Bach, J S: Cantata BWV28 'Gottlob, nun geht das Jahr zu Ende'

The New Year’s Day cantatas invariably display particular orchestral splendor in that all of them are richly orchestrated for brass and woodwind instruments in addition to the standard strings. Although not an important date in the liturgical calendar, New Year’s Day was of special importance in Leipzig because of the opening of the “Neujahrs-Messe,” the first of three annual trade fairs that brought scores of merchants and visitors to the city. This offered Bach an opportunity to exhibit Leipzig church music which had no parallel elsewhere. Four of the five cantatas used for this particular occasion are featured on this album. The texts of all five works make reference to the traditional Gospel reading of the feast day, Luke 2: 21 (the naming of Jesus); BWV 171 does it even in its first line (“Gott, wie dein Name…”). BWV 28, included in this album, is designated for the Sunday after Christmas and was first performed on December 30, 1725. However, the text of the opening movement as well as the use of a New Year’s hymn for the concluding chorale strophe emphasize this cantata’s proximity to the turn of the year.

These recordings have been selected from the award-winning cycle of recordings of the complete cantatas of J. S. Bach by Ton Koopman and the Amsterdam Baroque Orchestra & Choir. The featured soloists are sopranos Sandrine Piau, Deborah York and Sybilla Rumens, altos Annette Markert and Bogna Bartosz, tenors Christoph Pregardien, Jörg Dürmüller and Paul Agnew, and bass Klaus Mertens.

After two volumes concentrating on solo cantatas, the full forces of Bach Collegium Japan return in this programme of five cantatas dated 1725. The choir instantly makes its presence felt in the first movement of the opening work, BWV68. This is a large-scale hymn arrangement, where the choir is supported by an orchestra featuring horn and oboes. This is followed by one of the most charming and beautiful soprano arias in all of Bach’s cantatas, Mein gläubiges Herze’, in which Carolyn Sampson shines. The five works all include, to a certain extent, unusual instrumental combinations: from the three recorders which lend a pastoral character to Er rufet seinen Schafen mit Namen, BWV175, to the wind quartet (two oboi d’amore and two oboi da caccia) appearing in Sie werden euch in den Bann tun, BWV183. The variety of timbres is further aided by the appearance of the cornet and trombones of Concerto Palatino. Gerd Türk glows in the intensely melodic tenor aria ‘Seht, was die Liebe tut’ (from BWV 85), Peter Kooij, whose bass becomes the voice of Christ in Ich bin ein guter Hirt, (BWV85). All in all, another impressive installment in this highly acclaimed cycle.

This box set is a collection of Cantatas for the entire Christmas season from our award-winning series of recordings from the 2000 Bach Cantata Pilgrimage.

It features a cast of stellar soloists including Magdalena Kožená, Bernarda Fink, Michael Chance, James Gilchrist, Christoph Genz, etc. The Monteverdi Choir and English Baroque Soloist give their customary brilliant performances, making this release a must-have gift this Christmas season.

It includes some of Bach’s best known cantatas, including the glorious Christen, atzet diesen Tag (CD1), the festive and brilliant Unser Mund sei voll Lachens (CD2) , the infectiously rhythmic Ich freue mich in dir (CD3), Gelobet seist du (CD1) and many other “jewels” which glow with that special sense of expectation that is the hallmark of Bach’s Christmas music.

Packaged in a clamshell box, it contains 6 CDs in individual sleeves and a booklet with collected notes by Sir John Eliot Gardiner, and texts in German and English.

Upon popular demand available again: Bach’s complete Sacred Cantatas, newly compiled, on 50 CDs, an unbelievable bargain.

These recordings, produced for the Bach‐year 2000, feature a superb boys choir, the Holland Boys Choir, a tradition going back to the time of the composer. The Netherlands Bach Collegium consists of Dutch early music specialists playing period instruments. Conductor Pieter Jan Leusink puts his entire soul in these recordings of what one might call “the greatest and most humanly moving corpus of sacred music ever written”.

Reviewers around the world praised the set for its “characteristic performances, marked by a great sense of authencity, especially from the use of boy sopranos”. It sounds very much like it might have sounded in Bach’s time (Gramophone).

Written to exalt the glory of God and to facilitate Lutheran worship, Johann Sebastian Bach’s sacred cantatas stand among the highest achievements of Western musical art. This acclaimed recording sees the works performed in their entirety by a stellar line‐up of musicians that includes the renowned Holland Boys’ Choir and period instrument ensemble Netherlands Bach Collegium. The cantatas are directed by Pieter van Leusink, one of Holland’s leading Bach experts. From the plaintive opening of Weinen, Kleinen, Sorgen, Sagen (‘Weeping, lamenting, worrying, fearing’) BWV12 to the triumphant D major chorus in Man singet mit Freuden vom Sieg BWV149, the works traverse a wide range of themes and moods, having been written for a variety of occasions throughout the liturgical year.