Background Image Background Image Background Image
background image

SG 159
StarStarStarStarStar Rating
Log in to be the first to review this disc
Background Image Background Image Background Image
background image
SDG Logo
SG 159

Bach - Cantatas Vol 9

The Classical Shop
release date: November 2009

Originally recorded in 2009

Artists:

Gardiner, John Eliot


Charles Humphries

alto (BWV 114)

Frances Bourne

alto (BWV 148)

Robin Tyson

alto (BWV 47)

Stephan Loges

bass

Katherine Fuge

soprano

Mark Padmore

tenor

The Monteverdi Choir


The English Baroque Soloists



Venue:

Allhelgonakyrkan, Lund

14 Oct 2000

Thomaskirche, Leipzig

22 Oct 2000

Producer:

Isabella de Sabata



Record Label
SDG

Genre:

Choir




Total Time - 137:53
Background Image Background Image Background Image
background image
Customers who bought this album, also bought...
SG%20162.jpeg
Bach - Cantatas Vol 13
SG%20153.jpeg
Bach - Cantatas Vol 20
CG%200128.jpeg
John Rutter: Feel the Spirit and Birthday Madrigals

Scroll Scroll

background image
SELECT YOUR MUSIC FORMAT FROM THE OPTIONS BELOW*
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless
 
DOWNLOADS
Buttonbooklet
   
  Cantatas Vol 9  
   
  CD 1  
 

JOHANN SEBASTIAN BACH

  For the Seventeenth Sunday after Trinity  
 

Bringet dem Herrn Ehre seines Namens BWV 148

 
1 1. Coro Bringet dem Herrn Ehre seines Namens 3:24
2 2. Aria: Tenor Ich eile, die Lehren 4:58
3 3. Recitativo: Alt so wie der Hirsch nach frischem Wasser schreit 1:21
4 4. Aria: Alt Mund und Herze steht die offen 4:45
5 5. Recitativo: Tenor Bleib auch, mein Gott, in mir 0:54
6 6. Choral Auf meinen lieben Gott 0:50
   
 

Ach, lieben Christen, seid getrost BWV 114

 
7 1. Coro (Choral) Ach, lieben Christen, seid getrost 4:01
8 2. Aria: Tenor Wo wird in diesem Jammertale 10:04
9 3. Recitativo: Bass O Sünder, trage mit Geduld 1:45
10 4. Choral: Sopran Kein Frucht das Weizenkörnlein bringt 1:44
11 5. Aria: Alt Du machst, o Tod, mir nun nicht ferner bange 4:47
12 6. Recitativo: Tenor Indes bedenke deine Seel 0:50
13 7. Choral Wir wachen oder schlafen ein 1:00
   
 

Wer sich selbst erhöhet, der soll erniedriget werden BWV 47

 
14 1. Coro Wer sich selbst erhöhet, der soll erniedriget werden 5:22
15 2. Aria: Sopran Wer ein wahrer Christ will heißen 9:55
16 3. Recitativo: Bass Der Mensch ist Kot, Stank, Asch und Erde 1:36
17 4. Aria: Bass Jesu, beuge doch mein Herze 4:09
18 5. Choral Der zeitilichen Ehrn will ich gern entbehrn 0:45
   
 

Motet: Der Geist hilft unser Schwachheit auf BWv 226

 
19 Der Geist hilft unser Schwachheit auf 7:47
   
  CD 1 TT: 70:22      
   
  CD 2  
  For the Eighteenth Sunday after Trinity  
 

Herr Christ, der ein'ge Gottessohn NWV 96

 
20 1. Cor (Choral) Herr Christ, der ein'ge Gottessohn 5:57
21 2. Recitativo: Alt O Wunderkraft der Liebe 1:27
22 3. Aria: Tenor Ach, ziehe die Seele mit Seilen der Liebe 7:28
23 4. Recitativo: Sopran Ach, führe mich, o Gott, zum rechten Wege 0:49
24 5. Aria: Bass Bald zur Rechten, bald zur Linken 2:45
25 6. Choral Ertöt uns durch dein Güte 0:55
   
 

Gott soll allein mein Herze haben BWV 169

 
26 1. Sinfonia 7:32
27 2. Arioso e Recitativo: Alt Gott soll allein mein Herze haben 3:02
28 3. Aria: Alt Gott soll allein mein Herze haben 5:47
29 4. Recitativo: Alt Was ist die Liebe Gottes? 1:04
30 5. Aria: Alt Stirb in mir 4:36
31 6. Recitativo: Alt Doch meint es auch dabei 0:35
32 7. Choral Du süße Liebe, Schenk uns deine Gunst 1:02
   
 

Du Friedefürst, Herr Jesu Christ BWV 116

 
  (For the Twnety-fifth Sunday after Trinity)  
33 1. Coro (Choral) Du Friedefürst, Herr Jesu Christ 4:07
34 2. Aria: Alt Ach, unaussprechlich ist die Not 3:56
35 3. Recitativo: Tenor Gedenke doch 0:59
36 4. Aria (Terzetto): Sopran, Tenor, Bass Ach, wir bekennen unsre Schuld 4:26
37 5. Recitativo: Alt Ach, lass uns durch die scharfen Ruten 1:07
38 6. Choral Erleucht auch unser Sinn und Herz 0:53
   
 

Chorale: Vor deinen Thron tret ich hiermit BWV 668

 
39 Vor deinen Thron tret ich hiermit 9:29
   
  CD 2 TT: 68:19      
   
 Katherine Fuge soprano
 Frances Bourne alto (BWV 148)
 Charles Humphries alto (BWV 114)
 Robin Tyson alto (BWV 47)
 Mark Padmore tenor
 Stephan Loges bass
 Gardiner, John Eliot
   
  Recorded live as part of the Bach Cantata Pilgrimage  


Gardiner’s award-winning Bach Cantata series on Soli Deo Gloria continues with volume 9 in the series featuring 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 grand opening leads the way for the chorus to enter with a rousing delivery of the psalm verse, ‘Give unto the Lord the glory due unto His name; worship the Lord in the beauty of holiness.’

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) which opens with a mighty opening movement for chorus. 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 Schwacheit 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). The cantata is closely connected to a 200-year-old hymn by Elisabeth Cruciger, a poet who came from an emigrant aristocratic Polish family.

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.
 

"...Another winner from the Pilgrimage project."

George Chein

Fanfare - May/June 2010

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

"Were you to have gone heavy-spirited to church at Leipzig in 1723, or perhaps 1725, on the 17th Sunday after Trinity, the opening chorus of BWV 148 would have instantly provided succour to your soul. It’s scoring for trumpet and strings, its D major key and its joyful declamation all contribute to a jubilant and refreshing outlook. It’s just the kind of piece at which the Monteverdi Choir surpasses its rivals, and the instrumental support from the English Baroque Soloists is splendid. The opening choruses of the other cantatas for this Sunday, both in G minor, provide rewarding contrasts. One is a supple fugue (BWV 47), the other a declamatory chorale-based fantasia (BWV 114) which thoroughly demonstrates Bach’s breathtaking creative originality. John Eliot Gardiner brings his accustomed fervour to the music, enlivening it at every turn.

No less arresting than the choral movements are certain of the arias of which that for tenor, flute and continuo (BWV 114) deserves special mention. In its outer sections Bach achieves a wonderfully wide-ranging expressive freedom, both in the flute and tenor writing, which looks far beyond any period norm and which provides a striking contrast with the brisker dance-like middle section. Mark Padmore matches Kurt Equiluz (on Gustav Leonhardt’s Teldec-Warner recording) in exploring every nuance of Bach’s vocal contours, lyrically partnered by Rachel Beckett’s flute playing.

The remaining cantatas are for the 18th Sunday after Trinity, extending our understanding of Bach’s colourfully varied creative palette. The dance-like chorale fantasia of BWV 96 calls for a sopranino recorder, a magical evocation of the Morning Star in a pastoral landscape. Altogether, this is one of the strongest releases in Gardiner’s series so far."

Nicholas Anderson

 

BBC Music Magazine



No User Reviews Found.