Bach - Cantatas Volume 16


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Bach - Cantatas Volume 16



Catalogue No:




Release date:

1st Nov 2001




62 minutes


CD (download also available)
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Bach - Cantatas Volume 16

Bach, J S:

Cantata BWV194 'Höchsterwünschtes Freudenfest'

Cantata BWV119 'Preise, Jerusalem, den Herrn'

Yoshie Hida (soprano), Yukari Nonoshita (soprano), Kirsten Sollek-Avella (alto), Makoto Sakurada (tenor), Jochen Kupfer (baritone), Peter Kooij (bass)

Bach Collegium Japan, Masaaki Suzuki



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Johann Sebastian Bach: Hochsterwunschtes Freudenfest, BWV 194

Hochsterwunschtes Freudenfest (Chorus)

Recitative: Unendlich grosser Gott (Bass)

Aria: Was des Hochsten Glanz erfullt (Bass)

Recitative: Wie konnte dir, du hochstes Angesicht (Soprano)

Aria: Hilf, Gott, dass es uns gelingt (Soprano)

Chorale: Heilger Geist ins Himmels Throne

Recitative: Ihr Heiligen, erfruet euch (Tenor)

Aria: Des Hochsten Gegenwart allein (Tenor)

Recitative: Kann wohl ein Mensch (Duet: Soprano, Bass)

Aria: O wie wohl ist uns geschehen (Soprano, Bass)

Recitative: Wohlan demnach, du heilige Gemeine (Bass)

Chorale: Sprich Ja zu meinen Taten

Johann Sebastian Bach: Preise, Jerusalem, den Herrn, BWV 119

Preise, Jerusalem, den Herrn (Chorus)

Recitative: Gesegnet Land, Gluckselge Stadt! (Tenor)

Aria: Wohl dir, du Volk der Linden (Tenor)

Recitative: So herrlich stehst du, liebe Stadt! (Bass)

Aria: Die Obrigkeit ist Gottes Gabe (Alto)

Recitative: Nun! Wir erkennen es und bringen dir (Soprano)

Der Herr hat Guts an uns getan (Chorus)

Recitative: Zuletz! Da du uns, Herr (Alto)

Chorale: Hilf deinem Volk, Herr Jesu Christ

Gramophone Classical Music Guide


“Masaaki Suzuki gives No 194 a fittingly airy charm, heard most infectiously in 'Hilf, Gott' where an underlying Gavotte (with resonances of the final movement of the Wedding Cantata, No 202) finds bright-eyed soprano, Yukari Nonoshita, in confident and beguiling voice.
She's most accomplished throughout and delectably joins the gentle and receptive baritone Jochen Kupfer in 'O wie wohl' ist uns geschehn', a bucolic minuet-style duet. This is, all told, the most persuasive reading on disc, and supersedes both Rilling's stiff reading and even Harnoncourt's cultivated (if slightly hit-and-miss) performance, notable also for the presence of a young Thomas Hampson.
Harnoncourt, however, comes out better in one of the grandest French-overture cantatas Bach was to write, 'Preise Jerusalem' (No 119).
Composed to honour the new Leipzig town council, Bach really pushed the boat out. Suzuki never quite boasts either the grand sonic cohesion of Philippe Herreweghe's urgent account or the thrilling characterisation of Harnoncourt.
Strongly recommended nevertheless for Suzuki's superb reading of No 194.”

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