WGBH Radio WGBH Radio theclassicalstation.org

Bach: Cantatas Vol 43 / Suzuki, Bach Collegium Japan


Release Date: 05/26/2009 
Label:  Bis   Catalog #: 1761   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Robin BlazeGerd TürkHana BlazikovaPeter Kooy
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Number of Discs: 1 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

3320680.az_BACH_Cantatas_57_1.html

BACH Cantatas: No. 57; 1,4 No. 110; 1,2,3,4 No. 151 1,2,3,4 Masaaki Suzuki, cond; Hana Blažíková (sop); 1 Robin Blaze (ct); 2 Read more class="ARIAL12"> Gerd Türk (ten); 3 Peter Kooij (bs); 4 Bach Collegium Japan (period instruments) BIS 1761 (Hybrid multichannel SACD: 62:28 Text and Translation)


On we go to the 43rd release in this, probably the best series of Bach’s cantatas going, at least in Super Audio. (I still like Gardiner’s series a lot, though it will not be complete.) But Suzuki, far more than chief competitor Ton Koopman, has given us a set for the ages, not only performed with consummate style, historical considerations, and musical substance, but with a feeling for these seminal religious works that transcends the merely mechanical presentation that we so often—too often—hear.


These three pieces are reached through the way-back machine in the year 1725, smack in the middle of Christmas season, enjoyed by Bach and congregants during his third year in Leipzig. The court poet Georg Christian Lehms supplied the texts for these pieces from a collection published in 1711.


No. 110, “Then was our mouth filled with laughter,” was first performed at the early service on Christmas day, celebrating the incarnation of God made man. It is a very festive work whose opening chorus is based on an early version of the fourth orchestral suite, BWV 1069. Flutes, trumpets, and drums grace the various movements in a work of truly joyous provenance. “Blessed is the man” (No. 57) was given the day after Christmas the same year, on the feast that in the West traditionally has been dedicated to St. Stephen the Protomartyr (in the East it is celebrated on the third day after). The texts are taken from the Acts of the Apostles where the stoning of Stephen is writ, and other texts quote Christ’s bemoaning of Jerusalem as a city that persecutes and kills the prophets. Though the ending of the cantata manages a semblance of joy, the overall tone is quite subdued compared to No. 110.


“Sweet consolation, my Jesus is coming” (No. 151) is for the third day following Christmas, with the text referring to the consolation of Jesus’ return. The opening movement is the highlight of this work, and in effect dominates the whole structure. Though abbreviated in text, at eight and one-half minutes it comprises the majority of this cantata, even in five movements. The movement is essentially tripartite in form, with a wonderful 12/8 section serving as bookends, one of the best things Bach ever penned. The last chorale serves as an appropriately uplifting conclusion to the three day Christmas festival.


You might even consider this release as a Christmas gift instead of the usual carols. I sure wouldn’t mind. Standards have not slipped an inch. Easily recommended.


FANFARE: Steven E. Ritter
Read less

Works on This Recording

1. Unser Mund sei voll Lachens, BWV 110 by Johann Sebastian Bach
Performer:  Robin Blaze (Countertenor), Gerd Türk (Tenor), Hana Blazikova (Soprano),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1725; Leipzig, Germany 
2. Selig ist der Mann, der die Anfechtung erdulet, BWV 57 by Johann Sebastian Bach
Performer:  Robin Blaze (Countertenor), Gerd Türk (Tenor), Hana Blazikova (Soprano),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Written: 1725 
3. Süsser Trost, mein Jesus kömmt, BWV 151 by Johann Sebastian Bach
Performer:  Hana Blazikova (Soprano), Gerd Türk (Tenor), Robin Blaze (Countertenor),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Written: 1725 

Sound Samples

Unser Mund sei voll Lachens, BWV 110: Unser Mund sei voll Lachens (Chorus, Soprano, Alto, Tenor, Bass)
Unser Mund sei voll Lachens, BWV 110: Aria: Ihr Gedanken und ihr Sinnen (Tenor)
Unser Mund sei voll Lachens, BWV 110: Recitative: Dir, Herr, ist niemand gleich (Bass)
Unser Mund sei voll Lachens, BWV 110: Aria: Ach Herr, was ist ein Menschenkind (Alto)
Unser Mund sei voll Lachens, BWV 110: Duet: Ehre sei Gott in der Hohe (Soprano, Tenor)
Unser Mund sei voll Lachens, BWV 110: Aria: Wacht auf, ihr Adern und ihr Glieder (Bass)
Unser Mund sei voll Lachens, BWV 110: Chorale: Alleluja! Gelobt sei Gott (Chorus)
Selig ist der Mann, BWV 57: Aria: Selig ist der Mann, der die Anfechtung erduldet (Bass)
Selig ist der Mann, BWV 57: Recitative: Ach! dieser susse Trost (Soprano)
Selig ist der Mann, BWV 57: Aria: Ich wunschte mir den Tod (Soprano)
Selig ist der Mann, BWV 57: Aria: Ja, ja, ich kann die Feinde schlagen (Bass)
Selig ist der Mann, BWV 57: Recitative: In meiner Schoss liegt Ruh und Leben (Soprano, Bass)
Selig ist der Mann, BWV 57: Aria: Ich ende behende mein irdisches Leben (Soprano)
Selig ist der Mann, BWV 57: Chorale: Richte dich, Liebste, nach meinem Gefallen (Chorus)
Susser Trost, mein Jesus kommt, BWV 151: Aria: Susser Trost, mein Jesus kommt (Soprano)
Susser Trost, mein Jesus kommt, BWV 151: Recitative: Erfreue dich, mein Herz (Bass)
Susser Trost, mein Jesus kommt, BWV 151: Aria: In Jesu Demut kann ich Trost (Alto)
Susser Trost, mein Jesus kommt, BWV 151: Recitative: Du teurer Gottessohn (Tenor)
Susser Trost, mein Jesus kommt, BWV 151: Chorale: Heut schleusst er wieder auf die Tur (Chorus)

Customer Reviews

Be the first to review this title
Review This Title
Review This Title Share on Facebook