Bach Cantatas Volume 21

SDG: SDG118

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Bach Cantatas Volume 21

Label:

SDG

Catalogue No:

SDG118

Release date:

6th Feb 2006

Barcode:

0843183011827

Length:

2 hours 14 minutes

Medium:

download only
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Bach Cantatas Volume 21

Cantatas for Quinquagesima, Annunciation, Palm Sunday, Oculi


Bach, J S:

Cantata BWV22 'Jesus nahm zu sich die Zwölfe'

Cantata BWV23 'Du wahrer Gott und Davids Sohn'

Cantata BWV127 'Herr Jesu Christ, wahr' Mensch und Gott'

Cantata BWV159 'Sehet, wir gehn hinauf gen Jerusalem'

Cantata BWV182 'Himmelskönig, sei willkommen'

Cantata BWV54 'Widerstehe doch der Sünde'

Cantata BWV1 'Wie schön leuchtet der Morgenstern'


Ruth Holton, Claudia Schubert, James Oxley, Peter Harvey, Malin Hartelius, Nathalie Stutzmann, James Gilchrist

The Monteverdi Choir, The English Baroque Soloists, The Choirs of Clare and Trinity Colleges, Cambridge, John Eliot Gardiner

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Johann Sebastian Bach: Jesus nahm zu sich die Zwolfe, BWV 22

playArioso: Jesus nahm zu sich die Zwolfe (Tenor, Bass, Chorus)

playAria: Mein Jesu, ziehe mich nach dir (Alto)

playRecitative: Mein Jesu, ziehe mich nach dir (Bass)

playAria: Mein alles in allem, mein ewiges Gut (Tenor)

playErtot uns durch dein Gute (Chorus)

Johann Sebastian Bach: Du wahrer Gott und Davids Sohn, BWV 23

playDuet: Du wahrer Gott und Davids Sohn (Soprano, Alto)

playRecitative: Ach! Gehe nicht voruber (Tenor)

playAller Augen warten, Herr (Chorus)

playChorale: Christe, du Lamm Gottes

Johann Sebastian Bach: Herr Jesu Christ, wahr' Mensch und Gott, BWV 127

playChorale: Herr Jesu Christ, wahr' Mensch und Gott (Chorus)

playRecitative: Wenn alles sich zur letzten Aeit entsetzet (Tenor)

playAria; Die Seel ruht in Jesu Handen (Soprano)

playRecitative and Aria: Wenn einstens die Posaunen schallen (Bass)

playChorale: Ach, Herr, vergib all unsre Schuld

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

playArioso and Recitative: Sehet! Wir gehn hinauf gen Jerusalem (Bass and Alto)

playAria and Chorale: Ich folge dir nach (Alto and Soprano)

playRecitative: Nun will ich mich (Tenor)

playAria: Es ist vollbracht (Bass)

playChorale: Jesu, deine Passion

Herr Jesu Christ, wahr' Mensch und Gott, BWV 127

playHerr Jesu Christ, wahr’ Mensch und Gott, BWV 127: Chorale: Herr Jesu Christ, wahr' Mensch und Gott

Johann Sebastian Bach: Himmelskonig, sei willkommen, BWV 182

playSonata

playHimmelskonig, sei willkommen (Chorus)

playRecitative: Siehe, siehe, ich komme (Bass)

playAria: Starkes Lieben (Bass)

playAria: Leget euch dem Heiland unter (Alto)

playAria: Jesu, lass durch Wohl und Weh (Tenor)

playChorale: Jesu, deine Passion

playSo lasset uns gehen in Salem der Freuden (Chorus)

Johann Sebastian Bach: Widerstehe doch der Sunde, BWV 54

playAria: Widerstehe doch der Sunde (Alto)

playRecitative: Die Art verruchter Sunden (Alto)

playAria: Wer Sunde tut (Alto)

Johann Sebastian Bach: Wie schon leuchtet der Morgenstern, BWV 1

playWie schon leuchtet der Morgenstern (Chorus)

playRecitative: Du wahrer Gottes und Marien Sohn (Tenor)

playAria: Erfullet, ihr himmlischen gottlichen Flammen (Soprano)

playRecitative: Ein irdscher Glanz, ein leiblich Licht (Bass)

playAria: Unser Mund und Ton Der Saiten (Tenor)

playChorale: Wie bin ich doch so herzlich froh

BBC Music Magazine

April 2006

*****

“Perhaps most appealing in Gardiner's direction is the unfailing delight he takes in refreshing Bach's dance rhythms without ever trivialising textural content.”

Gramophone Classical Music Guide

2010

“This eclectic selection covers works for Quinquagesima, the Annunciation, Palm Sunday and Oculi (the third Sunday in Lent) in arguably the least even of the seven releases so far. Yet there are significant contributions smattered throughout, not least Nathalie Stutzmann's purpleclad Widerstehe (No 54). This true contralto imparts a captivating resilience in the face of sin's devious tricks.
Inspired by the chamber-like ecclesiastical works of Bach's Weimar period, the reduced string ensemble lends a similar intimacy to No 182, though both works suffer from some scrappy playing that clearly could not be rectified simply by dropping in 'patches' from before or after.
Stutzmann, however, projects just the right sense of involvement without forcing the issue.
Wie schön leuchtet der Morgenstern (No 1) is the major work here – a masterpiece of understated majesty and gentle celebration (for the Annunciation) where Bach appears to alight on the morning star as a direct resonance of Epiphany; such musical connections within the cantata oeuvre, throughout the church calendar, provide listeners with endless sources of fascination.
Gardiner's performance is more an example of a splendid occasion captured rather than a notable addition to a distinguished discography.
Cantatas Nos 22 and 23 were Bach's first to have been performed at Leipzig, audition pieces for the post of Thomascantor before his eventual appointment. Both were performed in the same service on the morning of February 7, 1723. Given the Lenten context, Bach hardly had a chance to flex his muscles in opulent displays of orchestration but he makes up for this with two pieces of subtle stylistic range.
Jesus nahm zu sich die Zwölfe (No 22) is strikingly prescient of Passion narrative as Christ prepares for his death with melismas of distilled sadness and acceptance of destiny.
Peter Harvey's is an affecting performance, as is the incrementally impressive Du wahrerGott (No 23), of which Gardiner completely has the measure.
One special movement to bottle? 'Es ist vollbracht' from No 159 – arguably even better than the setting of the words at the end of the St JohnPassion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is as exquisite as you'll ever hear.”

Gramophone Magazine

May 2006

“One special movement to bottle? 'Es ist vollbracht' from BWV159 - arguably even better than the setting of the words at the end of the St John Passion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is an exquisite as you'll ever hear.”

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