Bach, J S: Cantata BWV37 'Wer da glaubet und getauft wird'

Recorded in the City of London in 2012, this album features the missing cantatas from the Bach Cantata Pilgrimage: the Ascension Cantatas.

They were recorded live at St Giles Cripplegate (one of the original Pilgrimage venues) in two concerts entirely funded by the generosity of hundreds of donors across the world, following a heartfelt appeal from British comedian Alexander Armstrong.

The quartet of soloists include one of the original Pilgrimage soloists, bass Dietrich Henschel, alongside a new generation of Bach interpreters who have worked with the ensembles since 2000 – making this recording a “bridge” between a Bach tradition started 13 years ago and today.

The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. Beginning and ending with two grand festive choruses, it is full of rhythmic swagger, jazz-like nonchalance, stratospheric glitter for the high trumpet and vocal acrobatics for the choir.

“Gott fähret auf mit Jauchzen” (BWV43) opens with a glorious, unconventional introduction with high trumpets and drums, and continues with a sequence reminiscent of the opera seria of its time. “Wer da gläubet und getauft wird” (BWV37) focuses on the words of Jesus to his followers and starts with a gentle chorus of choir and orchestra of strings and oboe d’amore. “Auf Christi Himmelfahrt allein” (BWV128) features festive opening and closing movements celebrating Christ’s majesty.

SDG185 is packaged in SDG’s usual high-quality book-case. It contains a 32-page booklet with original notes by Sir John Eliot Gardiner, and sung texts in German and English.

Ascension Day belongs to the most prominent feasts related to the life of Christ and therefore required special musical consideration in Bach’s time. “Lobet Gott in seinen Reichen“ BWV 11, entitled by Bach „Oratorium Festo Ascensionis Christi“, was first performed on May 19, 1735, whilst “Gott fähret auf mit Jauchzen“ BWV 43 first appeared on the 30th of May 1726. The text of this cantata was taken from a cycle of sacred poetry by Ernst Ludwig, Duke of Saxe-Meiningen. The cantata “Auf Christi Himmelfahrt allein“ BWV 128 was first performed on 10 May 1725. “Wer da gläubet und getauft wird“ BWV 37 was premiered on 18 May 1724.

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This 9-CD boxed set of first releases from the RIAS archives presents the first ever attempt at a recording of the complete Bach cantatas.

For everyone who is interested in the history of Bach interpretation and in the development of Germany’s post-1945 cultural rebuilding, these recordings represent a significant enrichment. From 1946, Karl Ristenpart established choral and orchestral ensembles at the RIAS Berlin, directing the RIAS Kammerchor and the RIAS Kammerorchester. With these ensembles, and emerging young singers (including Dietrich Fischer-Dieskau, Helmut Krebs and Agnes Giebel), Karl Ristenpart and Elsa Schiller, then head of music at the RIAS, embarked in 1947 upon a recording series of the complete Bach cantatas. However, it proved impossible to realise the project in its entirety. The 29 cantatas which survive in the RIAS archives document a Bach ideal which is pioneering even by today’s standards: thanks to small-scale forces the musical structures are distinct and transparent, and the singers link their articulation to that of the instrumentalists.This interpretation, which is free of any monumentalism, paved the way, aesthetically, for historically informed performance practice.

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.

Between 1999 and 2006, the legendary baroque music specialist Ton Koopman brought together a stunning array of singers to record the complete cantatas of J S Bach alongside his own Amsterdam Baroque Orchestra and Choir. Released originally mostly in 3CD sets, this wonderful cycle is now being made available by Challenge Classics in its entirety. The 67 separate CDs have now been gathered together in a box with a booklet that includes a complete tracklisting and information about each recording.

Along the way these releases were acclaimed throughout the world, and received many major music prizes, including a BBC Music Magazine Award in 2006 for Volume 22 (CC72222). Featured soloists include most of the great modern day interpreters of the music of Bach’s time.