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Bach: Famous Cantatas Vol 1 / Herreweghe, Collegium Vocale Gent

Bach / Chapelle Royale / Herreweghe
Release Date: 05/11/2010 
Label:  Harmonia Mundi   Catalog #: 5908357  
Composer:  Johann Sebastian Bach
Performer:  Daniel TaylorPeter KooyCarolyn SampsonMark Padmore,   ... 
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium VocaleLa Chapelle Royale Paris
Number of Discs: 3 
Recorded in: Stereo 
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Notes and Editorial Reviews


One of Bach's more magnificent extended choruses graces the cantata BWV 12, and another less substantial but no less impressive one dominates BWV 38. These works represent some of Bach's most profoundly affecting and musically sophisticated textual and emotional representations, the former an ideal evocation of "weeping and wailing" with its unmistakably vivid chromatic descending bass-line, lurching rhythm, and agonized melody (which Bach later re-used in his B minor Mass). The pungent, reedy sound of the oboe adds perfect color and character to the whole cantata, and of course, Bach's ingenious writing, especially the obbligato parts, lifts all three of these cantatas beyond the
Read more functional to the highest artistic and spiritual level.


The soloists here are all excellent, but alto Daniel Taylor and tenor Mark Padmore are particularly notable, the latter most especially for his Aus tiefer Not aria, "Ich höre mitten in den Leiden", whose melodic theme bears striking resemblance to the aria "Schließe mein Herze" from the Christmas Oratorio. Not unexpectedly, the choral work from Collegium Vocale Gent is expert--precise and full of energy and passion in every phrase--and the instrumental playing is exemplary. No one performs this repertoire better, and if you're looking for three of Bach's more emotionally rich, theologically "heavy", yet musically exhilarating cantatas, look no further. The sound is accordingly fine--room-filling, with natural-sounding voices and richly resonant instruments.

– David Vernier, ClassicsToday.com [4/14/2005], reviewing BWV 12, 38 & 75, HM 901843

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It's supposed to be spring, but the snow is falling heavily outside, and, after an extraordinarily long winter the formerly abstract concept of depression is assuming a more personal presence with every passing minute. Then, you hear Dorothee Mields singing "Ich esse mit Freuden mein weniges Brot" (I eat my meager bread with joy), and somehow your dimmed spirit is lightened and uplifted--and you realize once again the transcendent power of Bach's music. (Perhaps it's no surprise that this cantata's theme is to be happy with what you have!) Even this practical, functional music can bring light and life to all who listen--and certainly also to those who sing and play it.

The cantatas featured on this program--first-rate performances all--span the years 1716 to 1727, and those who wish to explore changes in style or practice will have much to indulge their interest. But for the pure listener these four cantatas also offer tremendous variety of voices, instrumental color and texture, and plentiful examples of Bach's uniquely imagined and integrated melody and obbligato parts.

The three-section opening chorus of BWV 95, which joins two chorales by means of an almost oddly interrupting tenor recitative, is one of Bach's most curious, fascinating, unusual, and surprising cantata choruses--well worth hearing several times by itself; but also worth a repeat or two is Mields' tenderly sung "Valet will ich dir geben", her melody (which many church-goers will recognize as the tune to "All glory, laud, and honor"--in triple meter) accompanied by two oboes d'amore in one of those inimitable Bachian obbligatos.

Also notable are bass Thomas Bauer, his rich, confident voice particularly compelling in "Gute Nacht..." from BWV 27, tenor Hans Jörg Mammel in the difficult "Ach, schlage doch bald" aria and delicate "Welt! deine Lust ist Last!" recitative, and alto Matthew White in the poignant aria "Komm, du süße Todesstunde" (here the original Weimar version with two recorders). And by programming the earliest cantata last (BWV 161), we're left hearing one of Bach's more delightfully, perfectly scored choruses that makes something inside us dance every time we hear it. The sound is fittingly intimate but with plenty of body and resonance appropriate to bring out the natural qualities of instrumental and vocal timbres. Exceptional!

– David Vernier, ClassicsToday.com, reviewing BWV 27, 84, 95 & 161 HM 901969

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Bach - Celebrating the Fortieth Anniversary of the Collegium Vocale Gent

Discover the 9 new 3-CD books with full texts, illustrations & translations. 2010 marks the fortieth anniversary of Collegium Vocale: founded by Philippe Herreweghe at a time when the Baroque revival was still an affair for specialists, the Belgian choir has been at the very heart of the rediscovery of Bach's sacred music. Abundantly illustrated and elegantly presented, these nine CD-books offer you the entire collection of Bach / Herreweghe recordings.
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Works on This Recording

1. Weinen, Klagen, Sorgen, Zagen, BWV 12 by Johann Sebastian Bach
Performer:  Daniel Taylor (Countertenor), Peter Kooy (Bass), Carolyn Sampson (Soprano),
Mark Padmore (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1714; Weimar, Germany 
2. Aus tiefer Not schrei'ich zu dir, BWV 38 by Johann Sebastian Bach
Performer:  Daniel Taylor (Countertenor), Peter Kooy (Bass), Carolyn Sampson (Soprano),
Mark Padmore (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1724; Leipzig, Germany 
3. Die Elenden sollen essen, dass sie satt werden, BWV 75 by Johann Sebastian Bach
Performer:  Daniel Taylor (Countertenor), Peter Kooy (Bass), Carolyn Sampson (Soprano),
Mark Padmore (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1723; Cöthen, Germany 
4. Wer weiss, wie nahe mir mein Ende, BWV 27 by Johann Sebastian Bach
Performer:  Thomas E. Bauer (Bass), Dorothee Mields (Soprano), Matthew White (Countertenor),
Hans Jörg Mammel (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1726; Leipzig, Germany 
5. Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert, BWV 84 by Johann Sebastian Bach
Performer:  Thomas E. Bauer (Bass), Dorothee Mields (Soprano), Matthew White (Countertenor),
Hans Jörg Mammel (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1727; Leipzig, Germany 
6. Christus, der ist mein Leben, BWV 95 by Johann Sebastian Bach
Performer:  Thomas E. Bauer (Bass), Dorothee Mields (Soprano), Matthew White (Countertenor),
Hans Jörg Mammel (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1723; Leipzig, Germany 
7. Komm, du süsse Todesstunde, BWV 161 by Johann Sebastian Bach
Performer:  Thomas E. Bauer (Bass), Matthew White (Countertenor), Dorothee Mields (Soprano),
Hans Jörg Mammel (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: 1715; Cöthen, Germany 
8. Ich hatte viel Bekümmernis, BWV 21 by Johann Sebastian Bach
Performer:  Barbara Schlick (Soprano), Howard Crook (Tenor), Peter Harvey (Bass),
Gérard Lesne (Countertenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Baroque 
Written: 1714; Cöthen, Germany 
9. Am Abend aber desselbigen Sabbats, BWV 42 by Johann Sebastian Bach
Performer:  Gérard Lesne (Countertenor), Barbara Schlick (Soprano), Howard Crook (Tenor),
Peter Kooy (Bass)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Baroque 
Written: 1725; Leipzig, Germany 

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