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Bach: Cantatas Vol 5 / Suzuki, Bach Collegium Japan


Release Date: 08/05/2000 
Label:  Bis   Catalog #: 841   Spars Code: DDD 
Composer:  Johann Sebastian Bach
Performer:  Makoto SakuradaMidori SuzukiPeter KooyIngrid Schmithüsen,   ... 
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 18 Mins. 

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Notes and Editorial Reviews


In Vol. 5 of the Bach Collegium Japan's ongoing cycle of J.S. Bach's complete cantatas we hear the composer experimenting with widely diverse orchestration, vocal settings, and stylistic tendencies. For example, in the opening of BWV 18 Bach uses the unorthodox scoring of four violas and basso continuo (and includes some extraordinarily lovely bassoon writing), structuring the movement as a kind of hybrid Italian ritornello/French gavotte. Recitatives as well are gradually evolving into borderline arias as Bach increasingly scores additional continuo instrumentation to heighten their dramatic effect.


With the exception of BWV 143 (whose librettist remains anonymous) the
Read more librettos of the remaining three cantatas--BWV 152, 155, & 161--were provided by renowned Weimar court poet Salomo Franck, whose collaboration with Bach began in 1714. By now Franck's highly emotive style was fueling Bach's creative genius like never before, affording conductor Masaaki Suzuki and his colleagues numerous expressive opportunities that they gladly and fully exploit.


In the enchanting final duet of BWV 152--between Jesus (bass Peter Kooy) and the Soul (soprano Midori Suzuki)--both singers rise to the occasion, delivering characterization that couldn't be rendered with more humility. Likewise in countertenor Yoshikazu Mera's reticent though impassioned opening aria of BWV 161 (with recorder obbligato representing the sound of funeral bells) he expertly portrays the nature of the subject. These are but two of innumerable instances where Suzuki complements his soloists' superb renderings with unfaltering focus and attention to instrumental detail--which happily proves to be the norm for this remarkable cycle. Recommended without reservation.
--John Greene, ClassicsToday.com Read less

Works on This Recording

1.
Gleich wie der Regen und Schnee vom Himmel fällt, BWV 18 by Johann Sebastian Bach
Performer:  Makoto Sakurada (Tenor), Midori Suzuki (Soprano), Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: ?1715; Cöthen, Germany 
Date of Recording: 1997 
Venue:  Kobe Shoin Women's University, Japan 
Language: German 
2.
Lobe den Herrn, meine Seele, BWV 143 by Johann Sebastian Bach
Performer:  Ingrid Schmithüsen (Soprano), Peter Kooy (Bass), Makoto Sakurada (Tenor)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: Leipzig, Germany 
Date of Recording: 1997 
Venue:  Kobe Shoin Women's University, Japan 
Language: German 
3.
Tritt auf die Glaubensbahn, BWV 152 by Johann Sebastian Bach
Performer:  Midori Suzuki (Soprano), Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1714; Cöthen, Germany 
Date of Recording: 1997 
Venue:  Kobe Shoin Women's University, Japan 
Language: German 
4.
Mein Gott, wie lang, ach lange, BWV 155 by Johann Sebastian Bach
Performer:  Midori Suzuki (Soprano), Yoshikazu Mera (Countertenor), Makoto Sakurada (Tenor),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1716; Cöthen, Germany 
Date of Recording: 1997 
Venue:  Kobe Shoin Women's University, Japan 
Language: German 
5.
Komm, du süsse Todesstunde, BWV 161 by Johann Sebastian Bach
Performer:  Yoshikazu Mera (Countertenor), Makoto Sakurada (Tenor)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1715; Cöthen, Germany 
Date of Recording: 1997 
Venue:  Kobe Shoin Women's University, Japan 
Language: German 

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