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![Bayreuther Festspielorchester Wagner: Tannhäuser, WWV 70 (Live) [Orfeo d'Or]](https://static.qobuz.com/images/covers/23/83/4011790888323_100.jpg)
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Wagner: Tannhäuser, WWV 70 (Live) [Orfeo d'Or]
Bayreuther Festspielorchester
Opera - Released January 1, 1964 | Orfeo
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Bach: Early Cantatas, Vol. 1
Emma Kirkby
Cantatas (sacred) - Released February 1, 2005 | Chandos
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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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Schubert - Meta
Claire Huangci
Classical - Released October 20, 2023 | Berlin Classics
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Oeuvres pour orgue (Édition 5.1)
Johann Sebastian Bach
Classical - Released October 23, 2012 | Aeolus
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La Clef du mois RESMUSICA
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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
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Bach: Cantatas 54, 82 & 170 "Widerstehe", "Ich habe genug" & "Vergnügte Ruh"
Iestyn Davies
Classical - Released December 30, 2016 | Hyperion
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Bach : "Actus tragicus" (Cantatas BWV 4, 12, 106, 196)
Konrad Junghänel
Cantatas (sacred) - Released July 31, 2007 | harmonia mundi
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Diapason d'or de l'année -
Diapason d'or -
Choc du Monde de la Musique -
4F de Télérama
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Reinhard Keiser : Markuspassion
Joël Suhubiette
Masses, Passions, Requiems - Released March 23, 2015 | Mirare
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Diapason d'or -
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Convergences (Bach, Escaich, Ospital)
Thomas Ospital
Classical - Released February 9, 2018 | Tempéraments - Radio France
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5 de Diapason -
5 étoiles de Classica
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Johann Sebastian Bach : Orgelbüchlein (Petit livre de chorals liturgiques), BWV 599-644
André Isoir
Classical - Released January 1, 2013 | La Dolce Volta
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Diapason d'or
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Oeuvres pour orgue
Kei Koito
Classical - Released December 1, 2007 | Claves Records
Booklet
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5 de Diapason
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J.S. Bach: Christmas Oratorio
René Jacobs
Classical - Released October 20, 1997 | harmonia mundi
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Bach : Trios pour clavier et violon
Freddy Eichelberger
Classical - Released November 6, 2020 | L'Encelade
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4F de Télérama
Johann Sebastian Bach (1685-1750) composed the six sonatas for keyboard and violin while he was in the service of Prince Leopold of Koethen (1717-1723), a period during which he focussed on composing secular instrumental music. These works were not written as sonatas for a melodic instrument and a basso continuo part performed on the keyboard, as was usually the case at that time - on the contrary, Bach composed these six sonatas as works for three voices, so they are true trio sonatas. One voice is allocated to the violin and two to the two hands on the keyboard, thus giving greater contrapuntal depth to the way that they are composed. This fresh take on these sonatas for keyboard and violin comes with an invitation to embark upon an organ-driven journey. The six sonatas have been broken down into three duos, each of which has been recorded using a different organ and violin combination, whilst at the same time remaining stylistically consistent with the types of instrument with which was Bach was familiar and which he himself played. The three organs are all in the East German style and the violin-makers who inspired the instruments used for the recordings were contemporaries of Bach. The programme also offers a seventh sonata for keyboard and violin (BWV 1028) which is far better known in its version for the viola de gamba. It also includes two less well-known violin and basso continuo sonatas by Bach, inspired by the Italian style, which allows the listener to get a better grasp of the difference between the two compositional models. Freddy Eichelberger has also chosen to introduce the works for keyboard and violin with solo organ pieces which act rather like preludes, thus highlighting the sonority of each of the instruments. In this boxset, which celebrates a thirty-year musical bond between Odile Edouard and Freddy Eichelberger, it is used a different organ and violin pairing, so three sites were selected, mainly because they had the right kinds of organ for the project and were easily accessible. These were the church of Saint-Louis de Saint Étienne (Haute-Loire), the Temple de Boudry (Switzerland) and the Temple du Foyer de l’Âme (Paris). © L'Encelade
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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: Concertos for Recorder, Vol. 2
Erik Bosgraaf
Classical - Released September 28, 2022 | Brilliant Classics
Booklet
The Dutch recorder virtuoso Erik Bosgraaf goes back to Bach for this release, with an album of arrangements as imaginatively conceived and as stylishly executed as Volume 1 released in 2011. Bach wrote as inventively and idiomatically for the recorder throughout his career as he did for every other instrument at his disposal, but he left no concertos in which the instrument takes the spotlight. Thus Bosgraaf and his colleagues have attempted to answer the question, what might Bach have done, or could he have done, if he had written concertos for the recorder? They have looked for inspiration to the cantatas, and not only those where Bach composed memorable recorder parts such as the "Actus tragicus". For example, the album’s opening G major Concerto is compiled from a tenor aria of dazzling runs in BWV 74, followed by the sorrowful opening Sinfonia of BWV 12 (in which the oboe originally takes the starring role), and then another tenor aria from BWV 81 which graphically illustrates the foaming waves of a stormy sea. In both aria transcriptions, Bosgraaf’s recorder takes over the vocal line, and paints vivid sound pictures with his remarkable palette of tone colours. A second concerto in D major draws its music from similar sources, followed by a Partita which the Dutch musicologist has arranged from movements of the French Suite No. 5. A further concerto is supplied by a relatively "straight" transcription of the familiar (but sublime) A minor Concerto for Violin, BWV 1041. In between and around these inventive "new" concertos, Erik Bosgraaf and his colleagues offer contrasting standalone points of reflection with chorale and sinfonia transcriptions such as the spellbinding opening movement of Wir danken dir, BWV 29, which Bach himself arranged from the opening Preludio of the E major Partita for Solo Violin. There is every good reason to follow Bach’s example and arrange freely in celebration both of his unique powers of invention and expression, and of performers in full command of their recreative gifts. © Brilliant Classics
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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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Französischer Jahrgang, Vol. 1
Gutenberg Soloists
Classical - Released January 14, 2022 | CPO
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Complete cantatas of the "Französischer Jahrgang", Vol. 1. Another large-scale, incredibly exciting project is dedicated to the world’s very first complete recording of an entire annual cycle with seventy-two church cantatas by Georg Philipp Telemann for large ensembles (Frankfurt, 1714-1715). This project directed by Felix Koch is particularly committed to including young soloists chosen by the "Telemann Project" for performances together with proven specialists in the field of Baroque song. All the singers perform in the "Gutenberg Soloists" vocal ensemble consisting of twelve members – in accordance with the Baroque practice in which the solo parts are assumed by members of the choral ensemble. Things get underway with this first volume, which present cantatas from the late summer of 1715 and five additional cantatas for the Lenten season from the cycle known as the "French Annual cycle". A significant reference is found on the original Frankfurt organ part of Telemann’s cantata Gott schweige doch nicht also from this year: "Judica, from the French Annual Cycle". What this means is that the cantata concerned was intended for the Fifth Sunday in Lent; that is, it belonged precisely to the annual cycle of church cantatas that even contemporaries called "French" because of its style. This is music worth discovering – and not only by and for Telemann fans! © CPO
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Cantates de Noël
Jean Tubéry
Classical - Released October 1, 2007 | Ricercar
For an artist with an extensive discography who specializes in music of the Renaissance and Baroque, it's perhaps surprising that this is Jean Tubéry's first recording of J.S. Bach. One thing that may have drawn Tubéry to these works is the fact that he began his career as a cornetto player, and these are among the few Bach cantatas that include cornetti and trombones, instruments associated at the time with Christmas festivities. These works also prominently feature the distinctive sound of the oboe d'amore. The three cantatas written for the Christmas season are not among the composer's most familiar works, but they are very attractive and should be of interest to listeners who love Bach and Baroque choral and vocal music, as well as anyone looking for Christmas music beyond traditional fare. Written in the first few years of Bach's tenure at the Thomaskirche in Leipzig, these cantatas consist of choruses, arias, and recitatives on the themes of the Nativity and of the pious individual's response to it. Tubéry leads the instrumental ensemble Les Agrémens and Choeur de Chambre de Namur in disciplined but lively performances of the pieces. He brings a springy energy to music, particularly in the contrapuntal sections. The soloists, drawn from the chamber choir, have light, pleasant, agile voices well suited to this repertoire. Ricercar's sound is clean and atmospheric, with good balance.© TiVo
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Ex Libris, The Musical Library of J. S. Bach
Jean Tubéry
Classical - Released January 1, 2001 | naïve classique
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