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 J.S. Bach: Christ, unser Herr, zum Jordan kam, BWV 7 - Gustav Leonhardt
Közzététel: 2012. márc. 10.
Jean-Sébastien Bach - Johann Sebastian Bach (1685-1750)
Cantate - Kantate - Cantata
BWV 7 - Christ unser Herr zum Jordan kam
Fête de Saint Jean-Baptiste (24 juin)
Fest Johannes des Täufers (24. Juni)
Feast of St John the Baptist (June 24)
Première audition - Uraufführung - First perfomance
Leipzig - 24.06.1724
00:00 1. Chœur: Christ unser Herr zum Jordan kam
07:46 2. Aria (Basse): Merkt und hört, ihr Menschenkinder
13:26 3. Récitatif (Ténor): Dies hat Gott klar mit Worten
14:42 4. Aria (Ténor): Des Vaters Stimme ließ sich hören
19:20 5. Récitatif (Basse): Als Jesus dort nach seinen Leiden
20:41 6. Aria (Alto): Menschen, glaubt doch dieser Gnade
24:40 7. Choral: Das Aug allein das Wasser sieht
Alto - Alt - Alto: Paul Esswood
Ténor - Tenor - Tenor: Kurt Equiluz
Basse - Baß - Bass: Max van Egmond
King's College Choir Cambridge - David Willcocks
Leonhardt-Consort - Gustav Leonhardt
Enregistrement - Aufnahme - Recording (1971)
Peinture - Gemälde - Painting: Le Baptême du Christ (Jean-Baptiste Camille Corot) |
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 J.S. Bach: Bleib bei uns, denn es will Abend werden, BWV 6 - Karl Richter
Közzététel: 2014. ápr. 18.
J.S.Bach Cantata Bleib bei uns, denn es will Abend werden, BWV 6 Karl Richter
Cantata for Easter Monday
1. Chorus: Bleib bei uns, denn es will Abend werden 0:00
2. Aria (alto): Hochgelobter Gottessohn 6:12
3. Chorale (soprano): Ach bleib bei uns, Herr Jesu Christ 10:18
4. Recitative (bass): Es hat die Dunkelheit an vielen Orten 14:33
5. Aria (tenor): Jesu, laß uns auf dich sehen 15:29
6. Chorale: Beweis dein Macht, Herr Jesu Christ 19:49
Anna Reynolds Alt
Peter Schreier Tenor
Dietrich Fischer-Dieskau Bass
Munchener Bach Orchester
Karl Richter Conductor |
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 J.S. Bach: Wo soll ich fliehen hin, BWV 5 - Koopman
Közzététel: 2013. okt. 12.
J. S. Bach: Wo soll ich fliehen hin (BWV 5)
Cantata for the 19th Sunday after Trinity 1724
Amsterdam Baroque Orchestra & Choir
Ton Koopman
Sybilla Rubens, soprano
Annette Markert, alto
Christoph Prégardien, tenor
Klaus Mertens, bass
Chor: Wo soll ich fliehen hin
Recitativo (bass): Der Sünden Wust hat mich nicht nur befleckt
Aria (tenor): Ergieße dich reichlich, du göttliche Quelle
Recitativo (alto): Mein treuer Heiland tröstet mich
Aria (bass): Verstumme, Höllenheer
Recitativo (soprano): Ich bin ja nur das kleinste Teil der Welt
Choral: Führ auch mein Herz und Sinn |
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 J.S. Bach: Christ lag in Todesbanden, BWV 4 - Parrott
Közzététel: 2012. ápr. 30.
Johann Sebastian Bach (1685-1750)
Cantata BWV 4: Christ lag in Todesbanden (1707-1708)
1. Sinfonia
2. Christ lag in Todesbanden (Chorus) 01:22
3. Den Tod niemand zwingen kunnt (Duet: S, A) 05:34
4. Jesus Christus, Gottes Sohn (Aria: T) 08:51
5. Es war ein wunderlicher Krieg (Chorus) 10:49
6. Hier ist das rechte Osterlamm (Aria: B) 13:18
7. So feiern wir das hohe Fest (Duet: S, T) 15:53
8. Wir essen und leben wohl (Chorus) 17:34
Soloists:
Soprano: Emily Van Evera
Alto: Caroline Trevor
Tenor: Charles Daniels
Bass: David Thomas
Performed by Andrew Parrott and the Taverner Consort & Players.
"Christ lag in Todesbanden (Christ lay in the bonds of death) (BWV 4) is one of the earliest Bach cantatas known to us. It will have been written around 1707/1708, certainly before 1714. Although a chorale cantata--being based on Luther's hymn of 1524 with unaltered text--it nevertheless does not belong to the type characteristic of the later Bach (with inner movements in recitative and aria form), but to the archaic form of the chorale variation 'per omnes versus', i.e. the chorale melody is retained in all seven verses, sometimes unaltered, sometimes modified. No themes foreign to the chorale appear, only accompanying instrumental figures of motif character. A brief Sinfonia, in which the beginning of the hymn is heard, is followed by the individual verses of the chorale in the following arrangements:
1. Chorale chorus, melody in soprano, lower parts in imitation, violins in figurative accompaniment. Last line, "Hallelujah", expanded into motetic writing in quickened tempo.
2. Chorale concerto in a small number of parts (soprano, alto, continuo).
3. Trio movement for violins, tenor and continuo, chorale melody (in tenor, final line freely treated) figuratively accompanied.
4. Motetic chorus, chorale melody (Dorian B minor with an E minor movement) in the alto.
5. String writing with bass and continuo. Each line of the hymn first in the bass, then in the strings (1st violin), final line again freely treated.
6. Chorale concerto in a small number of parts (soprano, tenor, continuo).
7. Plain four-part chorale setting, doubled by instruments.
Unfortunately we only know the work from the parts of the repeat performances of 1724 (without cornett and trombones) and 1725; yet the composition does not seem to have undergone any very substantial change compared with the original version. Striking features are the work's clear symmetry (central axis: verse 4) and the strong connection between text and form, which also lets certain words stand out pictorially in the musical setting." - Alfred Dürr
Painting: Interior with Figure, Adriano Cecioni |
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 J.S. Bach: Ach Gott, wie manches Herzeleid, BWV 3 - Gardiner
Közzététel: 2013. jan. 16.
J. S. Bach: Ach Gott, wie manches Herzeleid (BWV 3) (Gardiner)
Cantata for the Second Sunday after Epiphany 1725
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Joanne Lunn, soprano
Richard Wyn Roberts, alto
Julian Podger, tenor
Gerald Finley, bass
Coro: Ach Gott, wie manches Herzeleid
Recitativo e chorale (soprano, alto, tenor, bass): Wie schwerlich läßt sich Fleisch und Blut
Aria (bass): Empfind ich Höllenangst und Pein
Recitativo (tenor): Es mag mir Leib und Geist verschmachten
Aria Duetto (soprano, alto): Wenn Sorgen auf mich dringen
Chorale: Erhalt mein Herz im Glauben rein |
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 J.S. Bach: Ach Gott, vom Himmel sieh darein, BWV 2 - Kuijken
Közzététel: 2013. jún. 1.
J. S. Bach: Ach Gott, vom Himmel sieh darein (BWV 2)
Cantata for the Second Sunday After Trinity 1724
La Petite Bande
Sigiswald Kuijken
Siri Thornhill, soprano
Petra Noskaiová, alto
Marcus Ullmann, tenor
Jan van der Crabben, bass
Coro: Ach Gott, vom Himmel sieh darein
Recitativo (tenor, bass): Sie lehren eitel falsche List
Aria (alto, violin solo): Tilg, o Gott, die Lehren
Recitativo (bass, strings): Die Armen sind verstört
Aria (tenor): Durchs Feuer wird das Silber rein
Chorale: Das wollst du, Gott, bewahren rein |
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 J.S. Bach: Wie schön leuchtet der Morgenstern, BWV 1 - Harnoncourt
Feltöltés: 2011. dec. 31.
Johann Sebastian Bach (1685-1750)
Cantata BWV 1: Wie schön leuchtet der Morgenstern (25 March 1725)
1. Wie schön leuchtet der Morgenstern (Chorus)
2. Du wahrer Gottes und Marien Sohn (Recitative: T) 09:36
3. Erfüllet, ihr himmlischen göttlichen Flammen (Aria: S) 10:33
4. Ein irdscher Glanz, ein leiblich Licht (Recitative: B) 15:43
5. Unser Mund und Ton der Saiten (Aria: T) 16:42
6. Wie bin ich doch so herzlich froh (Chorale) 24:04
Soloists:
Boy Soprano: Soloist of the Wiener Sängerknaben
Tenor: Kurt Equiluz
Bass: Max van Egmond
Performed by the Wiener Sängerknaben & Chorus Viennensis (Chorus Master: Hans Gillesberger), and Concentus Musicus Wien under the direction of Nikolaus Harnoncourt. Recorded by Teldec in 1970.
"Wie schön leuchtet der Morgenstern (How brightly gleams the morning star) (BWV 1), composed for the Festival of the Annunciation (25th March) 1725, is the last chorale of the Year II cycle, since texts in the customary form follow from Easter onward. Bach's unknown librettist has retained the outer verses, 1 and 7, of Philipp Nikolai's well-known hymn (1599) in their original wording, but rewritten the inner verses as recitatives and arias. Nikolai's hymn is only loosely connected with the Gospel reading for the day, the story of the Annunciation (Luke 1, 26-38). The last verse can most likely be interpreted as referring to the coming of the Saviour, and Bach's librettist has woven further allusions into the second movement. Yet the profound feeling and 'bridal' character of the hymn well suit the subject of the festival.
"The cantata has an unusual instrumental clothing; whereas the wind, with two horns and two oboes da caccia, emphasize the middle register only, the treble register is supplied by two concertante violins, in whose figurative playing the glittering of the 'morning star' is reflected. The opening chorus is a standard example of the form most frequently used in the chorale cantatas: the hymn melody, stated in long notes by the soprano (+ Horn I) with counter-points in the other choral parts, is built line by line into an independent orchestral texture.
"The recitatives, mainly set in syllabic declamation, are contrasted with the concertante, joyful agitation of the two arias, in which again instruments characteristic of the cantata's orchestration are given prominence: oboe da caccia in the third movement, concertante violins with solo-tutti contrasts in the fifth. The simple setting of the final chorale is enriched by the independent part for the second horn." - Alfred Dürr
Painting: Easter Morning, Caspar David Friedrich |
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