J S Bach: Trauer-Music

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J S Bach: Trauer-Music



Catalogue No:




Release date:

19th Sept 2011




78 minutes


CD (download also available)
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J S Bach: Trauer-Music

Music to Mourn Prince Leopold

I. Burial Service - At the Arrival of the Coffin

1-5. Laß, Leopold, Dich nicht begraben / Wird auch gleich nach tausend Zähren / Und, Herr, das ist die Specerey / Geh, Leopold, zu Deiner Ruh

II. Memorial Service - Following the Arrival of the Principal Mourners

6-12. Klagt, Kinder / O Land! Bestürtztes Land! / Weh und Ach / Wie, wenn der Blitze Grausamkeit / Zage nur, du treues Land / Ach ja! Dein Scheiden geht uns nah / Komm wieder, Theurer Fürsten-Geist

III. Following the Sermon

13-19. Wie haben einen Gott, der da hilfft / Betrübter Anblick, voll Erschrecken / Erhalte mich Gott / Jedoch der schwache Mensche zittert nur / Mit Freuden sey die Welt verlassen / Wohl also Dir, Du aller Fürsten Zier / Wie haben einen Gott, der da hilfft

IV. Following the Curriculum Vitæ and the Prayers

20-24. Bleibet nun in eurer Ruh / Und Du betrübtes Fürsten-Hauß / Hemme Dein gequältes Kräncken / Nun scheiden wir, Hochseelger Leopold, von Dir / Die Augen sehn nach Deiner Leiche

Emily Van Evera (soprano), Clare Wilkinson (mezzo), Charles Daniels (tenor) & Tom Meglioranza (baritone)

Taverner Consort and Players, Andrew Parrott



(also available to download from $10.00)

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Period-instrument pioneer Andrew Parrott conducts his Taverner Consort and Players and a superb vocal roster of baroque specialists, in the first recording of his own reconstruction of J. S. Bach’s Trauer-Musik: Music to mourn Prince Leopold.

Andrew Parrott is a master of musicological detective work known for his adventurous and uncompromising scholarship. He is also internationally known for his pioneering historically informed performances and recordings of pre-classical repertory. This new release combines the best of both, resulting in the first full reconstruction and recording of the funeral music for J. S. Bach’s patron, Prince Leopold of Cöthen. Bach’s years in Cöthen were musically fertile and Prince Leopold was a knowledgeable and committed supporter of music and the arts, so it’s ironic that much of Bach’s output during those years has been lost or even destroyed. The score for Trauer-Musik, written in 1728 on the occasion of the Prince’s sudden death at the age of 34, has almost completely disappeared, yet through the discovery of numerous clues in other works and writings, Parrott has been able to recontruct what was clearly a heart-felt homage.

Parrott conducts the renowned Taverner Consort and Players, the organisation he founded in 1973, and a superb roster of baroque vocal soloists. A unique document and superb performance make this a recording for classical music aficionados and lovers of Bach’s music alike.

Johann Sebastian Bach: Burial Service At The Arrival Of The Coffin (Part III)

Laß, Leopold, Dich Nicht Begraben

Wie kont es Möglich Seyn

Wird Auch Gleich Nach Tausend Zähren

Und, Herr, das ist die Specerey

Geh, Leopold, Zu Deiner Ruh

Johann Sebastian Bach: Memorial Service Following The Arrival Of The Principal Mourners (Part I)

Klagt, Kinder

O Land! Bestürtztes Land!

Weh Und Ach

Wie, Wenn Der Blitze Grausakeit

Zage Nur, Du Treues Land

Ach Ja! Dein Scheiden Geht Uns Nah

Komm Wieder, Theurer Fürsten-Geist

Johann Sebastian Bach: Following The Sermon (Part II)

Wir Haben Einen Gott, Der Da Hilfft

Betrübter Anblick, Voll Erschrecken

Erhalte Mich Gott

Jedoch Der Schwache Mensche Zittert Nur

Mit Freuden Sey Die Welt Verlassen

Wohl Also Dir, Du Aller Fürsten Zier

Wir Haben Einen Gott, der da hilfft

Johann Sebastian Bach: Following The Curriculum VitÆ And The Prayers

Following The Curriculum VitÆ And The Prayers

Following The Curriculum VitÆ And The Prayers

Following The Curriculum VitÆ And The Prayers

Following The Curriculum VitÆ And The Prayers

Following The Curriculum VitÆ And The Prayers

The Independent on Sunday

9th October 2011

“Using Picander's surviving libretto, Andrew Parrott has identified sympathetic material from the St Matthew Passion and the Trauer Ode to form four cantatas of mourning. The blend of familiar music and unfamiliar poetry is fascinating.”

BBC Music Magazine

December 2011


“High points include Susanne Heinrich's gamba solo during 'Komm susses Kreuz' in the Passion, and the way in which Wilkinson phrases 'Weh und Ach' (BWV244/6) with exceptional sensitivity and direction...Though this Trauer-Music is based on conjecture, and some of its music is newly-composed pastiche, it convincingly fills a yawning gap in Bach's mature output, and it's beautifully performed.”

Classic FM Magazine

December 2011


“Given the familiarity, albeit somewhat displaced, of the music, it's the secular libretto that should garner the most interest. Diction, therefore, is the key to success, and these soloists thoroughly deliver...as none of the recitatives matched existing music, Parrott had to composer them all from scratch. The result is clearly the work of a Bach genius, the new vocal lines and rich instrumental scorings fitting seamlessly into the whole.”

Gramophone Magazine

December 2011

“The adaptation takes some getting used to, especially when applying examples from the 'holy grail' of the St Matthew Passion...By and large, hearing the Passion in a different context is a deeply affecting, whatever one feels about speculative reworkings...The larger ensemble movements contain many revelatory moments in their easy, poignant lyricism...Parrott's critical uncovering of new meaning and intention is always thought-provoking”

The Observer

18th December 2011

“A fascinating piece of musical archaeology”

International Record Review

January 2012

“these are outstanding performances which transcend in the ears of any genuine lover of Bach's music the somewhat controversial nature of the music itself.”

The Arts Desk

18th February 2012

“The use of one voice per part never sounds anaemic and the singers’ crystalline clarity is a joy to the ears...What’s most important is that the work sounds like a real, finished work, not a speculative completion. It’s beautifully recorded with good notes.”

MusicWeb International

June 2012

“this reconstruction brings scholarship and highly informed speculation to bear and offers a convincing recreation of Bach’s final musical offering to his late master.”

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