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SG 156
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SG 156

Bach - Cantatas Vol 4

Released Date:
01 Nov 2009

Originally recorded in 2009

Artists:

Gardiner, John Eliot


Michael Chance

alto

Stephen Varcoe

bass

Joanne Lunn

soprano

James Gilchrist

tenor

The Monteverdi Choir


The English Baroque Soloists



Venue:

St Gumbertus, Ansbach

30 Jul 2000

St Mary's, Haddington

5 & 6 Aug 2000

Producer:

Isabella de Sabata



Engineer:

Carl Schuurbiers


Thijs Hoekstra


Rob Aarden

(CD 1)

Mario Nozza

(CD 2)

Record Label
SDG

Genre:

Choir




Total Time - 120:02
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  Cantatas Vol 4  
   
  CD 1  
 

JOHANN SEBASTIAN BACH

  For the Sixth Sunday after Trinity  
 

Es ist das Heil uns kommen her BWV 9

 
1 1. Coro (Chora) Es ist das Heil uns kommen her 4:48
2 2. Recitativo: Bass Gott gab uns ein Gesetz 1:05
3 3. Aria: Tenor Wir waren schon zu tief gesunken 7:56
4 4. Recitativo: Bass Doch musste das Gesetz erfüllet werden 1:14
5 5. Aria (Duetto): Sopran, Alt Herr, du siehst statt guter Werke 5:20
6 6. Recitativo: Bass Wenn wir die Sünd aus dem Gesetz erkennen 1:17
7 7. Choral Ob sich's anließ, als wollt er nicht 0:58
   
 

Vergnügte Ruh, beliebte Seelenlust BWV 170

 
8 1. Aria: Alt Vergnügte Ruh, beliebte Seelenlust 6:50
9 2. Recitativo: Alt Die Welt, das Sündenhaus 1:28
10 3. Aria: Alt Wie jammern mich doch die verkehrten Herzen 7:49
11 4. Recitativo: Alt Wer sollte sich demnach 1:12
12 5. Aria: Alt Mir ekelt mehr zu leben 5:47
   
 

Kuhnau/Bach (attrib.): Der Gerechte kommt um

 
13 Der Gerechte kommt um 7:47
   
  CD 2  
  For the Seventh Sunday after Trinity  
 

Ärgre dich, o Seele, nicht BWV 186

 
  Part I  
14 1. Coro Ärgre dich, o Seele, nicht 3:41
15 2. Recitativo: Bass Die Knechtsgestalt, die Not, der Mangel 1:32
16 3. Aria: Bass Bist du, der mire helfen soll 2:48
17 4. Recitativo: Tenor Ach, dass ein Christ so sehr 2:18
18 5. Aria: Tenor Mein Heiland lässt sich merken 2:48
19 6. Choral Ob sich's anließ, als wollt er nicht 2:29
   
  Part II  
20 7. Recitativo: Bass Es ist die Welt die große Wüstenei 1:25
21 8. Aria: Sopran Die Armen will de Herr umarmen 3:19
22 9. Recitativo: Alt Nun man die Welt mit ihrer Lust vergehen 1:30
23 10. Aria (Duetto): Sopran, Alt Laß, Seele, kein Leiden 3:24
24 11. Choral Die Hoffnung wart' der rechten Zeit 2:24
   
 

Was willst du dict betrüben BWV 107

 
25 1. Versus I: Choral Was willst du dich betrüben 3:31
26 2. Versus II: Bass Denn Gott verlässet keinen 0:56
27 3. Versus III: Bass Auf ihn magst du es wagen 2:42
28 4. Versus IV: Tenor Wenn auch gleich aus der Höllen 2:27
29 5. Versus V: Sopran Es richt's zu seinen Ehren 2:28
30 6. Versus VI: Tenor Drum ich mich ihm ergebe 2:50
31 7. Versus VII: Choral Herr, gib, dass ich dein Ehre 1:48
   
 

Es wartet alles auf dich BWV 187

 
  Part I  
32 1. Coro Es wartet alles auf dich 6:41
33 2. Recitativo: Bass Was Kreaturn hält 1:01
34 3. Aria: Alt Du Herr, du krönst allein das Jahr mit deinem Gut 4:15
   
  Part II  
35 4. Aria: Bass Darum sollt ihr nicht sorgen noch sagen 2:25
36 5. Aria: Sopran Gott versorget alles Leben 4:24
37 6. Recitativo: Sopran Halt ich nur fest an ihm mit kindlichem Vertrauen 1:20
38 7. Choral Gott hat die Erde zugericht' 2:05
   
  CD 2 TT: 66:52      
   
 Joanne Lunn soprano
 Michael Chance alto
 James Gilchrist tenor
 Stephen Varcoe bass
 Gardiner, John Eliot
   
  Recorded live as part of the Bach Cantata Pilgrimage  
   


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 opens with BWV 9 Es ist das Heil uns kommen her (Salvation has come to us). Although the composing score and original performing parts date from 1732-5, formally and stylistically this cantata belongs to the chorale cantatas of 1724-5. Evidence of this and of Bach’s genius in being able to write both clever and fun-loving music at the same time can be seen in the soprano and alto duet Herr, du siehst statt guter Werke.

This is then followed by 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.

All three of Bach’s cantatas for this day have masterly opening movements. The first, 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. Bach here cleverly overcomes the limitations of being confined to a rigidly structured hymn without monotony or repetitiveness through the usual devices of changing the voice type in the arias, the key and the metre.

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 clearly supports this belief by parodying the music of this cantata a decade later in his G minor Missa (BWV 235).

                                      Performance *****        Recording *****

"John Eliot Gardiner’s latest volume of live recordings contains pieces which Bach performed at Leipzig on the Sixth and Seventh Sundays after Trinity. BWV 9 and BWV 170 were both recorded in the pleasing acoustic of St Gumbertus’s church in Ansbach while the remaining three were recorded much nearer home in St Mary’s church, Haddington, not for from Edinburgh. What I have liked consistently about Gardiner’s cantata performances is his attention to matter of text. He insists that the vocal declamation illuminates the words: a good instance of this is the tenor aria in BWV 9 whose text is reflected in the anguished contours of the violin obbligato. Moreover James Gilchrist confidently sustains his vocal line here, notwithstanding Gardiner’s daringly slow tempo, completing an abysmal picture of the sinner’s plight. What a contrast between this aria and the soprano/alto duet with its playful flute and oboe d’amore accompaniment.
Best known among this clutch of cantatas is the solo alto ‘Vergnugte Ruh’. Michael Chance turns in a fervent performance, tonally pure and full of expressive nuance. Seldom have I heard him in better form than he is in the poignantly lyrical opening aria and subsequent recitative. Praise, too, to Susanne Regel for a sensitive oboe d’amore playing. An affecting concert, by the way, it’s a beautiful funeral motet, originally the work of Bach’s Leipzig predecessor, Kuhnau bur arranged, perhaps by Bach. The other cantatas on this recording come off comparably well with notably fine singing by Katharine Fuge in her Chromatically inclined aria and infectious, gigue-like duet (BWV 186) and in BWV 187. All in all, these are first-class renditions recorded in good sound."

Nicholas Anderson
 

BBC Music Magazine - September 2009

"Recorded live in Ansbach and at a church near Edinburgh, this CD offers abundant riches, intellectual and not. The intellectual comes to the fore in In Es ist das Heil uns kommen her, BWV9 — where Bach trumps a fine tenor aria (James Gilchrist) with a quartet for soprano and alto (Joanne Lunn and Michael Chance), and flute and oboe d’amore, that is also a double canon — and in Es wartet alles auf dich, BWV187, which opens with a magnificently worked fugue. The choral and solo singing is excellent. Chance, for example, paces the famous solo alto cantata Vergnugte Ruh, BWV170, beautifully."

Stephen Pettitt
 

The Sunday Times - 23 August 2009

"Strong interpretations, with fine choral work in this set of cantatas for Trinity."

Jonathan Freeman-Attwood
 

Gramophone


"...Gardiner’s remains a finely sculpted approach, with a lithe choral sound, immaculately polished instrumental accompaniment and a firm interpretative hand at the wheel; shaped on the large scale and polished on the small..."


Carl Rosman

International Record Review



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