2:40
5 5. Aria: Bass Der Herr ist König ewiglich 1:33
6 6. Aria: Tenor con Choral Jesu, Retter deiner Herde 2:47
7 7. Coro (Choral) Halleluja 2:06
   
 

Jesu, nun sei gepreiset BWV 41

  
8 1. Coro (Choral) Jesu, nun sei gepreiset 7:37
9 2. Aria: Sopran Lass uns, o höchster Gott, das Jahr vollbringen 5:44
10 3. Recitativo: Alto Ach! deine Hand, dein Segen Muss allein 1:06
11 4. Aria: Tenor Woferne du den edlen Frieden 8:03
12 5. Recitativo: Bass e Coro Doch weil der Feind bei Tag und Nacht 0:51
13 6. Choral Dein ist allein die Ehre 1:54
   
 

Her Gott, dich loben wir BWV 16

  
14 1. Coro (Choral) Herr Gott, dich loben wir 1:38
15 2. Recitativo: Bass So stimmen wir 1:08
16 3. Aria: Bass e Coro Lasst uns jauchzen, lasst uns freuen 3:20
17 4. Recitativo: Alt Ach treuer Hort 1:27
18 5. Aria: Tenor Geliebter Jesu, du allein 7:12
19 6. Choral All solche dein Güt wir preisen 0:59
   
 

Gott, wie dein Name, so ist auch dein Ruhm BWV 171

  
20 1. Coro Gott, wie dein Name, so ist auch dein Ruhm 1:45
21 2. Aria. Tenor Herr, so weit die Wolken gehen 4:02
22 3. Recitativo: Alt Du süßer Jesus-Name du 0:57
23 4. Aria: Sopran Jesus soll mein erstes Wort 5:08
24 5. Recitativo: Bass Und da du, Herr, gesagt 1:35
25 6. Choral Lass uns das Jahr vollbringen 2:09
   
  CD 1 TT: 69:26      
   
  CD 2  
  For the Sunday after New Year  
 

Schau, lieber Gott, wie meine Feind BWV 153

  
26 1. Choral Schau, lieber Gott, wie meine Feind 0:53
27 2. Recitativo: Alt Mein liebster Gott, ach lass dich's doch erbarmen 0:30
28 3. Arioso: Bass Fürchte dich nicht, ich bin mit dir 1:20
29 4. Recitativo: Tenor Di sprichst zwar, lieber Gott, zu meiner Seelen Ruh 1:11
30 5. Choral Und ob gleich alle Teufel 1:01
31 6. Aria: Tenor Stürmt nur, stürmt, ihr Trübsalswetter 2:38
32 7. Recitativo: Bass Getrost! mein Herz 1:32
33 8. Aria: Alt Soll ich meinen Lebenslauf 2:24
34 9. Choral Drum will ich, weil ich lebe noch 1:09
   
 

Ach Gott, wie manches Herzeleid II BWV 58

  
35 1. Aria: Bass con Choral: Sopran Ach Gott, wie manches Herzeleid 3:38
36 2. Recitativo: Bass Verfolgt dich gleich die arge Welt 1:12
37 3. Aria: Sopran Ich bin vergnügt in meinem Leiden 5:15
38 4. Recitativo: Sopran Kann es die Welt nicht lassen 1:09
39 5. Aria: Bass on Choral: Sopran Ich hab vor mir ein schwere Reis 2:25
   
  CD 2 TT: 26:28      
   
 Ruth Holton soprano
 Lucy Ballard alto
 Charles Humphries alto
 James Gilchrist tenor
 Peter Harvey bass
 Gardiner, John Eliot
   
  Recorded live as of the Bach Cantata Pilgrimage  



John Eliot Gardiner’s Gramophone award-winning Bach Cantata series on SDG continues with a 2CD release featuring cantatas for New Year’s Day and for the Sunday after New Year, recorded live in January 2000.

Following the Christmas festivities and to usher in the new millennium, we join John Eliot within the grand neo-Gothic Gethsemanekirche in Prenzlauer Berg, Berlin for a programme consisting of Bach’s four New Year’s Day cantatas. The simple idea of a progression from beginning to end to a new beginning, permeate these cantatas. This theme is conveyed beautifully in Bach’s writing.

In contrast to the modest BWV 143 Lobe den Herrn, meine Seele II that opens the programme, Bach begins BWV 41 Jesu, nun sei gepreiset with the fantastically grand opening chorus, Jesu, nun sei gepreiset. Gardiner affirms; ‘…it is the epic scope of Bach’s vision for this opening movement which takes one’s breath away.’ The jewel in this particular cantata is the tenor aria Woferne du den edlen Frieden (No.4), one of only nine cantata movements in which Bach uses the violoncello piccolo, an instrument used by Bach to symbolise the presence and person of Christ.

Where Cantata 41 is expansive and majestic, BWV 16 Herr Gott, dich loben wir is concise and pithy, summed up in its opening chorus of just thirty-four bars. This is a jubilant chorale, justified in the 3rd movement as the bass, accompanied by the chorus, sings: ‘Let us rejoice, let us be glad.’

We then hear the last of the surviving New Year cantatas by Bach, BWV 171 Gott, wie dein Name, so ist auch dein Ruhm. This is a cantata of contrasts, ranging from the somewhat lethargic tenor aria in the second movement that conjures up a delightful image of ‘white strips of cloud trailing across the heavens’ to the magnificent closing chorale; Lass uns das Jahr vollbringen. Bach here calls on all his instrumental forces - oboes and strings to bolster the choir, trumpets and drums to interject their own fanfares, just as they did in the first movement.

It is the first Sunday after New Year and, as if accused of breaking our New Year’s resolution already, BWV 153 Schau, lieber Gott, wie meine Feind, opens with a four-part chorale saying: ‘Behold, dear God, how my enemies with whom I must always battle, are so cunning and powerful that they can with ease subdue me.’ As the tenor (No.4) pleads for salvation, crying ‘…help, Helper, help! Save my soul!’, we are reminded that our afflictions have been heard as the alto (No.8) sings of the ‘blessed rapture and eternal joy’ of heaven. BWV 58 Ach Gott, wie manches Herzeleid II continues this theme of the beleaguered Christian. This is wonderfully illustrated throughout through the use of the distressed, persecuted soul (soprano) in dialogue with a guardian angel, by implication, Christ (bass).

The Monteverdi Choir accompanied by The English Baroque Soloists have once again created a captivating release, adding to the already impressive Bach Cantata pilgrimage series.

"It is almost eight years since John Eliot Gardiner completed his cantata pilgrimage but those recordings continue to bear delicious fruit. This latest (volume 17) marks the opening of the Millennium with the modest Lobe den Herrn, meine Seele , which is immediately overshadowed by the glorious exultation of Jesu, nun sei gepreiset . The mood of celebration switches abruptly to pleas for salvation in the cantatas for the Sunday after New Year, with much soul-searching from exquisite tenor James Gilchrist."

The Observer - 17 November 2008

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

"Cantatas Vol 17 (SDG), the most recent release in John Eliot Gardiner’s life-affirming series of the complete cantatas, recorded live over the course of one extraordinary year in 2000.  This double-CD set comprises Cantatas for New Year’s Day and the Sunday after New Year.  The epic, grand opening chorus of Jesu, Nun Sei Gepreiset (Jesus Now Be Praised) makes you want to leap up and dance for joy.  Indeed, the whole release bubbles with life and hope, bringing a note of spirituality to the most determinedly secular heart."

Warwick Thompson

The Metro - 12 December 2008

"The revelatory enjoyment of John Eliot Gardiner’s Bach cantatas cycle, recorded live during the Millennium Pilgrimage, continues apace. This timely volume contains four cantatas for New Year’s Day and a pair for the next Sunday. Three of the new-year works are outstanding - the expansive and daring Cantata 16. A more troubled mood characterises the two eloquent Sunday pieces, Cantatas 153 and 58. All are beautifully performed by the Monteverdi Choir and the English Baroque Soloists, with the tenor James Gilchrist outstanding for his stylish grace."    ****

The Sunday Times - 23 January 2009

"Gardiner’s epic cantata pilgrimage has reached New Year’s Day and the following Sunday, for which Bach wrote contrasted music suitably festive on one hand, surprisingly stern on the other. The four New Year’s Day cantatas include an early work, exuberant but of suspect authenticity, and the top-quality "Jesu, nun sei gepreiset" from Bach’s early Leipzig years. The performance typically clean and crisp, achieve a degree of spirituality only when Ruth Holton sings the central soprano aria in "Ach Gott, wie manches Herzeleid"."

The Financial Times - 23 January 2009

"The nineteenth release from John Eliot Gardiner’s Bach Cantata Pilgrimage series contains cantatas for New Year’s Day and the Sunday after New Year. It was recorded live in Berlin’s cavernous Gethsemanekirche, and if you close your eyes and crank up the volume you could almost be there yourself. Occasionally the excellent diction is lost in the Church’s reverberant acoustic, but this really doesn’t matter, as the acoustic also offers a delicious warmth. The vocal performances are stunning, and the orchestra is lucid of texture. The recording is characterised by a lightlness of touch combined with the ‘joie de vivre’ and heart-stopping emotional intelligence. This is uplifting stuff."    ****

Classic FM Magazine - January 2009

"Although John Eliot Gardiner’s ‘Bach Pilgrimage’ – all 200 cantatas in a single year – had only just begun with the jubilant and taxing Christmas workload, his forces maintained more than enough energy and sensitivity in these, for New Year and the following Sunday. Gardiner’s heart-felt notes, edited from his journal, reveal his never-ending joy and wonder at the music unfolding before him week by week. They’re reflected in the performance: uplifting exuberance as each phrase in the opening of BWV 143 audibly expands; flexible vocal phrasing over taut, detached string chords in the first tenor aria; strings without a trace of vibrato announcing a chorale melody, as continuo and bassoon chase each other through the second tenor aria. Though possible spurious, this is too good to miss. At the other extreme is the opening chorale fantasia of BWV 41. Its trumpets, timpani, oboes, strings and chorus are amazingly lively and secure.

Soloists are superb throughout, Ruth Holton (soprano) specially striking for her transparent almost boy-like tone (BWV 58), and James Gilchrist (tenor) matching instrumental agility while a trio weaves heavenly counterpoint around him in BWV 171. Instrumentalists are no less polished – the plaintive oboe da caccia of BWV 16 is hauntingly lovely. The reverberant Gethsemanekirche in Berlin is admirable tamed in excellent recorded sound, albeit stereo rather than SACD. Altogether, Gardiner and his team at their very best."     *****

BBC Music magazine - 27 January 2009

"The revelatory enjoyment of John Eliot Gardiner’s Bach cantatas cycle, recorded live during the Millennium Pilgrimage, continues apace. This timely volume contains four cantatas for New Year’s Day and a pair for the next Sunday. Three of the new-year works are outstanding - the expansive and daring Cantata 16. A more troubled mood characterises the two eloquent Sunday pieces, Cantatas 153 and 58. All Are beautifully performed by the Monteverdi Choir and the English Baroque Soloists, with the tenor James Gilchrist outstanding for his stylish grace."   ****

The Sunday Times



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