Bach - Cantatas Volume 49


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Bach - Cantatas Volume 49



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Release date:

26th Sept 2011




71 minutes


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Bach - Cantatas Volume 49

Bach, J S:

Cantata BWV188 'Ich habe meine Zuversicht'

Cantata BWV156 'Ich steh mit einem Fuß im Grabe'

Cantata BWV159 'Sehet, wir gehn hinauf gen Jerusalem'

Cantata BWV171 'Gott, wie dein Name, so ist auch dein Ruhm'

Rachel Nicholls (soprano), Robin Blaze (counter-tenor), Gerd Türk (tenor) & Peter Kooij (bass)

Bach Collegium Japan, Masaaki Suzuki



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After 15 years since Masaaki Suzuki and Bach Collegium Japan began recording all of Bach’s church cantatas, this huge project enters the final stretch with its 49th volume.

In the present volume Suzuki has gathered four works from 1728-29, with the texts all written by the poet Christian Friedrich Henrici – a regular collaborator with Bach, most famously on the St Matthew Passion and the Christmas Oratorio

The four works gathered here hint at the variety that may have characterized the Bach-Picander cantata year, with moods spanning from the jubilation of the New Year Cantata BWV171 to the anticipation of Jesus’ path of suffering in Sehet, wir gehn hinauf gen Jerusalem, BWV159, intended for the Sunday before Passiontide. There is also variety on a more technical level, with BWV188 and BWV156 both beginning with instrumental sinfonias featuring important solo parts for organ and oboe respectively.

The latest volumes from the cantatas series have been met with considerable critical acclaim. With Volume 46 being made a ‘Critics’ Choice’ in Gramophone, and BBC Music Magazine singling out both Volume 47 and 48 as ‘Choral & Song Choice of the Month’.

Johann Sebastian Bach: Ich habe meine Zuversicht, BWV 188


Aria: Ich habe meine Zuversicht (Tenor)

Recitative: Gott meint es gut mit jedermann (Bass)

Aria: Unerforschlich ist die Weise (Alto)

Recitative: Die Macht der Welt verlieret sich (Soprano)

Chorale: Auf meinen lieben Gott (Chorus)

Johann Sebastian Bach: Ich steh mit einem Fuss im Grabe, BWV 156


Aria with Chorale: Ich steh mit einem Fuss im Grabe (Alto, Soprano)

Recitative: Mein Angst und Not (Bass)

Aria: Herr, was du willt, soll mir gefallen (Alto)

Recitative: Und willst du, dass ich nicht soll kranken (Bass)

Chorale: Herr, wie du willt, so schicks mit mir (Chorus)

Johann Sebastian Bach: Sehet, wir gehn hinauf gen Jerusalem, BWV 159

Arioso and Recitative: Sehet, wir gehn hinauf gen Jerusalem (Bass, Alto)

Duet with Chorale: Ich folge dir nach (Alto, Chorus Soprano)

Recitative: Nun will ich mich, mein Jesu (Tenor)

Aria: Es ist vollbracht (Bass)

Chorale: Jesu, deine Passion ist lauter Freude (Chorus)

Johann Sebastian Bach: Gott, wie dein Name, so ist auch dein Ruhm, BWV 171

Gott, wie dein Name, so ist auch dein Ruhm (Chorus)

Aria: Herr, so weit die Wolken gehen (Tenor)

Recitative: Du susser Jesus-Name du (Alto)

Aria: Jesus soll mein erstes Wort (Soprano)

Recitative: Und da du, Herr, gesagt (Bass)

Chorale: Lass uns das Jahr vollbringen (Chorus)

The Observer

16th October 2011

“Performances are maybe cool but very committed, and one track has a hypnotic allure: Gerd Türk's tenor aria "Herr, so weit die Wolken gehen" from BWV 171, with two perfectly duetting violins.”

BBC Music Magazine

December 2011


“I can't imagine more beautifully long-breathed phrasing than oboist Masamitsu San-nomiya's. But eclipsing all else is the aria that follows, its tenor weaving Bach's logical counterpoint into unison strings and bass...all bathed in the ethereal acoustic of the Kobe Shoin Chapel. I would buy the disc for this alone.”

Gramophone Magazine

December 2011

“Most beguiling is Ich steh mit einem Fuss in Grabe...The opening oboe sinfonia...floats effortlessly into a delectable tenor aria - a preparation for death whose wrong-footed ritornello, shimmering cantus firmus and chiselled harmonic wonders play into Gerd Turk's experienced hands...[in' Es ist vollbracht'] Peter Kooij summons true nobility of utterance in this most finite of elegies”

International Record Review

November 2011

“This is yet another high-quality instalment in Suzuki's complete Bach cantatas project, his readings highly polished as usual and seeking devotional depth rather than brilliance for its own sake.”

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