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Bach: Cantatas Vol 5 / Gardiner, English Baroque Soloists


Release Date: 11/11/2008 
Label:  Soli Deo Gloria Records   Catalog #: 147   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Robin TysonChristoph GenzBrindley SherrattJoanne Lunn,   ... 
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi ChoirEnglish Baroque Soloists
Number of Discs: 2 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews



BACH Cantatas: No. 178; 2,4,5 No. 136; 2,4,5 No. 45; 2,4,5 No. 46; 3,4,6 No. 101; 1,3,4,6 No. 102 2,4,5 John Eliot Gardiner (cond); Joanne Lunn (sop); 1 Robin Tyson (ct); 2 Read more class="ARIAL12">Daniel Taylor 3 (ct); Christoph Genz (ten); 4 Brindley Sherratt (bs); 5 Gotthold Schwarz (bs); 6 Monteverdi Ch; English Baroque Soloists (period instruments) SOLI DEO GLORIA 147 (2 CDs: 118:46 Text and Translation)


In his notes, Gardiner wonders what happened in late July 1724 that might have stirred the good Leipzig Cantor’s bile. Maybe he was only reacting to the lesson of the day (the eighth Sunday after Trinity), a stern admonition against hypocrisy, but the music he composed for Cantata 178, first performed on the 30th of that month, is relentlessly assertive, and, as Gardiner discovered, hard on the musicians. But in performance Gardiner soldiers on, and so does his ensemble, turning out a muscular realization of this potent score. Bach may have been a little calmer a year before, when he composed Cantata 136. The hypocrites were targets then, too, but the mood was more festive and the arias more forgiving. Likewise, in the middle of Cantata 45 a harsh warning, delivered in a blistering bass arioso, is mitigated by gentler arias. The impressive opening chorus of Cantata 46 is a complex melding of motet-style choral writing and concertato-style orchestral accompaniment.


The second disc skips ahead to the 10th Sunday after Trinity and its lesson of the destruction of Jerusalem, a warning (that word again!) of the imminence of judgment. The opening chorus of Cantata 46 is in two parts, the first of which, subtly altered, was the model for the Qui Tollis of the B-Minor Mass and immediately recognizable as such. Fewer listeners are likely to identify the opening chorus of Cantata 102 as the source of the Kyrie of the Latin Mass in G Minor, BWV 235. (Dear readers: Should you sense that I have a tendency to repeat myself, please keep in mind that I’ve had an unimpeachable example to follow.) God’s judgment is again delivered by a raging bass aria, this time amplified by the trumpet. But a soothing alto aria, paired with a recorder, assures the congregants of Jesus’s protection. The outstanding feature of Cantata 101 is its unremittingly serious opening chorus mourning the destruction of the city. The hope of redemption is offered in the soprano and alto duet that leads to the closing chorale. The aforementioned opening chorus of BWV 102 is a marvel, even for Bach. The aria for tenor and flute was later adapted for another short Mass, BWV 233, in F.


Gardiner brings his accustomed sensitivity and perhaps even a little more than his usual vitality to these performances. He may have been inspired by the exceptional challenge posed by Cantata 178. His musicians respond in kind. This is another winner from the Bach Cantata Pilgrimage.


FANFARE: George Chien
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Works on This Recording

1.
Wo Gott, der Herr, nicht bei uns hält wenn unsre Feinden toben, BWV 178 by Johann Sebastian Bach
Performer:  Robin Tyson (Countertenor), Christoph Genz (Tenor), Brindley Sherratt (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi Choir,  English Baroque Soloists
Period: Baroque 
Written: 1724; Leipzig, Germany 
Length: 18 Minutes 10 Secs. 
2.
Erforsche mich, Gott, und erfahre mein Herz, prüfe mich und erfahre, wie ich's meine, BWV 136 by Johann Sebastian Bach
Performer:  Robin Tyson (Countertenor), Christoph Genz (Tenor), Brindley Sherratt (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi Choir,  English Baroque Soloists
Period: Baroque 
Written: 1723; Leipzig, Germany 
Length: 15 Minutes 9 Secs. 
3.
Es ist dir gesagt, Mensch, was gut ist, BWV 45 by Johann Sebastian Bach
Performer:  Robin Tyson (Countertenor), Christoph Genz (Tenor), Brindley Sherratt (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi Choir,  English Baroque Soloists
Period: Baroque 
Written: 1726; Leipzig, Germany 
Length: 16 Minutes 22 Secs. 
4.
Nimm von uns, Herr, du treuer Gott, BWV 101 by Johann Sebastian Bach
Performer:  Joanne Lunn (Soprano), Daniel Taylor (Countertenor), Christoph Genz (Tenor),
Gotthold Schwarz (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi Choir,  English Baroque Soloists
Period: Baroque 
Written: 1724; Leipzig, Germany 
Length: 24 Minutes 26 Secs. 
5.
Herr, deine Augen sehen nach dem Glauben, BWV 102 by Johann Sebastian Bach
Performer:  Robin Tyson (Countertenor), Christoph Genz (Tenor), Brindley Sherratt (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  Monteverdi Choir,  English Baroque Soloists
Period: Baroque 
Written: 1726; Leipzig, Germany 
Length: 20 Minutes 44 Secs. 
6.
Schauet doch und sehet, ob irgend ein Schmerz sei, wie mein Schmerz, BWV 46 by Johann Sebastian Bach
Performer:  Daniel Taylor (Countertenor), Christoph Genz (Tenor), Brindley Sherratt (Bass)
Conductor:  John Eliot Gardiner
Orchestra/Ensemble:  English Baroque Soloists,  Monteverdi Choir
Period: Baroque 
Written: 1723; Leipzig, Germany 

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