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SG 162
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SG 162

Bach - Cantatas Vol 13

The Classical Shop
release date: November 2009

Originally recorded in 2009


Gardiner, John Eliot

William Towers


Dietrich Henschel


Joanne Lunn


Jan Kobow


The Monteverdi Choir

The English Baroque Soloists


Michaeliskirche, Lüneburg

10 Dec 2000

St Maria im Kapitol, Köln

3 Dec 2000


Isabella de Sabata


Jean-Marie Geijsen

Record Label



Total Time - 133:40
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  Cantatas Vol 13  
  CD 1  


  For The First Sunday in Advent  

Nun komm, der Heiden Heiland I BWV 61

1 1. Coro (Ouverture) Nun komm, der Heiden Heiland 3:07
2 2. Recitativo: Tenor Der Heiland ist gekommen 1:25
3 3. Aria: Tenor Komm, Jesu, komm zu deiner Kirche 4:47
4 4. Recitativo: Bass Siehe, ich stehe vor der Tür und klopfe an 1:10
5 5. Aria: Sopran Öffne dich, mein ganzes Herze 3:49
6 6. Choral Amen, Amen! 0:47

Nun komm, der Heiden Heiland II BWV 62

7 1. Coro Nun komm, der Heiden Heiland 4:42
8 2. Aria: Tenor Bewundert, o Menschen, dies große Geheimnis 6:46
9 3. Recitativo: Bass So geht aus Gottes Herrlichkeit und Thron 0:46
10 4. Aria: Bass Streite, siege, starker Held! 5:39
11 5. Recitativo (Duetto): Sopran, Alt Wir ehren diese Herrlichkeit 0:58
12 6. Choral (Duetto) Lob sei Gott, dem Vater, g'ton 0:40

Schwingt freudig euch empor BWV 36

  Part I  
13 1. Coro Schwingt freudig euch empor 4:10
14 2. Choral: Sopran, Alt Nun komm, der Heiden Heiland 3:35
15 3. Aria: Tenor Die Liebe zieht mit sanften Schritten 5:45
16 4. Choral Zwingt die Saiten in Cythara 1:20
  Part II  
17 5. Aria: Bass Willkommen, werter Schatz! 3:31
18 6. Choral: Tenor Der du bist dem Vater gleich 1:51
19 7. Aria: Sopran Auch mit gedämpften, schwachen Stimmen 9:31
20 8. Choral Lob sei Gott, dem Vater, g'ton 0:41
  TT CD 1: 65:19      
  CD 2  
  For the Fourth Sunday in Advent  

Wachet! Betet! betet! wachet! BWV 70

  (For the Twenty-sixth Sunday after Trinity)  
  Part I  
21 1. Coro Wachet! betet! betet! wachet! 3:33
22 2. Recitativo: Bass Erschrecket, ihr verstockten Sünder! 1:18
23 3. Aria: Alt Wenn kömmt der Tag 4:46
24 4. Recitativo: Tenor Auch bei dem himmlischen Verlangen 0:40
25 5. Aria: Sopran Lasst der Spötter Zungen schmähen 2:38
26 6. Recitativo: Tenor Jedoch bei dem unartigen Geschlechte 0:36
27 7. Choral Freu dich sehr, o meine Seele 1:08
  Part II  
28 8. Aria: Tenor hebt euer Haupt empor 3:07
29 9. Recitativo con Choral: Bass Ach, soll nicht dieser große Tag 1:34
30 10. Aria: Bass Seligster Erquickungstag 2:46
31 11. Choral Nicht nach Welt, nach Himmel nicht 0:50

Bereitet die Wege, bereitet die Bahn! BWV 132

32 1. Aria: Sopran Bereitet die Wege, bereitet die Bahn! 5:46
33 2. Recitativo: Tenor Willst due dich Gottes Kind 2:18
34 3. Aria: Bass Wer bist du? 2:48
35 4. Recitativo: Alt Ich will, mein Gott, die frei heraus bekennen 1:52
36 5. Aria: Alt Christi Glieder, ach bedenket 4:04
37 6. Choral Ertöt uns durch dein Güte 0:51

Herz und Mund und Tat und Leben BWV 147

  (For the Visitation of the Blessed Virgin Mary)  
  Part I  
38 1. Coro Herz und Mund und Tat und Leben 3:48
39 2. Recitativo: Tenor Gebenedeiter Mund! 1:41
40 3. Aria: Alt Schäme dich, o Seele, nicht 3:29
41 4. Recitativo: Bass Verstockung kann Gewaltige verblenden 1:32
42 5. Aria: Sopran Bereite dir, Jesu, noch itzo die Bahn 4:35
43 6. Choral Wohl mir, dass ich Jesum habe 2:30
  Part II  
44 7. Aria: Tenor Hilf, Jesu, hilf, dass ich auch dich bekenne 2:56
45 8. Recitativo: Alt Der höchsten Allmacht Wunderhand 2:17
46 9. Aria: Bass Ich will von Jesu Wundern singen 2:42
47 10. Choral Jesus bleibet meine Freude 2:35
  TT CD 2: 69:03      
 Joanne Lunn soprano
 William Towers alto
 Jan Kobow tenor
 Dietrich Henschel bass
 Gardiner, John Eliot
  Recorded live as part of the Bach Cantata Pilgrimage  

The illustrious, multi-award winning Bach Cantatas series on SDG continues with volume 13 in the series. It features Cantatas for the first and fourth Sunday in Advent and was recorded live in December 2000.

We join John Eliot Gardiner, the Monteverdi Choir and English Baroque Soloists on their Bach Cantata pilgrimage for a concert of Bach’s Advent cantatas, performed in the largest of the Romanesque churches in Cologne, St. Maria im Kapitol (St. Mary in the Capital).

Besides the festive allure they have in common, all three of Bach’s surviving cantatas for Advent (BWV 61, 62 and 36) display a sense of excitement at the onset of the Advent season. This is a time of anticipation and waiting, and an opportunity for congregations to turn away from all those self-absorbed feelings of guilt, fear, damnation and hellfire that dominated the final Sunday of the Trinity season.

This sense of having at last turned a corner is summed up in the radiantly benign accompagnato for soprano and alto ‘Wir ehren diese Herrlickkeit’, the penultimate movement of BWV 62 Nun Komm, der Heiden Heiland II (Come now, Saviour of the Gentiles). The successive stages of Advent and the different perspectives these give on Jesus’ incarnation are perhaps most clearly marked in Bach’s early version of BWV 61 Nun komm, der Heiden Heiland I .

The programme ends with BWV 36 Schwingt freudig euch empor (Soar joyfully aloft), a large-scale work divided into two parts, the first of which would have been performed before the sermon, the second afterwards. The opening chorus, as befits the season, is joyous, and is described by Gardiner as a spiritual madrigal - “capricious, light-textured and deeply satisfying”.

The final European leg of the year-long pilgrimage takes us to the atmospheric Michaeliskirche in Lüneburg where we join John Eliot and his musical forces in a concert of three of Bach’s most gripping church cantatas.

The programme begins with BWV 70 Wachet! betet! betet! wachet! (Watch! pray! pray! watch!) in the musical form in which this cantatas has survived - the expansion that Bach made for performance in Leipzig on 21 November 1723 of the shorter, six-movement Advent piece composed seven years earlier in Weimar (BWV70a), of which only three upper parts survive.

We then hear one of Bach’s earliest cantatas, BWV 132 Bereitet die Wege, bereitet die Bahn! (Prepare the way, prepare the path), an intimate work scored for four voices, oboe, bassoon, strings and continuo consisting of two recitatives, three arias and a final chorale.

The concert ends with BWV 147 Herz und Mund und Tat und Leben (Heart and Mouth, Deeds and Life), the best known of Bach’s reworkings of an earlier Weimar cantata. The pre-Christmas excitement is captured in the glorious opening chorus by the fanfare-like opening section for orchestra.

"The lastest in Gardiner’s award-winning Bach Pilgrimage features cantatas recorded live in December 2000: BWV 61, 62, 36 in Cologne, BWV 70, 132, 147 in Lüneberg. In a typically lively programme note, Gardiner celebrates the "gripping" nature of these works and "howls with regret" that countless others from Bach’s Weimar period (1713-7), from which some of these date, were destroyed. Gardiner’s vivid commitment carries through to the joyful performances. This ongoing recording project ranks as one of the musical events of the decade."

Fiona Maddocks

The Observer

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