Matthew White

Bach - Sacred Cantatas

The four works assembled on this recording document by Philippe Herreweghe offer a magisterial demonstration of the musical development of the Bach church cantata over a period of some twelve years. The cantata Komm, du süße Todesstunde BWV161 was probably written for a performance in Weimar on 27 September 1716. Its libretto comes from a cycle of poems published in 1715 by the Weimar court poet Salomon Franck, and was appointed for the 16th Sunday after Trinity. Christus, der ist mein Leben BWV95 belongs to Bach's first Leipzig Jahrgang, and was written for performance on 12th September 1723; it is associated with the same Sunday as its Weimar sister work BWV161.A third work conceived for the 16th Sunday after Trinity is the cantata Wer weiß, wie nahe mir mein Ende BWV 27, written in the framework of Bach's third Leipzig cycle for a performance on 6th October 1726; here again the central focus is on the themes of yearning for death and the certainty of resurrection. Ich bin vergnügt mit meinem Glücke BWV84, is a virtuoso bravura piece for solo soprano, probably written for performance on 9th February 1727, and therefore stands at the end of Bach's third cycle for Leipzig, with which the composer ceased his regular output of cantatas.

Bach - Cantatas Volume 23

Music and Sweet Poetry Agree

16th & 17th century English Songs

Bach, J S: Mass in B minor, BWV232

Bach - Cantatas Volume 3

ATMA’s Bach cycle incorporates the most recent research on performance practise, confirming that these cantatas were originally performed one singer to a part, including the choruses. This cycle marks the first complete recordings of the Bach cantatas performed one-on-a-part, and is also the first to be released in hybrid SACD format.

Conradi, J G: Ariadne - opera in three acts

Disperato Amore

Cantatas and Instrumental Music by Alessandro Scarlatti

Dietrich Buxtehude - Sacred Cantatas

Italian Oratorios

Elegeia