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COMPOSERBACH, J.S.
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ORCHESTRA / ENSEMBLEMonteverdi Choir
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PERFORMEREnglish Baroque Soloists, Gardiner
Bach: Cantatas Vol 14 / Gardiner, English Baroque Soloists
Regular price
$20.99
Unit price
per
- SDG
- July 26, 2005
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RELEASE DATEJuly 26, 2005
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UPC843183011322
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CATALOG NUMBERSDG 113
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LABELSDG
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NUMBER OF DISCS1
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GENRE
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Chorale: Gelobet seist du, Jesu Christ (Chorus)
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Recitative and Chorale: Der Glanz der hochsten Herrlichkeit (Soprano)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Katherine Fuge
Conductor: John Eliot Gardiner
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Aria; Gott, dem der Erden Kreis zu klein (Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: James Gilchrist
Conductor: John Eliot Gardiner
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Recitative: O Christenheit! (Bass)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Peter Harvey
Conductor: John Eliot Gardiner
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Aria Duet: Die Armut, so Gott auf sich nimmt (Soprano, Alto)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Katherine Fuge, Robin Tyson
Conductor: John Eliot Gardiner
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Chorale: Das hat er alles uns getan
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Chorale: Christum wir sollen loben schon (Chorus)
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Aria: O du von Gott erhohte Kreatur (Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: James Gilchrist
Conductor: John Eliot Gardiner
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Recitative: Der Gnade unermesslich's Wesen (Alto)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: William Towers
Conductor: John Eliot Gardiner
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Aria: Johannis fredenvolles Springen (Bass)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Peter Harvey
Conductor: John Eliot Gardiner
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Recitative: Doch wie erblickt es dich in deiner Krippe? (Soprano)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Katherine Fuge
Conductor: John Eliot Gardiner
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Chorale: Lob, Ehr und Dank sei dir gesagt
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Chorale: Dazu ist erschienen der Sohn Gottes
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Recitative: Das Wort ward Fleisch und wohnet in der Welt (Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: James Gilchrist
Conductor: John Eliot Gardiner
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Chorale: Die Sund macht Leid
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Aria: hollische Schlange (Bass)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Peter Harvey
Conductor: John Eliot Gardiner
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Recitative: Die Schlange, so im Paradies (Alto)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Robin Tyson
Conductor: John Eliot Gardiner
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Chorale; Schuttle deinen Kopf und sprich
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Aria: Christenkinder, freueteuch! (Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: James Gilchrist
Conductor: John Eliot Gardiner
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Chorale: Jesu, nimm dich deiner Glieder
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Chorale: Unser Mund sei voll Lachens
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
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Aria: Ihr Gedanken und ihr Sinnen (Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: James Gilchrist
Conductor: John Eliot Gardiner
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Recitative: Dir, Herr, ist niemand gleich (Bass)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Peter Harvey
Conductor: John Eliot Gardiner
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Aria: Ach Herr, was ist ein Menschenkind (Alto)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: William Towers
Conductor: John Eliot Gardiner
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Aria Duet: Ehre sei Gott in der Hohe (Soprano, Tenor)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Joanne Lunn, James Gilchrist
Conductor: John Eliot Gardiner
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Aria: Wacht auf, ihr Adern und ihr Glieder (Bass)
Composer: Johann Sebastian Bach
Ensemble: English Baroque Soloists
Performer: Peter Harvey
Conductor: John Eliot Gardiner
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Chorale: Halleluja! Halleluja! Gelobt sei Gott
Composer: Johann Sebastian Bach
Ensemble: Monteverdi Choir, English Baroque Soloists
Conductor: John Eliot Gardiner
Featuring ⌄
Product Details ⌄
Works ⌄
These days we have to be reminded that Easter, not Christmas, is the primary festival of the church year. (In Bach’s Leipzig, of course, Good Friday was the most important day of the musical year.) Nevertheless, Christmas was a major celebration at that time and place, with services on Christmas and the next two days, followed by observances on New Year’s day, the first Sunday of the New Year, and Epiphany. Consequently, Bach created considerable music for the season. The present disc, Volume 14 in the series, features two Christmas cantatas, BWV 91 (1724) and 110 (1725), and two cantatas for the day after Christmas, BWV 40 (1723) and 121 (1724).
Cantata 91, from the year of chorale cantatas, imbues Luther’s Christmas hymn, Gelobet seist du, Jesu Christ, with a feeling of anticipation and exhilaration unusual even for Bach. Budding excitement in the opening chorus finally erupts in striking syncopations. The final chorale is enhanced by fanfare-like expressions from the brass. Another chorale cantata is BWV 121, based on Christum wir sollen loben schon. It begins with a more subdued choral movement, but a joyful air is introduced by the subsequent tenor aria and reinforced by a jaunty aria for bass. Cantata 40 does not belong to the chorale-cantata cycle, but three of the seven movements after the opening chorale fantasia are straightforward chorale settings. Most resplendent of these four cantatas is No. 110, which opens with a choral re-make of the third movement of the Fourth Orchestral Suite.
Gardiner’s preface again reminds us that the Cantata Pilgrimage was not undertaken as a recording project; the recordings are fortuitous by-products of the Pilgrimage. The concert captured on this disc, which took place in New York City on Christmas Day, 2000, was the third-to-last in the whole enterprise. One might reasonably have excused any evidence of fatigue at that point, but there is none in evidence; rather, the energy generated by the performances is quite extraordinary. For listeners who wish to sample the series before committing themselves to it, this single disc may provide an auspicious starting point. Most enthusiastically recommended.
Incidentally, in reviewing earlier releases from the Pilgrimage, I noted the sterling attendance record of violist Colin Kitching. A letter from Clifford Bartlett of Early Music Review noted that Kitching is the Monteverdi Choir’s librarian. But, alas! He didn’t make it to the Big Apple, so Sir John will be the only person to have participated in every one of the Pilgrimage recordings.
FANFARE: George Chien
Cantata 91, from the year of chorale cantatas, imbues Luther’s Christmas hymn, Gelobet seist du, Jesu Christ, with a feeling of anticipation and exhilaration unusual even for Bach. Budding excitement in the opening chorus finally erupts in striking syncopations. The final chorale is enhanced by fanfare-like expressions from the brass. Another chorale cantata is BWV 121, based on Christum wir sollen loben schon. It begins with a more subdued choral movement, but a joyful air is introduced by the subsequent tenor aria and reinforced by a jaunty aria for bass. Cantata 40 does not belong to the chorale-cantata cycle, but three of the seven movements after the opening chorale fantasia are straightforward chorale settings. Most resplendent of these four cantatas is No. 110, which opens with a choral re-make of the third movement of the Fourth Orchestral Suite.
Gardiner’s preface again reminds us that the Cantata Pilgrimage was not undertaken as a recording project; the recordings are fortuitous by-products of the Pilgrimage. The concert captured on this disc, which took place in New York City on Christmas Day, 2000, was the third-to-last in the whole enterprise. One might reasonably have excused any evidence of fatigue at that point, but there is none in evidence; rather, the energy generated by the performances is quite extraordinary. For listeners who wish to sample the series before committing themselves to it, this single disc may provide an auspicious starting point. Most enthusiastically recommended.
Incidentally, in reviewing earlier releases from the Pilgrimage, I noted the sterling attendance record of violist Colin Kitching. A letter from Clifford Bartlett of Early Music Review noted that Kitching is the Monteverdi Choir’s librarian. But, alas! He didn’t make it to the Big Apple, so Sir John will be the only person to have participated in every one of the Pilgrimage recordings.
FANFARE: George Chien
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