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Bach, J.S.: Cantatas, Vol. 7 - Bwv 17, 19, 25, 50, 78, 130, 149

Malin Hartelius

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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J.S. Bach: Wer Dank opfert, der preiset mich, BWV 17

Netherlands Bach Collegium

Classical - Released September 10, 2023 | Brilliant Classics

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Bachkantate, BWV 17 - Wer Dank opfert, der preiset mich (Live)

Chor der J.S. Bach-Stiftung

Vocal Music (Secular and Sacred) - Released May 1, 2020 | J. S. Bach-Stiftung

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J.S. Bach: Cantatas, BWVV 33, 17 & 99

Thomanerchor Leipzig

Classical - Released January 11, 2019 | Accentus Music

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Bach: Cantatas, Vol. 46

Masaaki Suzuki

Classical - Released June 29, 2010 | BIS

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Cantates (Intégrale, volume 5)

Gerlinde Saemann

Classical - Released January 1, 2000 | Accent

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J.S. Bach: Johannes-Passion

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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Trinitatis: Bach Cantatas

Damien Guillon

Classical - Released March 31, 2023 | Alpha Classics

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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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Bach: Cantatas 54, 82 & 170 "Widerstehe", "Ich habe genug" & "Vergnügte Ruh"

Iestyn Davies

Classical - Released December 30, 2016 | Hyperion

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Mendelssohn: Elijah, Op. 70, MWV A 25

Bayerisches Staatsorchester

Classical - Released September 15, 2023 | Bayerische Staatsoper Recordings

Hi-Res Booklet Distinctions Choc de Classica
The labels lately established by performing organizations have mostly been devoted to new releases, but there is a lot to be said for using them to resurrect historical performances and recordings. These tend to be ones that have hung in people's memories for years, well after newer recordings have become available. There couldn't be a better example than this, the first historical release from the Bayerische Staatsoper Recordings label. It reproduces a 1984 live performance of Mendelssohn's Elijah, Op. 70 (as Elias, in the original German) from the Nationaltheater München, with the Bayerisches Staatsorchester conducted by Wolfgang Sawallisch and the Chor des städtischen Musikvereins zu Düsseldorf. (The latter got involved because the Bayerischer Staatsopernchor was unavailable, but the choir acquits itself very well, unsurprisingly inasmuch as Mendelssohn himself was one of its former directors.) Sawallisch was noted for his way with Mendelssohn, to which he brought a noble Germanic tinge that makes a nice contrast with the usual English performances. He never did better than here, and upon hearing that tapes of this performance had been preserved, he is said to have exclaimed, "Thank God they're safe!" The soloists, led by baritone Dietrich Fischer-Dieskau in the title role and tenor Peter Schreier as Obadiah, are superb. Another attraction is the hardbound booklet, delving deep into Mendelssohn's philosophical place in German society (really philosophical -- Hegel and his dialectic come into it). The live sound from 1984 is impressive indeed, with crowd noise kept to an absolute minimum in a superb display of discipline. A wonderful historical reissue that catches the intense drama in Mendelssohn's oratorio.© James Manheim /TiVo
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J.S. Bach : Matthäus-Passion, BWV 244 (Passion selon saint Matthieu)

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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Johann Sebastian Bach : Ich elender Mensch & Leipzig Cantatas (BWV 44, 48, 73, 109)

Collegium Vocale Gent

Cantatas (sacred) - Released December 20, 2013 | Phi

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles Classica
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Pergolesi: Stabat Mater - Bach: Cantatas BWV 54, 170

David Bates

Sacred Vocal Music - Released March 24, 2017 | harmonia mundi

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Bach: Christmas Oratorio

Orchestra Of The Age Of Enlightenment

Classical - Released November 3, 2013 | Hyperion

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Bach's Christmas Oratorio, BWV 248, consists of a set of six cantatas, each with recitatives, arias, and chorales. Moreover, some of the music for this most solemn of Christian events was borrowed by Bach from his own secular compositions. Yet it is a unified work, designated by Bach himself as an oratorio, and the biblical narration of the Christmas story is worked into the usual recitative-aria structure. There aren't any melodies in the work that are really among Bach's greatest hits, but the ingenuity of the work as a whole lies in the way it's somehow greater than the sum of its parts. That's the appeal of this version by conductor Stephen Layton, four of his favored soloists, the Choir of Trinity College, and the period-instrument Orchestra of the Age of Enlightenment: it respects the small scale of the parts but treats the whole with the weight it deserves. Credit for the balance must go to Layton, who has gotten splendid results from the youthful Cambridge choristers in a variety of common repertory works. They enunciate clearly, hit the pitches precisely, and generally seem excited by what they're doing. The always lively Orchestra of the Age of Enlightenment is a perfect partner for the choir, and the soloists engage with the text and convey the feeling that they're in the ballpark of the ones who originally performed the work. There are more daring performances of the Christmas Oratorio on all fronts, but few that make such a satisfying and musical impression.© TiVo
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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: Agnus Dei & Cantates BWV 54 & 170 - Œuvres de Purcell, Dowland, Parsons, Campian & Bartlett (Diapason n°558)

Alfred Deller

Classical - Released November 30, 2007 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Bach, J.S.: Cantatas, Vol. 4 (Gardiner)

Joanne Lunn

Classical - Released July 6, 2009 | SDG

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Bach, J.S.: Cantatas, Vol. 5 - Bwv 45, 46, 101, 102, 136, 178

Robin Tyson

Choral Music (Choirs) - Released September 1, 2008 | SDG

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Bach : Cantatas Vol. 14

Ton Koopman

Classical - Released January 1, 2003 | Challenge Classics