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Bach : St Matthew Passion (Matthäus-Passion)

René Jacobs

Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année
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Johann Sebastian Bach : Jesu, deine Passion

Philippe Herreweghe

Sacred Vocal Music - Released February 1, 2009 | harmonia mundi

Distinctions 5 de Diapason
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Bach : Weihnachts-Oratorium

Ruth Ziesak

Classical - Released December 27, 2000 | CapriccioNR

Distinctions Diapason d'or
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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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Leipzig 1723 - Telemann | Graupner | Bach

Ælbgut

Classical - Released March 3, 2023 | Accentus Music

Booklet
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Anti-Melancholicus

Alia Mens

Classical - Released March 10, 2023 | Paraty

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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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Bach : The Complete Works for keyboard, Vol. 2 / Part 2 (& Buxtehude, Pachelbel, Reinken)

Benjamin Alard

Classical - Released April 12, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
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Bach: Christmas Oratorio

Orchestra Of The Age Of Enlightenment

Classical - Released November 3, 2013 | Hyperion

Hi-Res Booklet
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, 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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Goldberg, Bach & Krebs: Kantaten, Missa Brevis & Magnificat

Florian Heyerick

Classical - Released April 3, 2012 | Ricercar

Booklet
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Bach: Kantaten BWV 78, 12, 150 & Motette 118

Akademia

Classical - Released July 14, 2009 | Zig-Zag Territoires

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Bach Cantatas

Christoph Spering

Classical - Released August 19, 2022 | deutsche harmonia mundi

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J.S. Bach: Christmas Oratorio

René Jacobs

Classical - Released October 20, 1997 | harmonia mundi

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Johann Ludwig Bach : Trauermusik

Hans-Christoph Rademann

Sacred Vocal Music - Released March 1, 2011 | harmonia mundi

Hi-Res Booklets Distinctions Diapason d'or - Choc de Classica

J.S. Bach Oratorio de Noël

Philippe Herreweghe

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

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J.S. Bach: Cantatas BWV 29, 119 & 120

Philippe Herreweghe

Classical - Released May 1, 2000 | harmonia mundi

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Famous Cantatas Vol. 1

Johann Sebastian Bach

Classical - Released October 8, 2021 | Challenge Classics

The first volume in a series devoted to Bach's famous Cantatas with Ton Koopman and the Amsterdam Baroque Orchestra & Choir. The project is chronologically structured, so this first volume includes Cantatas composed at Mulhausen in the years 1707 and 1708. It contains four great and well-known masterpieces which convey the mastery and maturity of the young Bach, aged 22 at that time. Bach's sacred music written before he went to Leipzig, including all the works from the Weimar period, are often lumped together as "early" cantatas. This is misleading and ultimately inaccurate, since Bach was already 38 years old when he moved from his post as Kapellmeister at Kothen in 1723 to take up his duties as Kantor at the Thomaskirche in Leipzig. In fact most of Bach's church cantatas date from the Leipzig years, as does the consolidation of the stylistic, structural and technical features of his vocal works, but even the repertoire composed before 1714 can hardly be termed "early". The works composed at Mühlhausen, demonstrating a striking sureness of touch in their conception, placed the 22-year-old among the finest contemporary cantata composers. Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and poly- and homophonic settings and forms. © Challenge Records
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Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt

Lóránt Najbauer

Classical - Released March 19, 2021 | Glossa

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The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, "Wer ist der, so von Edom kömmt", a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where – contrary to many passions of the time – the events of the last days of Jesus’ life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part: the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece. © Glossa