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Leipzig 1723 - Telemann | Graupner | Bach
Ælbgut
Classical - Released March 3, 2023 | Accentus Music
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Anti-Melancholicus
Alia Mens
Classical - Released March 10, 2023 | Paraty
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Bach, J.S.: Cantatas, Vol. 3 - Bwv 24, 71, 88, 93, 131, 185 and 177
Nathalie Stutzmann
Classical - Released January 1, 2000 | SDG
Bach's 199 surviving sacred cantatas form a repertoire of masterpieces that defy comprehension. It's not just that there are so many of them, it's that every one is unique, exemplified by the seven cantatas on the third volume of John Eliot Gardiner's Bach cantata pilgrimage, three for the Fourth Sunday after Trinity recorded at Tewkesbury Abbey and four for the Fifth Sunday after Trinity recorded at the Blasuiskirche in Muhlhausen.
The Tewkesbury cantatas feature a celebratory central choral sung by the strong-voiced Monteverdi Choir in Ein ungefärbt Gemute, BWV 24, a stately aria sung by lush-toned alto Nathalie Stutzman in Barmherziges Herze der ewigen Liebe, BWV 185, and a dancing aria cum trio sonata sung by dulcet-toned soprano Magdalena Kozená accompanied by a wonderfully lyrical obligato bassoon in Ich ruf zu dir, Herr Jesu Christ, BWV 177. The Muhlhausen cantatas are even richer, with the mournful triple-time chorale that opens Aus dem Tiefen rufe ich, Herr, zu dir, BWV 131, and the doleful chorale fantasia for soloists and choir that opens Wer nur den lieben Gott lasst walten, BWV 93, plus the blissful duet in Siehe, ich will viel Fischer aussenden, BWV 88, sung with pure, clear tone by alto William Towers and soprano Joanne Lunn. While listeners unfamiliar with the cantatas may initially be intimidated by the size and variety of these works, the sheer beauty of Bach's inspired settings will keep pulling them back.
As always in his Bach cantata pilgrimage, Gardiner stresses the bright and hopeful over the dark and despairing even in the gloomiest cantatas, and he elicits powerfully affecting but rhythmically flexible playing from the English Baroque Soloists even in the dourest movements. Despite the change in countries and venues, the digital sound here is close enough to spotlight the soloists and distant enough to encompass the ringing chorals.
© TiVo
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Cantates pour basse
Thomas E. Bauer
Vocal Music (Secular and Sacred) - Released October 14, 2013 | Oehms Classics
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J.S. Bach : Johannes-Passion (St John Passion)
La Petite Bande
Classical - Released March 2, 2012 | Challenge Classics
Hi-Res
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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Goldberg, Bach & Krebs: Kantaten, Missa Brevis & Magnificat
Florian Heyerick
Classical - Released April 3, 2012 | Ricercar
Booklet
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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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La Passion selon St Jean BWV 245
Leipzig St. Thomas Choir
Classical - Released February 4, 2013 | Rondeau
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Bach: Cantatas with violoncello piccolo
Christophe Coin
Classical - Released January 1, 1995 | naïve classique
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Bach, J.L.: Missa Brevis / Cantatas
Rheinische Kantorei
Choral Music (Choirs) - Released January 1, 2002 | CapriccioNR
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Bach : St John Passion, BWV 245
Frans Brüggen
Sacred Vocal Music - Released March 1, 2011 | Glossa
Booklet
Anyone seeking a reliable, historically informed rendition of J.S. Bach's St. John Passion would do well to consider this exceptional recording by Cappella Amsterdam and the Orchestra of the Eighteenth Century, conducted by early music pioneer Frans Brüggen. The high quality of the singing recommends it, especially the performances of Markus Schäfer as the Evangelist and Thomas Oliemans as Jesus, and the other soloists and chorus convey the story of the Passion of Christ with eloquence and gravitas. The original instruments and authentic period style of the playing give the instrumental parts a strikingly plangent quality, which is perhaps most vivid in the oboes, whose chains of suspensions are among the most affecting characteristics of this work. While the performers are all in top form, the recording process may be the one aspect listeners will question. The St. John Passion was recorded live in Rotterdam, Haarlem, and Leiden, so the quality of the sound is variable from one hall to the next, and highly echoic in many tracks. Ostensibly taken from the best takes of these performances, and assembled to give the impression of one event, there are nonetheless significant differences in the placement of the voices and in the closeness of the orchestra that may indicate some changes in microphone placement. Beyond these subtle points, this is still a terrific package that serves the music well and bears comparison with other period versions.
© TiVo
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Cantate Domino
Oscars Motettkör
Classical - Released January 1, 1976 | Proprius
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Stereophile: Record To Die For
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Bach: The Complete Organ Works Vol. 1
Johann Sebastian Bach
Classical - Released October 16, 2015 | Signum Records
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Booklet
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Bach : Contemplation
Anne Queffélec
Classical - Released January 8, 2009 | Mirare
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Bach Motets
Solomon's Knot
Classical - Released June 16, 2023 | Prospero Classical
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Oeuvres pour orgue (Édition 5.1)
Johann Sebastian Bach
Classical - Released October 23, 2012 | Aeolus
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Booklet
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La Clef du mois RESMUSICA
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Bach: Cantatas for Bass
Matthias Goerne
Classical - Released August 25, 2017 | harmonia mundi
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Booklet
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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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J.S. Bach: Magnificat & Christmas Cantata
Dunedin Consort
Classical - Released October 16, 2015 | Linn Records
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J., J.-Ch., J.-M Bach : Motetten
Vox Luminis
Sacred Vocal Music - Released May 18, 2015 | Ricercar
Hi-Res
Booklet
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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