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J. S. Bach : Erbarme dich

A Nocte Temporis - Reinoud Van Mechelen

Classical - Released October 21, 2016 | Alpha Classics

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Bachkantate, BWV 55 - Ich armer Mensch, ich Sündenknecht (Live)

Chor der J.S. Bach-Stiftung

Vocal Music (Secular and Sacred) - Released January 31, 2020 | J. S. Bach-Stiftung

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Bach: Solo Cantatas for Alto and Tenor

Amsterdam Baroque Orchestra & Choir

Classical - Released April 24, 2008 | Challenge Classics

One of the seemingly endless possibilities for programming Bach's cantatas, this 2008 Antoine Marchand disc drawn from Ton Koopman and the Amsterdam Baroque Orchestra & Choir's survey of the complete surviving cantatas joins five works featuring either alto or tenor soloists. The first two works here feature Polish alto Bogna Bartosz, the third German alto Andreas Scholl, the fourth German tenor Christoph Prégardien, and the fifth -- a single aria for an unspecified occasion -- Bartosz again. As in all Koopman's Bach recordings, these are always entirely successful if not entirely predictable performances. Organist Koopman is a canny Bach conductor, leading performances from the keyboard that combines both the spirituality and humanity of Bach's music. The soloists are uniformly excellent, though they may not be to every listener's taste. Though most will enjoy Prégardian's doleful account of the aria "Ich armer Mensch, ich Sündenknecht" from the cantata of the same name, as well as Bartosz's soulful reading of the arioso "Gott soll allein mein Herze haben" from the cantata Gott soll allein mein Herze haben, some may have trouble adjusting to Scholl's virtuosic but slightly arch performance of "Wer Sünde tut, der ist vom Teufel" from the cantata Widerstehe doch der Sünde. Recorded in bright, vivid digital sound, this disc will serve to introduce listeners to Koopman's way with Bach. © TiVo
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J.S. Bach: Ich armer Mensch, ich Sündenknecht, BWV 55

Netherlands Bach Collegium

Classical - Released March 4, 2024 | Brilliant Classics

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Bach: Cantatas, Vol. 12

James Gilchrist

Choral Music (Choirs) - Released October 26, 2010 | SDG

Cantates (Intégrale, volume 1)

Sophie Karthäuser

Classical - Released January 1, 2006 | Accent

Distinctions 5 de Diapason
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Trinitatis: Bach Cantatas

Damien Guillon

Classical - Released March 31, 2023 | Alpha Classics

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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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Oeuvres pour orgue (Édition 5.1)

Johann Sebastian Bach

Classical - Released October 23, 2012 | Aeolus

Hi-Res Booklet Distinctions La Clef du mois RESMUSICA
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J., J.-Ch., J.-M Bach : Motetten

Vox Luminis

Sacred Vocal Music - Released May 18, 2015 | Ricercar

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Read the graphics carefully: no motets by Johann Sebastian Bach (except for one piece generally attributed to Johann Christoph Bach, but possibly the work of J.S.) are included here. Instead there are works by three of J.S. Bach's ancestors in the 17th century, including the very first composer in the 250-year Bach musical clan, Johann Bach (1604-1673). It's usually the Bach sons whose music is recorded, and all three of these composers qualify as obscure. Considering the fact that J.S. Bach set himself the task of compiling this music and obviously admired some of it, there will be reason enough for many buyers to acquire this Outhere release. There are certainly flashes of the characteristic Bach genius in a few of these works. Try the Johann Michael Bach motet Halt, was du hast (CD 1, track 7), and note the complexity with which the chorale Jesu, meine Freude is treated: it's hard not to think that the younger Bach had this in mind when he approached the chorale himself in the motet medium. The music on the album traces the passage of Italian styles across Germany while remaining firmly rooted in the chorale tradition, and the composers' flexibility in combining these elements must have had a general impact on the most talented Bach of them all. The performances of the small Vox Luminis choir with the Scorpio Collectief -- a quintet of winds and brasses with organ continuo -- are generally sparse, with one voice per part. This is questionable in music that took the great cathedral choirs of Venice for its performance model, but it's listenable and puts across the stylistic distinctions effectively. Recommended for Bach fans.© 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: The Complete Works for Keyboard, Vol. 7: Orgelbüchlein, BWV 599-644 (with choir)

Benjamin Alard

Choral Music (Choirs) - Released October 14, 2022 | harmonia mundi

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With its forty-five chorale preludes, the Orgelbüchlein bears witness to a mastery of the art of improvisation on the organ, as the congregation heard it at the time before singing the hymn in its turn. It was a tempting experiment to revive this primary function: by collaborating with the combined forces of the Ensemble Vocal Bergamasque and the Maîtrise de Notre-Dame de Paris, Benjamin Alard gives the "little organ book" its full significance and expressive power. © harmonia mundi
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Bach: Redemption

Anna Prohaska

Classical - Released June 26, 2020 | Alpha Classics

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Anna Prohaska asked Wolfgang Katschner and the Lautten Compagney at the outset of the coronavirus crisis whether they shouldn’t spontaneously organize a musical get-together in this period. This has now resulted in "Redemption". This is a sequence of music selected solely from Bach cantatas, compiled in keeping with the aforenamed conceptual association. "Redemption" has multiple meanings, for instance: can music give us consolation in times of sickness and crisis; can it open up emotional and contemplative spaces for us; is it redemptive for musicians to be the “instruments” in engendering music and therefore spirituality… ? Besides Anna Prohaska as soloist and three other singers, "Redemption" features a larger group of musicians – around twenty instrumentalists. These musicians serve a dual role: they expertly accompany the arias that Anna Prohaska sings and they also represent the concept of human interaction and a shared collective experience which has been missing during these times. © Alpha Classics
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J.S. Bach: St. Matthew Passion, BWV 244

Bach Collegium Japan

Classical - Released February 7, 2020 | BIS

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“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
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Bach, J.S.: Cantatas, Vol. 21 - Bwv 1, 22, 23, 54, 127, 159, 182

Ruth Holton

Choral Music (Choirs) - Released January 1, 2000 | SDG

This two-disc set is volume 21 in conductor John Eliot Gardiner's series of recordings of Bach's complete sacred cantatas -- a project dubbed "The Bach Cantata Pilgrimage" because each disc preserves a complete concert given at different locations around the world. On the first disc, recorded at King's College Chapel in Cambridge on March 5, 2000, Gardiner and his Monteverdi Choir and his period instrument English Baroque Soloists present four cantatas composed for Quinquagestima Sunday. On the second disc, recorded at Walpole St. Peter in Norfolk on March 26, 2000, Gardiner and his forces present three cantatas composed for the Annunciation and Palm Sunday. For fans of the conductor, his return to Bach's music after years of exploring more recent repertoire -- remember his recording of Rachmaninov's Symphonic Dances? -- will be a return to the music he does best. And it's true that Gardiner's Bach performances have a lightness of touch and a depth of feeling that few of his recordings of later music can match. But the greatest virtue of Gardiner's Bach performances is their wholly devotional character. Whatever the cantata and whomever the vocal soloists, Gardiner's Bach is performed, as it were, on its knees with hands folded and head bent. So while those disinclined to credit the conductor with much feeling for later music may be tempted to dismiss his Bach for the same flaw, they will find little to object to here where, as the notes indicate, everything is done Soli Deo Gloria (For the sole glory of God). Monteverdi Production's sound is full, warm, deep, and detailed. © TiVo
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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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J.S. Bach: Johannes-Passion

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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J.S. Bach: Matthäus-Passion BWV 244

Gustav Leonhardt

Sacred Vocal Music - Released January 2, 1990 | deutsche harmonia mundi

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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