Swipe

rockfantasy

In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: '"Elegant" is the word for this production, equally worthy to give or to keep' Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics. Com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas. The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue. The albums explore resonant themes which run through Bach's music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer's harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.
In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: '"Elegant" is the word for this production, equally worthy to give or to keep' Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics. Com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas. The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue. The albums explore resonant themes which run through Bach's music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer's harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.
5028421964348
Cantatas, Motets & Organ
Artist: Bach / Gesualdo Concort
Format: CD
New: Available $59.99
Wish

Formats and Editions

CD
$59.99
DISC: 1

1. Track 1
2. Prelude and Fugue in E Minor, BWV 548, "Wedge": Prelude Sehet, welch eine Liebe hat uns der Vater erzeiget in BWV 64
3. Track 3
4. Sehet, welch eine Liebe hat uns der Vater erzeiget (Chorus)
5. Track 5
6. Chorale: Das hat er alles uns getan (Chorus)
7. Track 7
8. Recitative: Geh, Welt! behalte nur das Deine (Alto)
9. Track 9
10. Chorale: Was frag ich nach der Welt (Chorus)
11. Track 11
12. Aria: Was die Welt in sich halt (Soprano)
13. Track 13
14. Recitative: Der Himmel bleibet mir gewiss (Bass)
15. Track 15
16. Aria: Von der Welt verlang ich nichts (Alto)
17. Track 17
18. Chorale: Gute Nacht, o Wesen (Chorus)
19. 1
20. Fantasia super Jesu, meine Freude, BWV 713
21. *** JJesu, meine Freude, BWV 227
22. 1
23. Choral: Jesu, meine Freude, BWV 227
24. 1
25. Es ist nun nichts Verdammliches an denen
26. 1
27. Choral: Unter deinen Schirmen
28. 1
29. Denn das gesetz
30. 1
31. Choral: Trotz dem alten drachen
32. 1
33. Ihr aber seid nicht fleischlich
34. 1
35. Choral: Weg mit allen Schätzen
36. 1
37. So aber Christus in euch ist
38. 1
39. Choral: Gute Nacht, o Wesen
40. 2
41. So nun des geist
42. 2
43. Choral: Weicht, ihr Trauergeister
44. *** Jesus schlaft, was soll ich hoffen, BWV 81
45. 2
46. Aria: Jesus schlaft, was soll ich hoffen? (Alto)
47. 2
48. Recitative: Herr! warum trittest du so ferne? (Tenor)
49. 2
50. Aria: Die schaumenden Wellen von Belials Bachen (Tenor)
51. 2
52. Arioso: Ihr Kleinglaubigen, warum seid ihr so furchtsam? (Bass)
53. 2
54. Aria: Schweig, aufgeturmtes Meer! (Bass)
55. 2
56. Recitative: Wohl mir, mein Jesus spricht ein Wort (Alto)
57. 2
58. Chorale: Unter deinen Schirmen (Chorus)
59. 2
60. Prelude and Fugue in E Minor, BWV 548, "Wedge": Fugue
61. 3
62. Toccata and Fugue in D Minor, BWV 538, "Dorian": Toccata
63. *** JEin feste Burg ist unser Gott, BWV 80
64. 3
65. Ein feste Burg ist unser Gott (Chorus)
66. 3
67. Aria with Chorale: Alles, was von Gott geboren (Bass, Soprano)
68. 3
69. Recitative: Erwäge doch, Kind Gottes (Bass)
70. 3
71. Aria: Komm in mein Herzenshaus (Soprano)
72. 3
73. Chorale: Und wenn die Welt voll Teufel wär (Chorus)
74. 3
75. Recitative: So stehe dann bei Christi blutgefärbten Fahne (Tenor)
76. 3
77. Duet: Wie selig sind doch die, die Gott im Munde tragen (Alto, Tenor)
78. 3
79. Chorale: Das Wort sie sollen lassen stehn (Chorus)
80. 3
81. Dies sind die heiligen zehen Gebot, BWV 678
82. 4
83. Merk auf, mein Herz, und sieh dorthin
84. 4
85. Christ lag in Todes Banden, BWV 718
86. *** Christ lag in Todesbanden, BWV 4
87. 4
88. Sinfonia
89. 4
90. Christ lag in Todesbanden
91. 4
92. Den Tod niemand zwingen kunn
93. 4
94. Jesus Christus, Gottes Sohn
95. 4
96. Es war ein wunderlicher Krieg
97. 4
98. Hie ist das rechte Osterlamm
99. 4
100. So feiern wir das hohe Fest
101. 4
102. Wie essen und wir leben wohl
103. 5
104. Toccata and Fugue in D Minor, BWV 538, "Dorian": Fuga
105. 5
106. Prelude in G Major, BWV 568
107. *** Wer nur den lieben Gott lasst walten, BWV 93
108. 5
109. Wer nur den lieben Gott lasst walten (Soprano, Alto, Tenor, Bass, Chorus)
110. 5
111. Recitative and Chorale: Was helfen uns die schweren Sorgen? (Bass)
112. 5
113. Aria: Man halte nur ein wenig stille (Tenor)
114. 5
115. Aria and Chorale: Er kennt die rechten Freudenstunden (Soprano, Alto)
116. 5
117. Recitative and Chorale: Denk nicht in deiner Drangsalshitze (Tenor)
118. 5
119. Aria: Ich will auf den Herren schaun (Soprano)
120. 5
121. Chorale: Sing, bet und geh auf Gottes Wegen (Chorus)
122. 5
123. Fürchte dich nicht, ich bin bei dir, BWV 228 (arr. for organ)
124. *** Schau, lieber Gott, wie meine Feind, BWV 153
125. 6
126. Chorale: Schau, lieber Gott, wie meine Feind (Chorus)
127. 6
128. Recitative: Mein liebster Gott, ach lass dichs doch erbarmen (Alto)
129. 6
130. Arioso: Furchte dich nicht, ich bin mit dir (Bass)
131. 6
132. Recitative: Du sprichst zwar, lieber Gott (Tenor)
133. 6
134. Chorale: Und ob gleich alle Teufel (Chorus)
135. 6
136. Aria: Sturmt nur, sturmt, ihr Trubsalswetter (Tenor)
137. 6
138. Recitative: Getrost! mein Herz (Bass)
139. 6
140. Aria: Soll ich meinen Lebenslauf (Alto)
141. 6
142. Chorale: Drum will ich, weil ich lebe noch (Chorus)
143. 6
144. Wer nur den lieben Gott lasst walten, BWV 647 (arr. for organ)
145. *** Siehe, ich will viel Fischer aussenden, BWV 88
146. 7
147. Part I: Aria: Siehe, ich will viel Fischer aussenden (Bass)
148. 7
149. Part I: Recitative: Wie leichtlich konnte doch der Hochste uns entbehren (Tenor)
150. 7
151. Part I: Aria, Ritornello: Nein, nein! Gott ist alle Zeit geflissen (Tenor)
152. 7
153. Part II: Recitative and Arioso: Jesus sprach zu Simon (Tenor, Bass)
154. 7
155. Part II: Arioso: Furchte dich nicht (Bass)
156. 7
157. Part II: Aria Duet: Beruft Gott selbst, so muss der Segen (Soprano, Alto)
158. 7
159. Part II: Recitative: Was kann dich denn in deinem Wandel schrecken (Soprano)
160. 7
161. Part II: Chorale: Sing, bet und geh auf Gottes Wegen (Chorus)
162. 7
163. Passacaglia and Fugue in C Minor, BWV 582: Passacaglia
164. 7
165. Prelude and Fugue in C Major, BWV 545: Prelude
166. *** Nimm von uns, Herr, du treuer Gott, BWV 101
167. 8
168. Nimm von uns Herr, du treuer Gott (Chorus)
169. 8
170. Aria: Handle nicht nach deinen Rechten (Tenor)
171. 8
172. Recitative: Ach! Herr Gott, durch die Treue dein (Soprano)
173. 8
174. Aria: Warum willst du so zornig sein? (Bass)
175. 8
176. Recitative: Die Sund hat uns verderbet sehr (Tenor)
177. 8
178. Aria Duet: Gedenk an Jesu bittern Tod! (Soprano, Alto)
179. 8
180. Chorale: Leit uns mit deiner rechten Hand (Chorus)
181. 8
182. Vater unser im Himmelreich, BWV 682
183. 8
184. Der Geist hilft unsrer Schwachheit auf, BWV 226
185. 8
186. Vater unser im Himmelreich, BWV 737
187. *** Herr, deine Augen sehen nach dem Glauben, BWV 102
188. 9
189. Part I: Herr, deine Augen sehen nach dem Glauben (Chorus)
190. 9
191. Part I: Recitative: Wo ist das Ebenbild, das Gott uns eingepraget (Bass)
192. 9
193. Part I: Aria: Weh der Seele, die den Schaden nicht mehr kennt (Alto)
194. 9
195. Part I: Arioso: Verachtest du den Reichtum seiner Gnade (Bass)
196. 9
197. Part II: Aria: Erschrecke doch, du allzu sichre Seele (Tenor)
198. 9
199. Part II: Recitative: Beim Warten ist Gafahr (Alto)
200. 9
201. Part II: Chorale: Heut lebst du, heut bekehre dich (Chorus)
202. 9
203. Prelude and Fugue in C Major, BWV 545: Fugue
204. *** Trio Sonata No. 1 in E-Flat Major, BWV 525
205. 9
206. Trio Sonata No. 1 in E-Flat Major, BWV 525: I. -
207. *** Gottes Zeit ist die allerbeste Zeit, BWV 106, "Actus tragicus"
208. 9
209. Sonatina
210. 10
211. Gottes Zeit ist die allerbeste Zeit (Chorus)
212. 10
213. Aria: In deinen Hände befehle ich meinen Geist (Counter-Tenor, Tenor)
214. 10
215. Glorie, Lob, Ehr und Herrlichkeit (Chorus)
216. *** Trio Sonata No. 1 in E-Flat Major, BWV 525
217. 10
218. Trio Sonata No. 1 in E-Flat Major, BWV 525: II. Adagio
219. 10
220. Komm, Jesu, komm, BWV 229
221. 10
222. Schmücke dich, o liebe Seele, BWV 654: 18 Chorales, BWV 651-668, "Leipziger Choräle": Schmücke dich, o liebe Seele, BWV 654
223. *** Mit Fried und Freud ich fahr dahin, BWV 125
224. 10
225. Mit Fried und Freud ich fahr dahin (Chorus)
226. 10
227. Aria: Ich will auch mit gebrochnen Augen (Alto)
228. 10
229. Recitative and Chorale: O Wunder, dass ein Herz (Bass)
230. 10
231. Aria: Ein unbegreiflich Licht (Tenor, Bass)
232. 11
233. Recitative: O unerschopfter Schatz der Gute (Alto)
234. 11
235. Chorale: Er ist das Heil und selig Licht (Chorus)
236. *** Trio Sonata No. 1 in E-Flat Major, BWV 525
237. 11
238. Trio Sonata No. 1 in E-Flat Major, BWV 525: III. Allegro
239. *** Ich geh und suche mit Verlangen, BWV 49
240. 11
241. Sinfonia
242. 11
243. Aria: Ich geh und suche mit Verlangen (Bass)
244. 11
245. Recitative: Mein Mahl ist zubereit (Soprano, Bass)
246. 11
247. Aria: Ich bin herrlich, ich bin schön (Soprano)
248. 11
249. Recitative: Mein Glaube hat mich selbst so angezogen (Soprano, Bass) ^1.133

More Info:

In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: '"Elegant" is the word for this production, equally worthy to give or to keep' Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics. Com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas. The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue. The albums explore resonant themes which run through Bach's music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer's harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.
back to top