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Recording locations: Recorded live: Lund, Leipzig, Thomaskirche, Leipzig October 2000.
Gardiner’s award-winning Bach Cantata series on Soli Deo Gloria continues with volume 9 in the series featuring Cantatas for the seventeenth and eighteenth Sunday after Trinity. Recorded live in October 2000. We join John Eliot Gardiner, The Monteverdi Choir and The English Baroque Soloists on their Bach Cantata pilgrimage in the spectacular dark brown gothic Allhelgonakyrkan (All Saints Church) in Lund.
The concert explodes into action as the long fanfare-like ritornello for solo trumpet and strings herald the opening of BWV 148 Bringet dem Herrn Ehre seines Namens (Give the Lord the Glory due his Name). This grand opening leads the way for the chorus to enter with a rousing delivery of the psalm verse, ‘Give unto the Lord the glory due unto His name; worship the Lord in the beauty of holiness.’ This is then followed by the chorale cantata BWV 114 Ach, lieben Christen, seid getrost (Ah, dear Christians, be brave), from Bach’s second Leipzig cycle. We then hear BWV 47 Wer sich selbst erhöhet, der soll erniedriget werden (Whoever himself exalteth shall be abashed) which opens with a mighty opening movement for chorus. The programme ends with the most instrumentally conceived of Bach’s double-choir motets, BWV 226 Der Geist hilft unser Schwacheit auf, (The Spirit Helpeth Our Infirmities). It is also the only motet composed by Bach for which a specific purpose is known – the funeral service of JH Ernesti, the rector of the Thomasschule in Leipzig.
We then travel to the Thomaskirche in Leipzig and open the programme with BWV 96 Herr Christ, der ein’ge Gottessohn (Lord Christ, the only Son of God). Next comes BWV 169 Gott soll allein mein Herze haben (God alone shall have my heart), the last and considered by many to be the most consistently beautiful of Bach’s Cantatas for solo alto. This is then followed by the superb choral cantata BWV 116 Du Friedefürst, Herr Jesu Christ, first performed on 26 November 1724. The choir then retreat to the very crucible where for the last twenty-seven years of his life Bach worked. They form a horseshow around his final resting place and sing a cappella what legend has identified as Bach’s very last piece, BWV 668 Vor deinen Thron tret’ ich hiermit, the so-called Deathbed Chorale.
Johann Sebastian Bach: Bringet dem Herrn Ehre seines Namens, BWV 148
Bringet dem Herrn Ehre seines Namens (Chorus)
Aria: Ich eile, die Lehren des Lebens zu horen (Tenor)
Recitative: So, wie der Hirsch nach frischem Wasser schreit (Alto)
Aria: Mund und Herze steht dir offen (Alto)
Recitative: Bleib auch, mein Gott, in mir (Tenor)
Chorale: Amen zu aller Stund (Chorus)
Johann Sebastian Bach: Ach, lieben Christen, seid getrost, BWV 114
Ach lieben Christen, seid detrost (Chorus)
Aria: Wo wird in diesem Jammertale (Tenor)
Recitativo: O Sunder, trage mit Geduld (Bass)
Chorale: Kein Frucht das Weizenkornlein bringt (Soprano)
Aria: Du machst, o Tod, mir nun nicht ferner bange (Alto)
Recitativo: Indes bedenke deine Seele (Tenor)
Chorale: Wir wachen oder schlafen ein (Chorus)
Johann Sebastian Bach: Wer sich selbst erhohet, der soll erniedriget werden, BWV 47
Wer sich selbst erhohet (Chorus)
Aria: Wer ein wahrer Christ will heissen (Soprano)
Recitative: Der Mensch ist Kot, Stank, Asch und Erde (Bass)
Aria: Jesu, beuge doch mein Herze (Bass)
Chorale: Der zeitlichen Ehrn will ich gern entbehrn (Chorus)
Johann Sebastian Bach: Der Geist hilft unser Schwachheit auf, BWV 226
Der Geist hilft unser Schwachheit auf, BWV 226
Johann Sebastian Bach: Herr Christ, der einige Gottessohn, BWV 96
Herr Christ, der einge Gottessohn (Chorus)
Recitative: O Wunderkraft der Liebe (Alto)
Aria: Ach, ziehe die Seele mit Seilen der Liebe (Tenor)
Recitative: Ach, fuhre mich, o Gott, zum rechten Wege (Soprano)
Aria: Bald zur Rechten, bald zur Linken (Bass)
Chorale: Ertot uns durch dein Gute (Chorus)
Johann Sebastian Bach: Gott soll allein mein Herze haben, BWV 169
Sinfonia
Arioso: Gott soll allein mein Herze haben (Alto)
Aria: Gott soll allein mein Herze haben (Alto)
Recitative: Was ist die Liebe Gottes? (Alto)
Aria: Stirb in mir, Welt (Alto)
Recitative: Doch meint es auch dabei (Alto)
Chorale: Du susse Liebe, schenk uns deine Gunst (Chorus)
Johann Sebastian Bach: Du Friedefurst, Herr Jesu Christ, BWV 116
Du Friedefurst, Herr Jesu Christ (Chorus)
Aria: Ach, unaussprechlich ist die Not (Alto)
Recitative: Gedenke doch, o Jesu (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 (Chorus)
Johann Sebastian Bach: Vor deinen Thron tret ich hiermit
Vor deinen Thron tret ich hiermit, BWV 668
November 2009
*****
“…the opening chorus of BWV 148… It's just the kind of piece at which the Monterverdi Choir surpasses its rivals, and the instrumental support from the English Baroque Soloists is splendid. John Eliot Gardiner brings his accustomed fervour to the music, enlivening it at every turn. Altogether, this is one of the strongest releases in Gardiner's series so far.”
November 2009
“…BWV148… includes the aria "Wo wird in diesem Jammertale", a model of the extended soul-searching tableau in which, here, the singer and obbligato flute are co-subsumed within a vale of sorrow. It is beguilingly delivered by tenor Mark Padmore and flautist Rachel Beckett, the highlight of the Swedish programme... an electrifying account of the Sinfonia of BWV169... heralds Bach's least celebrated but, arguably, most refined and mature alto cantata. Nathalie Stutzmann sails through each portion with her inimitable diction and plush allure.”
Click on any of the works listed above for alternative recordings.
Bringet dem Herrn Ehre seines Namens (Chorus)
