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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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Kantaten im Januar

Anna Gschwend

Chamber Music - Released January 15, 2021 | Accent

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Sigiswald Kuijken's Bach cantata recordings, and in particular his complete series for Accent which culminated almost a decade ago now, haven't enjoyed quite the degree of international attention garnered by those of John Eliot Gardiner and Masaaki Suzuki with their own respective series, and this perhaps isn't completely surprising when Kuijken has consistently championed the one-voice-to-a-part approach. After all, even if one can get on board with one-to-a-part from a historical accuracy perspective, many find it a little harder to get on board with from a pleasure-listening angle, when the casualty of all that authenticity is textural variety – and indeed there's evidence that Bach himself was often frustrated by the slim vocal forces at his disposal. As ever, therefore, this three-strong, January-shaped return to the cantatas – for the third Sunday after Epiphany and the Sunday Septuagesima (the third Sunday before the start of Lent) - features one voice to a part, with La Petite Bande correspondingly chamber-forced. Also worth flagging up is that Kuijken has opted for a female rather than a male alto soloist. Inevitably therefore, the choruses lack the punch you'll hear from multi-voice offerings. However what you lose in weight, you gain in nimbleness, and the vocal performances here are all both enjoyable and text-aware. Likewise, the sound from La Petite Bande is sprightly, mostly attractive of tone, and with perhaps slightly less bite than heard from The English Baroque Soloists. The church acoustic meanwhile comes across with naturalness and a gentle bloom, and on the whole a good balance between parts, although the busy cello lines of BWV 92's Das Brausen von den rauhen Winden do rather cry out for a little more engineering love. If intimate, one-to-a-part Bach is of interest, this is certainly worth a listen. © Charlotte Gardner/Qobuz
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J.S. Bach: Herr, wie du willt, so schick's mit mir, BWV 73

Netherlands Bach Collegium

Classical - Released January 23, 2022 | Brilliant Classics

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Bach: Was mein Gott will - Cantatas BWV 5, 33, 94, 111, 113, 135, 178

Christoph Spering

Classical - Released November 17, 2023 | deutsche 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
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BACH, J.S.: Cantatas, Vol. 9 (Gardiner)

Frances Bourne

Choral Music (Choirs) - Released September 22, 2009 | SDG

J.S. Bach La Passion selon Saint-Jean

Karl Forster

Classical - Released February 16, 2018 | Warner Music Group - X5 Music Group

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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, J.S.: Cantatas - BWV 211, 212 (Schreier)

Peter Schreier

Cantatas (secular) - Released January 1, 1977 | Corona Classics Collection

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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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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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Anti-Melancholicus

Alia Mens

Classical - Released March 10, 2023 | Paraty

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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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Bach : "Actus tragicus" (Cantatas BWV 4, 12, 106, 196)

Konrad Junghänel

Cantatas (sacred) - Released July 31, 2007 | harmonia mundi

Distinctions Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - 4F de Télérama
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J. S. Bach: St John Passion

Concerto Copenhagen

Classical - Released February 24, 2023 | Berlin Classics

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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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J.S. Bach : Johannes-Passion (St John Passion)

La Petite Bande

Classical - Released March 2, 2012 | Challenge Classics

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Veteran Dutch historical-instrument specialist Sigiswald Kuijken adopts a version of the one-voice-per-part procedure in this performance of Bach's St. John Passion, BWV 245, using four soloists and another quartet for the "ripieno" or choral passages. Refreshingly, he doesn't even try to claim historical authenticity for this in the interview-format notes, pointing instead to the "extremely natural balance with the instrumental ensemble" and the "textual expressivity his approach permits." He even concedes that for a major performance of this work, Bach would likely have had larger forces available. If you believe that the contrast between German Lutheran chorus and Italianate melody lies at the heart of Bach's appeal, forming a richness unparalleled since Albrecht Dürer infused Italian color into the severe German figures of his paintings, then look elsewhere. For the adherent of Kuijken's approach, however, this St. John Passion merits consideration, as much for the unexpected instrumental details emerging from Kuijken's La Petite Bande as for the work of the soloists; alto Petra Noskaiová is superb, but the others are a mixed bag. The sound, from Belgium's Academiezaal concert hall, is a major plus. © TiVo
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The New Organ at St. Stephen’s Cathedral, Vienna

Konstantin Reymaier

Classical - Released October 2, 2020 | Universal Music GmbH

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