Bach, J S: Cantata BWV149 'Man singet mit Freuden vom Sieg'

On the 50th volume of Masaaki Suzuki’s traversal of J.S. Bach’s cantatas features works composed by Bach in collaboration with the Leipzig poet Picander (Christian Friedrich Henrici).

Three of the works on the disc, along with six others, are all that remain of his cantatas written in 1729.

The cantatas here featured generally make sparing use of the choir, but centre on two arias, linked by one or two recitatives, and a final chorale. In addition, the surviving works contain several examples of parody and reuse of earlier instrumental movements as introductions: The opening Sinfonia of BWV 174, uses the first movement of his Third Brandenburg Concerto.

The volume features soprano Hana Blažíková, alongside three other familiar soloists of the series: Robin Blaze (counter-tenor), Gerd Türk (tenor) and Peter Kooij (bass).

Recent releases from the series have received critical acclaim: in International Record Review, where Volume 48 was described as demonstrating ‘the ever-rising standard, by now quite stratospheric, of Suzuki and his choir and orchestra in this massive recording project.’

Even by Bach’s standards, they are exceptional. All three of them were conceived as grateful celebrations of the ancient feastday of the Archangel Michael . St Michael’s day commemorates the apocalyptic combat and eventual victory of Michael and the angels of Heaven against the armies of Satan. All three of these cantatas are set for a festive orchestra with strings plus three trumpets, drums, and other luxuries (an extra third hautboy, a traverso in Cantata 130, and hautboys doubling on hautbois d’amour or playing oboe da caccia in Cantata 19). A mood of joyful serenity permeates all three cantatas. Cantata 130 contains one of Bach’s best character arias (about the old dragon). The opening of Cantata 19 is one of the most extravagant epics in the cantatas, and the same cantata contains a love aria (to an angel) that is exceedingly seductive. Cantata 149 includes two fascinating solos for bassoon.

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.