Bach - Cantatas Volume 5


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Bach - Cantatas Volume 5



Catalogue No:




Release date:

1st Sept 1997




78 minutes


CD (download also available)
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Bach - Cantatas Volume 5

Bach, J S:

Cantata BWV18 'Gleichwie der Regen und Schnee vom Himmel fällt'

Cantata BWV152 'Tritt auf die Glaubenbahn'

Cantata BWV155 'Mein Gott, wie lang, ach lange'

Cantata BWV161 'Komm, du süsse Todesstunde'

Cantata BWV143 'Lobe den Herrn, meine Seele'

Midori Suzuki (soprano), Ingrid Schmithüsen (soprano), Yoshikazu Mera (counter-tenor), Makoto Sakurada (tenor), Peter Kooij (bass)

Bach Collegium Japan, Masaaki Suzuki



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Johann Sebastian Bach: Gleichwie der Regen und Schnee vom Himmel fallt, BWV 18


Recitative: Gleichwie der Regen und Schnee vom Himmle fallt (Bass)

Chorale Recitative: Mein Gott, hier wird mein Herze sein (Tenor, Bass)

Aria: Mein Seelenschatz ist Gottes Wort (soprano)

Chorale: Ich bitt, o Herr, aus Herzensgrund

Johann Sebastian Bach: Tritt auf die Glaubensbahn, BWV 152


Aria:Tritt auf die Glaubensbahn (Bass)

Recitative: Der Heiland ist gesetzt (Bass)

Aria: Stein, der uber alle Schatze (soprano)

Recitative: Es argre sich die kluge Welt (Bass)

Aria: Wie soll ich dich (Duet: :Soprano, Bass)

Johann Sebastian Bach: Mein Gott, wie lang, ach lange, BWV 155

Recitative: Mein Gott, wie lang, ach lange? (Soprano)

Aria: Du musst glauben, du musst hoffen (Duet: Alto, Tenor)

Recitative: So sei, o Seele, sei zufrieden! (Bass)

Aria: Wirf mein Herze, wirf dich noch (Soprano)

Chorale: Ob sichs anliess, als wollt er nicht

Johann Sebastian Bach: Komm, du susse Todesstunde, BWV 161

Aria with Chorale: Komm, du susse Todesstunde (Alto)

Recitative: Welt, deine Lust ist Last (Tenor)

Aria: Mein Verlangen (Tenor)

Recitative: Der Schluss ist schon gemacht (Alto)

Wenn es meines Gottes Wille (Chorus)

Chorale: Der Leib zwar in der Erden

Johann Sebastian Bach: Lobe den Herrn, meine Seele, BWV 143

Lobe den Herrn, meine Seele (Chorus)

Chorale: Du Friedefurst, Herr Jesu Christ (Soprano)

Recitative: Wohl dem, des Hilfe der Gott Jakobs ist (Tenor)

Aria: Tausenfaches Ungluck, Schrecken (Tenor)

Aria: Der Herr ist Konig ewiglich (Bass)

Aria with Chorale: Jesu, Retter deiner Herde (Tenor)

Chorale: Gedank, Herr, jetzund an dein Amt (Chorus)

Gramophone Classical Music Guide


“The fifth volume of Bach's sacred cantatas performed by the Bach Collegium Japan continues their Weimar survey with five pieces written between c1713 and 1716. It begins with No 18, performed in its Weimar version – Bach later revived it for Leipzig, adding two treble recorders to the purely string texture of the upper parts of the earlier composition. The scoring of No 152 is more diverse, featuring in its opening Sinfonia a viola d'amore, viola da gamba, oboe and recorder.
A conspicuous feature of No 155 is its melancholy duet for alto and tenor with bassoon obbligato. While the vocal writing sustains something of the character of a lament the wonderfully athletic, arpeggiated bassoon solo provides a magical third voice. The accompanying essay is confused here, emphasising the importance of a solo oboe which in fact has no place at all in this work. No 161 is a piece of sustained beauty, scored for a pair of treble recorders, obbligato organ, strings and continuo.
Bach's authorship of No 143 has sometimes been questioned. Much of it is un-Bachlike, yet at times it's hard to envisage another composer's hand.
The performances are of unmatched excellence.
Suzuki's direction never falters and his solo vocalists go from strength to strength as the series progresses. Suzuki makes a richly rewarding contribution with beautifully poised singing, a crystal-clear voice and an upper range that only very occasionally sounds at all threatened. Mera and Sakurada sustain a delicately balanced partnership in the elegiac duet of No 155, the limpid bassoon-playing completing this trio of outstanding beauty. Kooij is a tower of strength, a sympathetic partner to Suzuki in the dance-like duet between Jesus and the Soul (No 152), and resonantly affirmative in his aria from the same cantata. But the highest praise should go to Mera and Sakurada for their affecting performance in No 161. All the elements of this superb cantata are understood and deeply felt by all concerned. The disc is admirably recorded and, apart from the aforementioned confusion, painstakingly and informatively documented.”

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