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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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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: Cantatas for Soprano

Miriam Feuersinger

Vocal Music (Secular and Sacred) - Released February 4, 2022 | Christophorus

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Heavenly Bach - Arias & Cantatas of J.S. Bach

Amanda Forsythe

Classical - Released November 18, 2022 | Avie Records

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Jeannette Sorrell, baroque orchestra Apollo’s Fire, soprano Amanda Forsythe and the music of J. S. Bach create a divine musical partnership. "Heavenly Bach" pairs two of the composer’s most popular cantatas, interspersed with two sublime arias from the St. John Passion. In Jauchzet Gott in allen Landen!, Forsythe’s dazzling virtuosity hits the high notes whilst the secular "Wedding Cantata" exudes a joyous and evocative marriage in springtime, for a result that is heavenly indeed. © AVIE Records
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Bach: Cantatas BWV 29, 61 & 140

Nikolaus Harnoncourt

Cantatas (sacred) - Released November 13, 2009 | deutsche harmonia mundi

Distinctions 3F de Télérama
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Bach : Weihnachts-Oratorium

Ruth Ziesak

Classical - Released December 27, 2000 | CapriccioNR

Distinctions Diapason d'or
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Bach, J.S.: Cantatas, Vol. 14 - Bwv 40, 91, 110, 121

Katherine Fuge

Classical - Released January 1, 2000 | SDG

Are these the best, the deepest, the profoundest -- in a word, the greatest -- recordings of these four Bach cantatas ever made? What a silly question! Indeed, what an utterly beside-the-point question and surely a question that neither the conductor, the performers, or even the composer would ever have thought to ask. The real question is: are these recordings musically, emotionally, and spiritually honest recordings, that is, do they capture the true essence of the works? And the answer to that question is a grateful "yes." While John Eliot Gardiner has not always been ideally matched with the repertoire he's recorded -- does anyone recall his Janácek Sinfonetta or Rachmaninov Symphonic Dances? -- he has always been ideally suited to the music of the Baroque -- who cannot recall his Monteverdi Vespers or his Handel Messiah? -- and his series of Bach cantatas has been as good as the best things he's ever recorded. In these performances with the Monteverdi Choir and the English Baroque Soloists recorded in New York on Christmas 2000, Gardiner has created recordings that may or may not be in the same league with Richter, Harnoncourt, Leonhardt, or Koopman but that are certainly absolutely musically, emotionally, and spiritually as one with the works. The beauty of the melodies, the clarity of the part writing, the rightness of the harmonies, the lightness of the rhythms, the color of the scoring? All are as one with the music. The joy, the sorrow, the exaltation, the anguish, the excitement? All are as one with the texts. The awe, the dread, the glory, the wonder, the bliss? All are as one with Bach's fusion of music and texts. Are these then the best recordings of these four Bach cantatas ever made? Does it really matter? Anyone who loves these cantatas will love this disc. © TiVo
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Bach: Cantatas, Vol. 52

Masaaki Suzuki

Classical - Released December 4, 2012 | BIS

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As Japanese conductor Masaaki Suzuki's magisterial cycle of Bach's complete cantatas nears its end, there have been some obscure works, albeit performed as precisely and elegantly as usual. It may come as a surprise, then, to notice that Suzuki has saved arguably the most famous Bach cantata of all, the Cantata No. 140, Wachet auf, ruft uns die Stimme, BWV 140, almost for last. The cantata is presented along with two other cantatas Bach composed in Leipzig in the 1730s and 1740s, and the album as a whole is as good a place to start with this series as any other. Indeed, the opening chorale of the work serves as an excellent demonstration of the virtues of Suzuki's series, with the intricately interlocking instrumental parts under the fugue carved out with startling delicacy. The chorale theme when it returns is taken quite quickly, while the arias are given space, resulting in a vivid set of contrasts without the application of operatic drama. The soloists themselves are familiar ones from those who have been following the set, and they haven't flagged with time; soprano Hana Blaziková's voice has a silvery edge that seems tailor-made for Suzuki's style. The other two cantatas, the tuneful Cantata No. 129, Der Herr ist mein getreuer Hirt, BWV 129, and the sizable Cantata No. 29, Wir danken dir, Gott, wir danken dir, are not as famous as the Cantata No. 140, but each yields many delights here. As throughout the series, Suzuki's end product reflects hard work of the best kind.© TiVo
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J.S. Bach: Christmas Oratorio

René Jacobs

Classical - Released October 20, 1997 | harmonia mundi

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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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Bach Interpreted: Piano Variations on Bach Chorales (Deluxe Release)

Chad Lawson

Classical - Released April 29, 2016 | Hillset Records

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Beethoven: 9 Symphonies

Leonard Bernstein

Symphonies - Released January 2, 1980 | Deutsche Grammophon (DG)

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Trinitatis: Bach Cantatas

Damien Guillon

Classical - Released March 31, 2023 | Alpha Classics

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Abbado: Beethoven

Claudio Abbado

Classical - Released February 10, 2023 | Deutsche Grammophon (DG)

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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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The Imaginary Music Book of J.S. Bach

Café Zimmermann

Classical - Released October 1, 2021 | Alpha Classics

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Johann Sebastian Bach has made the reputation of Café Zimmermann ever since the ensemble was formed in 1999. This new recording presents the music of the Kantor from a different angle, that of the notebooks in which musicians wrote down pieces and movements they particularly liked. This recording brings together works composed by Bach in the late 1740s which may be described as intimate in character, including the famous Trio Sonata from his Musical Offering. The Baroque idiom of this "experimental" sonata is contextualised by the innovative style developed by his son Carl Philipp Emanuel in one of his own trio sonatas. A number of arias by J. S. Bach are also presented here with exclusively instrumental forces. Under the direction of violinist Pablo Valetti and harpsichordist Céline Frisch, the ensemble even ventures into Mozartian territory with the Aria and Fugue, K. 404a, taken from two pieces by Bach that Mozart himself had annotated and arranged in his own musical notebook. Finally, a chorale that Bach was particularly fond of, a three-part fugue played here by harpsichord and flute. Carl Philipp Emanuel had it printed at the end of his father’s musical testament, The Art of Fugue: "Before thy throne I now appear". © Alpha Classics
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Bach (Heinrich, J. Christoph, J. Michael, J. Sebastian) : Kantaten

Vox Luminis

Classical - Released June 14, 2019 | Ricercar

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After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz