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Bach: Cantatas, Vol. 38

Bach,J.s. / Bach Collegium Japan / Suzuki
Release Date: 02/26/2008 
Label:  Bis   Catalog #: 1631   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Gerd TürkPeter KooyCarolyn Sampson
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Number of Discs: 1 
Length: 1 Hours 6 Mins. 

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Notes and Editorial Reviews

The four cantatas on this recording come from 1726-1727, Bach's fourth year of service at the Thomaskirche in Leipzig. During this time Bach showed a preference for solo cantatas, entrusting the text to a single solo voice. Three of these cantatas are of this type, while the fourth (BWV58) is scored for two voices. We can only speculate as to Bach's reason for using this form of cantata: a shortage of choristers, perhaps, or the availability of especially gifted soloists. It's also possible that Bach was preparing himself, and the choir, for the St Matthew Passion, planned for the Easter of 1727. Bach may furthermore have wished to achieve greater variation in his cantata repertoire, a suggestion supported by the fact that he now more often Read more incorporated instrumental movements. One example is the opening sinfonia of BWV 52, based on a preliminary version of the first Brandenburg Concerto. While Volume 37 in this series focussed on solo cantatas for alto, as performed by counter-tenor Robin Blaze, this one gives equal space to three other soloists familiar to followers of the series. 'Ich habe genung', one of the most well-known of all Bach's cantatas, is here performed in the original bass version by Peter Kooij, giving voice to the text's journey from weariness of life to the joyful longing for the hearafter in the lively final movement. Carolyn Sampson interprets BWV 52, in which the falseness of the world is contrasted with the steadfastness of God, and joins Kooij in the dialogue of the duet cantata BWV58. The third soloist, Gerd Türk, performs the remaining cantata for sol tenor, 'Ich armer Mensch, ich Sündenknecht' - a mournful recognition of man's sinfulness and a plea for mercy from God. The whole is accompanied by the eminent ensemble of Bach Collegium Japan, and infused by the vision of Masaaki Suzuki, as described on German website klassik.com: 'In Suzuki's recordings the listener encounters a Bach full of élan and vitality, completely removed from any overly intellectual, protestant-puritan theoreticians, but instead opposi9ng such an approach. Equally impressive as the architecture of Bach's music is the liveliness and impulsiveness, not to say spontaneity, which it projects.' Read less

Works on This Recording

1.
Falsche Welt, dir trau' ich nicht, BWV 52 by Johann Sebastian Bach
Performer:  Gerd Türk (), Peter Kooy (), Carolyn Sampson ()
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1726; Leipzig, Germany 
Date of Recording: 09/2006 
Venue:  Kobe Shoin Women's University Chapel, Ja 
Length: 14 Minutes 27 Secs. 
2.
Ich habe genug, BWV 82 by Johann Sebastian Bach
Performer:  Peter Kooy ()
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1727; Cöthen, Germany 
Date of Recording: 09/2006 
Venue:  Kobe Shoin Women's University Chapel, Ja 
Length: 21 Minutes 6 Secs. 
3.
Ich armer Mensch, ich Sündenknecht, BWV 55 by Johann Sebastian Bach
Performer:  Peter Kooy (), Carolyn Sampson (), Gerd Türk ()
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1726; Leipzig, Germany 
Date of Recording: 09/2006 
Venue:  Kobe Shoin Women's University Chapel, Ja 
Length: 14 Minutes 35 Secs. 
4.
Ach Gott, wie manches Herzeleid, BWV 58 by Johann Sebastian Bach
Performer:  Peter Kooy (), Carolyn Sampson ()
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1727; Leipzig, Germany 
Date of Recording: 09/2006 
Venue:  Kobe Shoin Women's University Chapel, Ja 
Length: 13 Minutes 41 Secs. 

Sound Samples

Falsche Welt, dir trau ich nicht, BWV 52: Sinfonia
Falsche Welt, dir trau ich nicht, BWV 52: Recitative: Falsche Welt, dir trau ich nicht! (Soprano)
Falsche Welt, dir trau ich nicht, BWV 52: Aria: Immerhin, immerhin, wenn ich gleich verstossen bin! (Soprano)
Falsche Welt, dir trau ich nicht, BWV 52: Recitative: Gott ist getreu! (Soprano)
Falsche Welt, dir trau ich nicht, BWV 52: Aria: Ich halt es mit dem lieben Gott (Soprano)
Falsche Welt, dir trau ich nicht, BWV 52: Chorale: In dich hab ich gehoffet, Herr (Chorus)
Ich habe genug, BWV 82: Aria: Ich habe genug (Bass)
Ich habe genug, BWV 82: Recitative: Ich habe genug (Bass)
Ich habe genug, BWV 82: Aria: Schlummert ein, ihr matten Augen (Bass)
Ich habe genug, BWV 82: Recitative: Mein Gott! wenn kommt das schone: Nun (Bass)
Ich habe genug, BWV 82: Aria: Ich freue mich auf meinen Tod (Bass)
Ich armer Mensch, ich Sundenknecht, BWV 55: Aria: Ich armer Mensch, ich Sundenknecht (Tenor)
Ich armer Mensch, ich Sundenknecht, BWV 55: Recitative: Ich habe wider Gott gehandelt (Tenor)
Ich armer Mensch, ich Sundenknecht, BWV 55: Aria: Erbarme dich! (Tenor)
Ich armer Mensch, ich Sundenknecht, BWV 55: Recitative: Erbarme dich! (Tenor)
Ich armer Mensch, ich Sundenknecht, BWV 55: Chorale: Bin ich gleich von dir gewichen (Chorus)
Ach Gott, wie manches Herzeleid, BWV 58: Aria with Chorale: Ach Gott, wie manches Herzeleid (Soprano, Bass)
Ach Gott, wie manches Herzeleid, BWV 58: Recitative: Verfolgt dich gleich die arge Welt (Bass)
Ach Gott, wie manches Herzeleid, BWV 58: Aria: Ich bin vergnugt in meinem Leiden (Soprano)
Ach Gott, wie manches Herzeleid, BWV 58: Recitative: Kann es die Welt nicht lassen (Soprano)
Ach Gott, wie manches Herzeleid, BWV 58: Aria with Chorale: Ich hab fur mir ein schwere Reis (Soprano, Bass)

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