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Bach, J.S.: Cantatas, Vol. 26 - Bwv 34, 59, 68, 74, 172, 173, 174

Lisa Larsson

Classical - Released January 1, 2000 | SDG

What is it about volume 26 of John Eliot Gardiner's cycle of the complete Bach cantatas that makes it special? Is it the works? All seven cantatas on this two-disc set have their individual beauties, but the last -- Ich liebe den Höchsten von ganzem Gemüte, BWV 174 -- starts with a magnificent Sinfonia based on the opening movement of the Third Brandenburg Concerto, only with oboes, horns, and organ, and thus has the added benefit of instant recognition. Is it the performances? As always, Gardiner obtains a bright tone and a robust performance from the English Baroque Soloists and the Monteverdi Choir, an approach that brings out the best in these seven mostly celebratory works. Or is it the sometimes out-of-tune singing and the occasionally out-of-tune playing? Most of the soloists are fine -- particularly cheerful soprano Lisa Larsson and chesty alto Nathalie Stutzmann -- and some are excellent -- especially soulful tenor Christoph Genz -- but they, along with the choir, do sometimes slip out of tune. And while most of the playing is first rate -- check out the clarity of the strings and the taste of the continuo -- there are moments when the strings or the winds slid out of tune. Still, since these are all live performances recorded with amazing clarity and presence at Holy Trinity Church in Long Melford in June 2000, these flaws are fairly insignificant compared with the performances' many strengths, and anyone who has enjoyed Gardiner's joyful and direct approach to Bach's cantatas will surely enjoy volume 26. © TiVo
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Les Cantates de jeunesse (Volume 3)

Emma Kirkby

Cantatas (sacred) - Released September 1, 2008 | Chandos

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J.S. Bach: Erschallet, ihr Lieder, BWV 172

Netherlands Bach Collegium

Classical - Released May 28, 2023 | Brilliant Classics

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Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder

Aafje Heynis

Classical - Released July 7, 2022 | Alexandre Bak - Classical Music Reference Recording

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Bach: Arias

Núria Rial

Classical - Released December 6, 2013 | deutsche harmonia mundi

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J.S. Bach: Tombeau de sa majesté la Reine de Pologne

Ricercar Consort

Classical - Released May 1, 2007 | Mirare

Booklet
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Johann Sebastian Bach : Secular Cantatas, BWV 201, 205 & 213

René Jacobs

Cantatas (secular) - Released April 26, 1996 | harmonia mundi

Distinctions Choc de Classica
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Johann Sebastian Bach : Trauermusik

Philippe Pierlot

Sacred Vocal Music - Released May 1, 2007 | Mirare

Booklet Distinctions Choc de Classica
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Cantatas - 24 Highlights

Amsterdam Baroque Choir

Classical - Released May 4, 2009 | Challenge Classics

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J.S. Bach: Cantates profanes

Mark Padmore

Cantatas (secular) - Released September 1, 2005 | harmonia mundi

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Bach: Cantates pour l'Épiphanie: BWV 72, 81, 155 & 156

Montreal Baroque

Classical - Released November 1, 2013 | ATMA Classique

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Bach: Erschallet, ihr Lieder / Also hat Gott die Welt geliebt

Thomanerchor Leipzig

Cantatas (sacred) - Released January 1, 1982 | Eterna

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Bach : Johannes-Passion, BWV 245

Philippe Herreweghe

Classical - Released February 7, 2020 | Phi

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Bach’s St. John Passion, with its famous opening chorus traversed by shadows and light, is a powerful musical and spiritual reflection. Dramatic, grandiose, complex, resolutely theatrical: there has been no lack of superlatives to describe this supreme masterpiece of western music. Philippe Herreweghe and Collegium Vocale Gent present an accomplished reading that reflects their knowledge of the composer, based on extensive research and deepened by countless concerts. Soloists Krešimir Stražanac and Maximilian Schmitt demonstrate the breadth of their talents in the roles of Jesus and the Evangelist. © Phi
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Bach Motets

Solomon's Knot

Classical - Released June 16, 2023 | Prospero Classical

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Bach: Cantatas for Bass

Matthias Goerne

Classical - Released August 25, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Here’s a repertoire that everybody knows about yet is completely neglected: the Bach cantatas. Granted a few have gained some importance, mostly thanks to the vocal qualities of singers who have seized it for a few decades – Fischer-Dieskau and Elly Ameling to name a few – while some complete works adorn aficionados’ collections. There is however enough content in these cantatas to “make up” about a dozen Passions or Oratorios on par with some of those we already know. Bach himself didn’t refrain from drawing from them to recycle arias, ensembles, choirs and sinfonias. Among some of the most famous, honoured in the 1950s by Fischer-Dieskau, are two cantatas for baritone: Ich will den Kreuzstab gerne tragen (1726) and Ich habe genug (1727), both written with oboe and string accompaniment. It’s precisely with this roster in mind that the Freiburger Barockorchester serves Matthias Goerne, a disciple of Elisabeth Schwarzkopf and… Dietrich Fischer-Dieskau, him again! The German baritone, a regular on the world’s most prestigious scenes, doesn’t refrain from lending his immense voice to this almost-chamber music by giving it a character far removed from the lyrical style required by Berg, Wagner or Strauss. In addition, still with the oboe in mind, the recording includes the Concerto in A Major for Oboe d'amore BWV1055R, a modern reconstruction from a keyboard concerto in A major, which there is every reason to believe was itself recycled by Bach from an older concerto for oboe d'amore. The remarkable Katharina Arfken plays the oboe for the cantatas and the oboe d’amore for the concerto. © SM/Qobuz
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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer

Otto Klemperer

Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording

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Johann Sebastian Bach : Motets

Monteverdi Choir

Sacred Vocal Music - Released April 30, 2012 | SDG

Hi-Res Distinctions Diapason d'or de l'année - Diapason d'or - Gramophone Award - Choc de Classica
John Eliot Gardiner literally has a lifetime of intimate familiarity with J.S. Bach's six motets without independent instrumental accompaniment; he reports that as a boy chorister of 11 or 12 he knew the treble lines to all of them. That familiarity is evident in these exceptionally insightful and exceptionally well-sung performances with the Monteverdi Choir. The group lives up to its reputation as being in the very highest echelon of choirs worldwide, singing these especially treacherous works with almost superhuman precision, immaculate tone and balance, and infectious, unguarded passion. The singers handle Bach's exquisitely interwoven counterpoint with apparent ease even at the outrageously fast but emotionally appropriate tempos that Gardiner takes. He avoids the academic rigidity that can easily prevail in performances of counterpoint this intricate by always maintaining a dancing sense of lightness and buoyancy. The performances are also characterized by a warm intimacy. That's due at least in part the choir's remarkable control of dynamics; at its quietest moments the music comes across as an almost hushed whisper. That, in combination with the stellar engineering, creates the impression that the listener is being treated to a private performance by singers nearly close enough to reach out and touch. At the same time there is no sense of crowding and the performers have plenty of room for their singing to ring out brilliantly. Gardiner deploys a small continuo group colorfully but discreetly, offering an ideally balanced underpinning for the choir. Listeners who want to hear these small masterpieces need look no further than these exemplary and thoroughly engaging performances. Highly recommended. © TiVo
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Bach : The Complete Organ Works

André Isoir

Classical - Released January 1, 1991 | La Dolce Volta

Booklet Distinctions Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica