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Philippe Pierlot - J.S. Bach : Consolatio

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J.S. Bach : Consolatio

Ricercar Consort - Philippe Pierlot

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The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written.

For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty.

Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz

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J.S. Bach : Consolatio

Philippe Pierlot

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Cantata, BWV 75 "Die Elenden sollen essen" (Johann Sebastian Bach)

1
Prima parte: I. Chorus. Die Elenden sollen essen
Ricercar Consort
00:04:33

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

2
Prima parte: II. Recitativo. Was hilft des Purpurs Majestät (Bass)
Ricercar Consort
00:00:58

Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

3
Prima parte: III. Aria. Mein Jesus soll mein alles sein (Tenor)
Ricercar Consort
00:04:59

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

4
Prima parte: IV. Recitativo. Gott stürzet und erhöhet (Tenor)
Ricercar Consort
00:00:33

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

5
Prima parte: V. Aria. Ich nehme mein Leiden mit Freuden auf mich (Soprano)
Ricercar Consort
00:04:49

Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

6
Prima parte: VI. Recitativo. Indes schenkt Gott ein gut Gewissen (Soprano)
Ricercar Consort
00:00:32

Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

7
Prima parte: VII. Chorale. Was Gott tut, das ist wohlgetan
Ricercar Consort
00:01:43

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

8
Seconda parte: VIII. Sinfonia
Ricercar Consort
00:02:18

Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

9
Seconda parte: IX. Recitativo. Nur eines kränkt ein christliches Gemüte (Alto)
Ricercar Consort
00:00:46

Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

10
Seconda parte: X. Aria. Jesus macht mich geistlich reich (Alto)
Ricercar Consort
00:02:22

Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

11
Seconda parte: XI. Recitativo. Wer nur in Jesu bleibt (Bass)
Ricercar Consort
00:00:27

Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

12
Seconda parte: XII. Aria. Mein Herze glaubt und liebt (Tenor)
Hans-Jörg Mammel
00:03:50

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

13
Seconda parte: XIII. Recitativo. O Armut, der kein Reichtum gleicht (Tenor)
Hans-Jörg Mammel
00:00:33

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

14
Seconda parte: XIV. Chorale. Was Gott tut, das ist wohlgetan
Philippe Pierlot
00:01:51

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

Cantata, BWV 22 "Jesus nahm zu sich die Zwölfe" (Johann Sebastian Bach)

15
I. Concerto. Jesu nahm zu sich die Zwölfe (Tenor, Bass)
Mathias Vieweg
00:04:37

Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

16
II. Aria. Mein Jesu, ziehe mich nach dir (Alto)
Carlos Mena
00:04:42

Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

17
III. Recitativo. Mein Jesu, ziehe mich, so werd ich laufen (Bass)
Mathias Vieweg
00:02:14

Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

18
IV. Aria. Mein alles in allem, mein ewiges Gut (Tenor)
Hans-Jörg Mammel
00:03:11

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

19
V. Chorale. Ertöt uns durch dein Güte
Philippe Pierlot
00:02:05

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

Cantata, BWV 127 "Herr Jesu Christ, wahr’ Mensch und Gott" (Johann Sebastian Bach)

20
I. Chorus. Herr Jesu Christ, wahr’ Mensch und Gott
Philippe Pierlot
00:05:16

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

21
II. Recitativo. Wenn alles sich zur letzten Zeit entsetzet (Tenor)
Hans-Jörg Mammel
00:01:14

Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

22
III. Aria. Die Seele ruht in Jesu Händen (Soprano)
Hannah Morrison
00:07:40

Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

23
IV. Recitativo. Wenn einstens die Posaunen schallen (Bass)
Mathias Vieweg
00:03:57

Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

24
V. Chorale. Ach Herr, vergib all unsre Schuld
Philippe Pierlot
00:00:53

Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer

Mirare Mirare

Album Description

The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written.

For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty.

Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz

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