Bach - Cantatas Volume 28

BIS: BISSACD1451

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Bach - Cantatas Volume 28

Label:

BIS

Catalogue No:

BISSACD1451
(BIS-SACD-1451)

Discs:

1

Release date:

30th Aug 2005

Barcode:

7318599914510

Length:

68 minutes

Medium:

SACD (download also available)

Format:

Hybrid Multi-channel

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Bach - Cantatas Volume 28


Bach, J S:

Cantata BWV62 'Nun komm, der Heiden Heiland'

Cantata BWV139 'Wohl dem, der sich auf seinen Gott'

Cantata BWV26 'Ach wie flüchtig, ach wie nichtig'

Cantata BWV116 'Du Friedefürst, Herr Jesu Christ'


Yukari Nonoshita (soprano), Robin Blaze (countertenor), Makoto Sakurada (tenor) & Peter Kooij (bass)

Bach Collegium Japan, Masaaki Suzuki

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Johann Sebastian Bach: Nun komm, der Heiden Heiland, BWV 62

Nun komm, der Heiden Heiland (Chorus)

Aria: Bewundert, o Menschen, dies grosse Geheimnis (Tenor)

Recitative: So geht aus Gottes Herrlichkeit und Thron (Bass)

Aria: Streite, siege, starker Held! (Bass)

Recitative: Wir ehren diese Herrlichkeit (Soprano, Alto)

Chorale: Lob sei Gott, dem Vater, ton

Johann Sebastian Bach: Wohl dem, der sich auf seinen Gott, BWV 139

Wohl dem, der sich auf seinen Gott (Chorus)

Aria: Gott ist mein Freund; was hilft das Toben (Tenor)

Recitative: Der Heiland sendet ja die Seinen (Alto)

Aria: Das Ungluck schlagt auf allen Seiten (Bass)

Recitative: Ja, trag ich gleich den grossten Feind in mir (Soprano)

Chorale: Dahero Trotz der Hollen Heer!

Johann Sebastian Bach: Ach wie fluchtig, ach wie nichtig, BWV 26

Ach wie fluchtig, ach wie nichtig (Chorus)

Aria: So schnell ein rauschend Wasser schiesst (Tenor)

Recitative: Die Freude wird zur Traurigkeit (Alto)

Aria: An irdische Schatze das Herze zu hangen (Bass)

Recitative: Die hochste Herrlichkeit und Pracht (Soprano)

Chorale: Ach wie fluchtig, ach wie nichtig

Johann Sebastian Bach: Du Friedefurst, Herr Jesu Christ, BWV 116

Du Friedefurst, Herr Jesu Christ (Chorus)

Aria: Ach, unaussprechlich ist die Not (Alto)

Recitative: Gendenke doch (Tenor)

Trio: Ach, wir bekennen unsre Schuld (Soprano, Tenor, Bass)

Recitative: Ach, lass uns durch die scharfen Ruten (Alto)

Chorale: Erleucht auch unser Sinn und Herz

BBC Music Magazine

October 2005

“The latest volume contains few disappointments. Tempos are well-judged, the 12-voice choir effective and the instrumental playing well nigh impeccable.”

Gramophone Classical Music Guide

2010

“This volume takes its name from Bach's second and least-established setting based on the great Advent hymn Nun komm, der Heiden Heiland (No 62), composed in 1724 to inaugurate the new church year in Leipzig. If not quite boasting the magisterial imagery of his earlier effort from Weimar, the spirit of Luther's celebrated purloining of 'Veni redemptor gentium' lives on, especially in a brilliant opening concerto-style Vocal JS Bach 72 chorus whose unambiguous thematic character perfectly inhabits the hopes of the new season.
Masaaki Suzuki delivers a less visceral performance than some but derives a most effective contrast between the ecstatic fragrance of the first aria and the 'militant, tumultuous continuo theme of the second,' as Dürr puts it.
The latter, 'Streite, siege', is sung with considerable gusto by Peter Kooij but it is the contemplative elements to which Suzuki is most naturally drawn. The opening of Wohl dem, dersich auf seinen Gott (No 139) is a case in point, where the affectionate oboi d'amore provide a tender backdrop to a particularly reassuring treatment of Bach's most elegant of harmonic strategies. The return of Robin Blaze to the series brings a similarly involved and reflective musicianship to the anguished strains in 'Ach, unaussprechlich ist die Not' in No 116.
Elsewhere there is an urgent account of the graphic and succinct Ach wie flüchtig (No 26) in which Bach alights gleefully on the triviality and materialism of man's life; images of time and opportunity flash past us with striking immediacy here. This was a popular cantata in the preperiod era but few recordings maintain the focus of the conceit as effectively as Suzuki.
Less telling is the opening chorus of No 116 (Du Friedefürst) which, for all its tidy articulation and refined shaping, contains little of the rich repository of nuances, large and small, which Nikolaus Harnoncourt so effortlessly instills. For all the many beauties bestowed on us from Bach Collegium Japan over the past 27 volumes, that ageing series soberingly reminds us of a kind of musical assumption which oxygenated the best cantata performances then – qualities somehow less easily uncovered these days. The Super Audio option, used in the series for the first time, offers an even more luminous presenc”

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