Amsterdam Baroque Orchestra

Buxtehude - Vocal Works 3

Opera Omnia VII - Arias, Concertos, and Cantatas

In 2007 Ton Koopman completed a universally acclaimed set of recordings covering the complete cantatas of J. S. Bach, the last volume of which, (CC72222), recently received a BBC Music Magazine Award. With this latest release of Vocal Works, (Volume 3), he has now finished his series of recording of the works of Dieterich Buxtehude. As with the two previous volumes he directs the Amsterdam Baroque Orchestra and Choir and several highly regarded soloists, amongst which are the soprano Johannette Zomer, the alto Bogna Bartosz, the tenor Jörg Dürmüller, and the bass Klaus Mertens. The 2CD set features arias, concertos and cantatas, including two substantial works, “Eins bitte ich vom Herrn“, BuxWV 24, and “Herzlich lieb hab ich dich, o Herr“, BuxWV 41.

J S Bach - Coffee Cantata, Peasant Cantata & Amore Traditore

Selected from the award-winning cycle of recordings of the complete cantatas of J. S. Bach the secular pieces featured on this album represent works composed at very different stages in his career and also performed in different venues. The Italian chamber cantata “Amore traditore” BWV 203 was written when he served as capellmeister to the prince of Anhalt-Köthen from 1717 to 1723, whereas the other two works originated in Bach’s Leipzig period. The so-called ‘coffee cantata’ BWV 211 belongs to the repertoire Bach wrote for his Collegium Musicum, when Bach organised concerts that took place weekly at the Zimmermann Coffee House and outdoor Coffee Garden. The so-called ‘peasant cantata’ BWV 212 is the last secular cantata known to have been composed by Bach. Dating from 1742, it was commissioned for a celebratory occasion at a country estate outside of the city of Leipzig. The idea behind the work is a serenade offered by the peasant folks greeting their master, the new occupant of the mansion.

J S Bach - Cantatas for Marian Feasts

This group of cantatas, which have been selected from the award-winning cycle of recordings of the complete cantatas of J. S. Bach by Ton Koopman and the Amsterdam baroque Orchestra and Choir, were written for the three Marian Feasts. They not only show magnificent orchestration but also a particular degree of elaboration. Hence, the overall design of these cantatas is noticeably different from that of those written for the ordinary Sundays of the Epiphany and Trinity seasons. The cantata “Wie schön leuchtet der Morgenstern“ BWV 1 for the Feast of Annunciation dates from 1725 and is based on the hymn by Philipp Nicolai that makes use of an older melody. The chorale cantata „Mit Fried und Freud ich fahr dahin“ BWV 125 was composed about two months earlier and performed at the Feast of Purification in 1725. Its text is based on the hymn by Martin Luther. “Komm, du süße Todesstunde” BWV 161 was originally written for the 16th Sunday after Trinity and probably received its first performance in the Weimar castle church on September 27 1716. As an organist Ton Koopman has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra & Choir he has been a regular guest at venues which include the Concertgebouw in Amsterdam, and the Theatre des Champs-Elysées in Paris. In 2006 Ton Koopman was awarded the Bach Medal by the city of Leipzig in recognition of his major contribution to Bach performance and scholarship.

Bach - Solo Cantatas for Alto & Tenor

J.S. Bach wrote several cantatas that feature a particular solo voice. The selection on this CD, which has been taken from the award-winning cycle by Ton Koopman and the Amsterdam Baroque Orchestra and Choir are for alto and tenor. The alto solo cantata “Vergnügte Ruh, beliebte Seelenlust” BWV 170 was written for the 6th Sunday after Trinity and first performed on 28 July 1726. Bach took its text from a collection by Georg Christian Lehms, whose sacred poetry he had previously utilised in Weimar. The alto solo cantata “Gott soll allein mein Herze haben” BWV 169 was premiered on the 18th Sunday after Trinity, 20 October 1726. The anonymous text is based on the Gospel for that Sunday, Matthew 22: 34-46, (“love thy neighbour”). “Widerstehe doch der Sünde” BWV 54, written for the 3rd Sunday in Lent, was performed in Weimar on 4 March 1714, but probably originated in 1713 or earlier. The words are by the librettist of BWV 170. Georg Christian Lehms, The piece represents in all likelihood Bach’s first example of a solo cantata. The tenor solo cantata “Ich armer Mensch, ich Sündenknecht” BWV 55 for the 22nd Sunday after Trinity was first performed on 17 November 1726. The anonymous text refers to the Sunday’s Gospel, Matthew 18: 23-35 (parable of the unmerciful servant). The alto aria “Bekennen will ich seinen Namen” BWV 200 represents a fragment from a cantata whose other movements are completely unknown.

Bach - Wedding Cantatas

Bach composed his church cantatas not only for the regular Sundays and feast days of the liturgical year but also for specific occasions. Among the most important of those were weddings of usually well-to-do couples. This CD gathers together these so-called “Wedding” cantatas which were originally issued as part of the award-winning series of the complete cantatas by Ton Koopman and the Amsterdam Baroque Orchestra and Choir. The cantata “Dem Gerechten muß das Licht“ BWV 195 survives in several versions, but Its origins date from before 1730. “Der Herr denket an uns“ BWV 196 was in all likelihood composed at Mühlhausen around 1707-08, that is around the time of Bach himself getting married to his distant cousin Maria Barbara on October 17th 1707. “Gott ist unsre Zuversicht“ BWV 197 dates from about 1736-37 and must have been written for a prominent Leipzig wedding. The unknown librettist makes use of Psalm 48: 11 and thereby probably refers to the text chosen for the sermon. “Weichet nur, betrübte Schatten“ BWV 202 is a cantata for soprano solo and, as the text clearly suggests, written for a wedding. However, no further details are known.

Bach - Latin Church Music Volume 1

The present album collects a representative cross section of Bach’s Latin church music that complements his extensive and rich repertoire of cantatas for the Sundays and feast days of the ecclesiastical year, works which Ton Koopman has already recorded with great success for Challenge Classics. It covers a broad chronological range from Bach’s time as cantor and music director in Leipzig, and includes the Magnificat from 1723, the Sanctus from 1724, the four Kyrie-Gloria Masses from the later 1730s, and the Christmas Gloria from the mid 1740s.

Yo-Yo Ma - Appassionato

Romantic Music for Cello

J S Bach - Complete Cantatas Volume 19

J S Bach - Complete Cantatas Volume 20

J S Bach - Complete Cantatas Volume 18