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Bach: Cantatas Vol 10 / Gardiner, English Baroque Soloists


Release Date: 11/08/2005 
Label:  Soli Deo Gloria Records   Catalog #: 110   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  William TowersJoanne LunnJames GilchristPeter Harvey
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque SoloistsMonteverdi Choir
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 2 Mins. 

CD not available: This title is currently only available as an MP3 download.  

Notes and Editorial Reviews

Volume 10 of the Cantata Pilgrimage series features the programs given in Potsdam and Wittenberg on the 29th and 31st of October, respectively. The first disc is devoted to three cantatas for the 19th Sunday after Trinity with BWV 90 (for Trinity 25) tossed in for good measure, while the second appropriately contains Bach’s two great Reformation Day cantatas (Nos. 79 and 80), separated by the brief, lively, and possibly incomplete No. 192. The three Trinity 19 cantatas are altogether more solemn, or at least begin that way. Coming a third of the year after the last major festival, these cantatas are concerned more with reassurance than exultation, and each concludes with a positive affirmation, and in the case of BWV 5, a triumphant one. Read more Best known of the three, by far, is Cantata 56, for bass. Here divorced from its customarily joined-at-the-hip partner, BWV 82, it confirms its status as one of the elite cantatas. The inclusion of No. 92 is a happy solution to a number of dilemmas. The year of the Pilgrimage did not have enough Sundays after Trinity to accommodate it; it fills out what might otherwise have been a short program, and it is a vigorous and effective foil for its more introspective discmates.

Again, the performances are superb. Personnel for the two concerts are consistent, apart from the addition of flutes, horns, timpani, and a bass sackbut for the second evening. The choir is made up of seven (count them) sopranos, one female and three male altos, four tenors, and three basses, without detectable loss of responsiveness and flexibility, and the solo quartet acquits itself admirably. Harvey’s BWV 56 is outstanding. Lunn and Towers, incidentally, pull double duty, singing in the choir as well as offering their solos.

As expected, Gardiner uses the original scoring––without Wilhelm Friedemann’s high trumpets––in Ein feste Burg (Cantata 80). Obviously it’s an (perhaps the) appropriate choice, but it set me to wondering about what seems to be an obsession among the period-practice set with composers’ first thoughts––their need to find the earliest version of any score, as if the original inspiration is automatically diminished by any subsequent modifications. We know that Bach’s music was nearly always created under the most intense pressure, and that he was constantly tinkering with it, usually out of necessity, but, who knows, perhaps out of conviction. I know that I, operating at a much lower level of inspiration, am continually tweaking whatever I happen to be working on. Recording artists, especially in the classical field, if they are successful enough, revisit music that they have already committed to disc. First thoughts are not invariably best. That’s why there are erasers on pencils and an Undo button on the Word toolbar. We’ll never know, of course, but isn’t it possible that Bach might have mentioned casually to his son that he wished he’d put some trumpets in that music he wrote for Reformation Sunday? Well, no matter. In fact, Gardiner does have a sonic surprise for us in Cantata 80, an unexpectedly prominent bass sackbut. And why not? The production is, as anticipated, exemplary. Most enthusiastically recommended.

FANFARE: George Chien
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Works on This Recording

1.
Wo soll ich fliehen hin?, BWV 5 by Johann Sebastian Bach
Performer:  William Towers (Countertenor), Joanne Lunn (Soprano), James Gilchrist (Tenor),
Peter Harvey (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1724; Leipzig, Germany 
Date of Recording: 10/29/2000 
Venue:  Live  Erlöserkirche, Potsdam, Germany 
Length: 21 Minutes 37 Secs. 
Language: German 
2.
Ich elender Mensch, wer wird mich erlösen vom Leibe dieses Todes, BWV 48 by Johann Sebastian Bach
Performer:  Joanne Lunn (Soprano), William Towers (Countertenor), James Gilchrist (Tenor),
Peter Harvey (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1723; Leipzig, Germany 
Date of Recording: 10/29/2000 
Venue:  Live  Erlöserkirche, Potsdam, Germany 
Length: 15 Minutes 56 Secs. 
Language: German 
3.
Ich will den Kreuzstab gerne tragen, BWV 56 by Johann Sebastian Bach
Performer:  William Towers (Countertenor), James Gilchrist (Tenor), Peter Harvey (Bass),
Joanne Lunn (Soprano)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1726; Leipzig, Germany 
Date of Recording: 10/29/2000 
Venue:  Live  Erlöserkirche, Potsdam, Germany 
Length: 20 Minutes 5 Secs. 
Language: German 
4.
Gott, der Herr, ist Sonn und Schild, BWV 79 by Johann Sebastian Bach
Performer:  James Gilchrist (Tenor), William Towers (Countertenor), Peter Harvey (Bass),
Joanne Lunn (Soprano)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1725; Leipzig, Germany 
Date of Recording: 10/31/2000 
Venue:  Live  Schlosskirche, Wittenberg, Germany 
Length: 15 Minutes 6 Secs. 
Language: German 
5.
Ein feste Burg ist unser Gott, BWV 80 by Johann Sebastian Bach
Performer:  Joanne Lunn (Soprano), William Towers (Countertenor), James Gilchrist (Tenor),
Peter Harvey (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: by 1744; Leipzig, Germany 
Date of Recording: 10/31/2000 
Venue:  Live  Schlosskirche, Wittenberg, Germany 
Length: 25 Minutes 9 Secs. 
Language: German 
6.
Es reisset euch ein schrecklich Ende, ihr sündlichen verächter, hin, BWV 90 by Johann Sebastian Bach
Performer:  James Gilchrist (Tenor), William Towers (Countertenor), Peter Harvey (Bass),
Joanne Lunn (Soprano)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1723; Leipzig, Germany 
Date of Recording: 10/29/2000 
Venue:  Live  Erlöserkirche, Potsdam, Germany 
Length: 12 Minutes 44 Secs. 
Language: German 
7.
Nun danket alle Gott, BWV 192 by Johann Sebastian Bach
Performer:  William Towers (Countertenor), Joanne Lunn (Soprano), James Gilchrist (Tenor),
Peter Harvey (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1730; Leipzig, Germany 
Date of Recording: 10/31/2000 
Venue:  Live  Schlosskirche, Wittenberg, Germany 
Length: 10 Minutes 40 Secs. 
Language: German 

Sound Samples

Ich elender Mensch, wer wird mich erlosen, BWV 48: Ich elender Mensch, wer wird mich erlosen (Chorus)
Ich elender Mensch, wer wird mich erlosen, BWV 48: Recitative: O Schmerz, o Elend, so mich trifft (Alto)
Ich elender Mensch, wer wird mich erlosen, BWV 48: Chorale: Solls ja so sein
Ich elender Mensch, wer wird mich erlosen, BWV 48: Aria: Ach lege das Sodom der sundlichen Glieder (Alto)
Ich elender Mensch, wer wird mich erlosen, BWV 48: Recitative: Hier aber tut des Heilands Hand (Tenor)
Ich elender Mensch, wer wird mich erlosen, BWV 48: Aria: Vergibt mir Jesus meine Sunden (Tenor)
Ich elender Mensch, wer wird mich erlosen, BWV 48: Chorale: Herr Jesu Christ, einiger Trost
Wo soll ich fliehen hin, BWV 5: Wo soll ich fliehen hin (Chorus)
Wo soll ich fliehen hin, BWV 5: Recitative: Der Sunden Wust hat mich nicht nur befleckt (Bass)
Wo soll ich fliehen hin, BWV 5: Aria: Ergiesse dich reichlich, du gottliche Quelle (Tenor)
Wo soll ich fliehen hin, BWV 5: Recitative: Mein treuer Heiland trostet mich (Alto)
Wo soll ich fliehen hin, BWV 5: Aria: Verstumme, Hollenheer (Bass)
Wo soll ich fliehen hin, BWV 5: Recitative: Ich bin ja nur das kleinste Teil der Welt (Soprano)
Wo soll ich fliehen hin, BWV 5: Chorale: Fuhr auch mein Herz und Sinn
Es reisset euch ein schrecklich Ende, BWV 90: Aria: Es reisset euch ein schrecklich Ende (Tenor)
Es reisset euch ein schrecklich Ende, BWV 90: Recitative: Des Hochsten Gute wird von Tag (Alto)
Es reisset euch ein schrecklich Ende, BWV 90: Aria: So loschet im Eifer der rächende Richter (Bass)
Es reisset euch ein schrecklich Ende, BWV 90: Recitative: Doch Gottes Auge sieht auf (Tenor)
Es reisset euch ein schrecklich Ende, BWV 90: Chorale: Leit uns mit deiner rechten Hand
Ich will den Kreuzstab gerne tragen, BWV 56: Aria: Ich will den Kreuzstab gerne tragen (Bass)
Ich will den Kreuzstab gerne tragen, BWV 56: Recitative: Mein Wandel auf der Welt (Bass)
Ich will den Kreuzstab gerne tragen, BWV 56: Aria: Endlich, endlich wird mein Joch (Bass)
Ich will den Kreuzstab gerne tragen, BWV 56: Recitative and Aria: Ich stehe fertig und bereit (Bass)
Ich will den Kreuzstab gerne tragen, BWV 56: Chorale: Komm, o Tod, du Schlafes Bruder
Gott der Herr ist Sonn und Schild, BWV 79: Gott der Herr ist Sonn und Schild (Chorus)
Gott der Herr ist Sonn und Schild, BWV 79: Aria: Gott ist unser Sonn und Schild! (Alto)
Gott der Herr ist Sonn und Schild, BWV 79: Chorale: Nun danket allet Gott
Gott der Herr ist Sonn und Schild, BWV 79: Recitative: Gottlob, wir wissen (Bass)
Gott der Herr ist Sonn und Schild, BWV 79: Aria Duet: Gott, ach Gott, verlass die Deinen nimmermehr! (Soprano, Bass)
Gott der Herr ist Sonn und Schild, BWV 79: Chorale: Erhalt uns in der Wahrheit
Nun danket alle Gott, BWV 192: Nun danket alle Gott (Chorus)
Nun danket alle Gott, BWV 192: Aria Duet: Der ewig reiche Gott (Soprano, Bass)
Nun danket alle Gott, BWV 192: Lob, Ehr und Preis sei Gott (Chorus)
Ein feste Burg ist unser Gott, BWV 80: Ein feste Burg ist unser Gott (Chorus)
Ein feste Burg ist unser Gott, BWV 80: Aria and Chorale: Alles, was von Gott geboren (Bass, Soprano)
Ein feste Burg ist unser Gott, BWV 80: Recitative and Aria: Erwage doch, Kind Gottes, die so grosse Liebe (Bass)
Ein feste Burg ist unser Gott, BWV 80: Aria: Komm in mein Herzenshaus (Soprano)
Ein feste Burg ist unser Gott, BWV 80: Chorale: Und wenn die Welt voll Teufel war
Ein feste Burg ist unser Gott, BWV 80: Recitative: So stehe dann bei Christi blutgefarbten Fahne (Tenor)
Ein feste Burg ist unser Gott, BWV 80: Aria Duet: Wie selig sind doch die, die Gott im Munde tragen (Alto, Tenor)
Ein feste Burg ist unser Gott, BWV 80: Chorale: Das Wort sie sollen lassen stahn

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