Bach: Cantatas, Vol. 54 - Nos. 14, 100, 197, 197a / Suzuki, Bach Collegium Japan

$15.99
Label
BIS
Release Date
September 24, 2013
Format
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    Featuring ⌄
    • COMPOSER
      BACH
    • PERFORMER
      M., Blazikova, Guillon, Tuerk, Kooij, Bach Collegium Japan, Suzuki
    Product Details ⌄
    • RELEASE DATE
      September 24, 2013
    • UPC
      7318599920214
    • CATALOG NUMBER
      BIS-2021
    • LABEL
      BIS
    • NUMBER OF DISCS
      1
    • GENRE
      Choral - Sacred
    Works ⌄

    1. Was Gott tut, das ist wohlgetan (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    2. Duet: Was Gott tut, das ist wohlgetan (Alto, Tenor)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Damien Guillon, Gerd Türk

      Conductor: Masaaki Suzuki

    3. Aria: Was Gott tut, das ist wohlgetan (Soprano)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Hana Blažíková

      Conductor: Masaaki Suzuki

    4. Aria: Was Gott tut, das ist wohlgetan (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    5. Aria: Was Gott tut, das ist wohlgetan (Alto)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Damien Guillon

      Conductor: Masaaki Suzuki

    6. Was Gott tut, das ist wohlgetan (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    7. War Gott nicht mit uns diese Zeit (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    8. Aria: Unsre Starke heisst zu schwach (Soprano)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Hana Blažíková

      Conductor: Masaaki Suzuki

    9. Recitative: Ja, hatt es Gott nur zugegeben (Tenor)

      Composer: Johann Sebastian Bach

    10. Aria: Gott, bei deinem starken Schutzen (Bass)

      Composer: Johann Sebastian Bach

    11. Gott Lob und Dank (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    12. Gott ist unsre Zuversicht (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    13. Recitative: Gott ist und bleibt der beste Sorger (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    14. Aria: Schlafert allen Sorgenkummer (Alto)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Damien Guillon

      Conductor: Masaaki Suzuki

    15. Recitative: Drum folget Gott und seinem Triebe (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    16. Du susse Lieb, schenk uns deine Gunst (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    17. Aria: O du angenehmes Paar (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    18. Recitative: So wie es Gott mit dir (Soprano)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Hana Blažíková

      Conductor: Masaaki Suzuki

    19. Aria: Vergnugen und Lust (Soprano)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Hana Blažíková

      Conductor: Masaaki Suzuki

    20. Recitative: Und dieser frohe Lebenslauf (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    21. So wandelt froh auf Gottes Wegen (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki

    22. Aria: O! du angenehmer Schatz (Alto)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Damien Guillon

      Conductor: Masaaki Suzuki

    23. Recitative: Das Kind ist mein (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    24. Aria: Ich lasse dich nicht (Bass)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Performer: Peter Kooij

      Conductor: Masaaki Suzuki

    25. Wohlan! so will ich mich (Chorus)

      Composer: Johann Sebastian Bach

      Ensemble: Bach Collegium Japan

      Conductor: Masaaki Suzuki




BACH Cantatas Nos. 1001; 142; No. 1973; No. 197a4 • Masaaki Suzuki, cond; Bach Collegium Japan; 1-3Hana Blažiková (sop); 1,3,4Damien Guillon (ct); 1,2Gerd Türk (ten); 1-4Peter Kooij (bs) • BIS 2021 (SACD: 75:40 Text and Translation)

As his momentous series nears its conclusion, Masaaki Suzuki turns his attention to three late cantatas, all presumably composed in the mid-1730s, all richly scored. Cantata No. 100’s two horns (and timpani), flute, and oboe d’amore suggest a festive occasion, but actually which one is not known. Cantata No. 197, with three trumpets, two oboes, and an obbligato bassoon, was composed for a wedding, although, again, the principals are unknown. Given the lavish score—10 numbers divided into two parts—it’s fairly safely assumed that they were persons of rank. Little did they suspect that by simply affixing their names to the score they could have achieved immortality—of a sort! Cantata No. 14 was composed for the fourth Sunday after Epiphany in 1735. Its scoring includes one trumpet, a horn, and two oboes. Bach wrote No. 14 to fill a gap in his chorale cantata cycle of 1724–25; there was no fourth Sunday after Epiphany in 1725. It opens with a contrapuntally complex motet-style chorus, a harbinger, perhaps of The Art of Fugue, which must have been percolating in Bach’s mind at the time. BWV 100 has the distinction of being one of four Leipzig cantatas (along with 97, 117, and 192) in which all movements are based on the chorale melody. It’s also one of the few cantatas without recitatives. Ever the tinkerer, Bach drew upon an existing Christmas cantata for some of BWV 197. Only three movements and a part of a fourth of the earlier cantata have survived. In crafting a viable, performable fragment, the musicologist Diethard Hellmann has returned the favor, in a way, basing his reconstruction of its incomplete alto aria on Bach’s second thoughts.

The reconstructed aria, accompanied by a pair of flutes, is tenderly realized by Damien Guillon. Hana Blažíková is brilliant in her aria with trumpet in Cantata No. 14. Gerd Türk and Peter Kooij are their usual dependable selves. The chorus and orchestra—all Japanese except for the solo quartet and the two hornists/trumpeters—are predictably excellent as well. Masaaki’s direction is masterful, as always. It’s another triumph for Suzuki and the Bach Collegium Japan.

FANFARE: George Chien