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Bach: Cantatas Vol 26 / Suzuki, Nonoshita, Et Al


Release Date: 01/25/2005 
Label:  Bis   Catalog #: 1401   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Timothy Kenworthy-BrownPeter KooyYukari NonoshitaMakoto Sakurada
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 53 Mins. 

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Notes and Editorial Reviews

Maestro Suzuki’s Volume 26 continues his exploration of the year of chorale cantatas with two cantatas composed for October and one for the Sunday after Christmas of 1724, which that year happened to fall on December 31. The latter, BWV 122, is predominantly optimistic in tone, despite a rather stern bass aria (No. 2) reminding congregants of mankind’s natural tendency to sin. The chorale melody appears in four of the cantata’s six movements: as the subject of the dance-like opening chorus; played by a trio of recorders over the soprano recitative in No. 3; as a cantus firmus sung by the alto in the vocal trio (No. 4); and in the concluding plain four-part chorale finale. Cantata 180 is based on Johannes Crüger’s communion chorale, Read more Schmücke dich, o liebe Seele, apparently one of Bach’s favorites. The Gospel reading for the day is the parable of the wedding feast, and it has been inferred that Bach’s use of dance rhythms––gigue, bourée, and polonaise––for the principal numbers (not counting the recitatives and the chorale finale) is meant to suggest “table music”––popular music played to accompany festive banquets. The opening chorus, accompanied by pairs of recorders and oboes, is one of Bach’s finest. The recorders reappear in three later movements, but an elaborate part for traverse flute in the tenor aria indicates that Bach had a virtuoso flutist at his disposal at the time. The same flutist undoubtedly accompanied another tenor aria in Cantata 96, but the virtuoso instrument of that day was the flauto piccolo (sopranino recorder), which weaves a fantastic sonic web about the opening chorus, representing the twinkling star of the Magi. A reassuring aria for bass leads to the chorale finale. Bach’s unparalleled imagination and inventiveness was in full swing in these three cantatas. Looking for a common thread? Recorders are prominently employed in all three works, but how about the fact that all three opening choruses are set in triple meter? Unusual, but probably not unique.

First-rate performances all around. Countertenor Kentworthy-Brown is new to the team, but handles his parts like a veteran. The flute and recorder solos are executed impeccably by Liliko Maeda and Akimasa Mukae, respectively. Engineering and packaging are predictably excellent. Highly recommended, as usual.

-- George Chien, FANFARE
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Works on This Recording

1. Schmücke dich, o liebe Seele, lass die dunkle Sünden höhle, komm an's helle Licht gegangen, BWV 180 by Johann Sebastian Bach
Performer:  Timothy Kenworthy-Brown (Countertenor), Peter Kooy (Bass), Yukari Nonoshita (Soprano),
Makoto Sakurada (Tenor)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 
Length: 20 Minutes 56 Secs. 
Language: German 
2. Das neugeborne Kindelein, BWV 122 by Johann Sebastian Bach
Performer:  Makoto Sakurada (Tenor), Timothy Kenworthy-Brown (Countertenor), Yukari Nonoshita (Soprano),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 
Length: 13 Minutes 6 Secs. 
Language: German 
3. Herr Christ, der ein'ge Gottessohn, BWV 96 by Johann Sebastian Bach
Performer:  Yukari Nonoshita (Soprano), Makoto Sakurada (Tenor), Timothy Kenworthy-Brown (Countertenor),
Peter Kooy (Bass)
Conductor:  Masaaki Suzuki
Orchestra/Ensemble:  Bach Collegium Japan
Period: Baroque 
Written: 1724; Leipzig, Germany 
Length: 17 Minutes 5 Secs. 
Language: German 

Sound Samples

Schmucke dich, o liebe Seele, BWV 180: Schmucke dich, o liebe Seele (Chorus)
Schmucke dich, o liebe Seele, BWV 180: Aria: Ermuntre dich; dein Heiland klopft (Tenor)
Schmucke dich, o liebe Seele, BWV 180: Recitative and Chorale: Wie teuer sind des heilgen Mahles Gaben! (Soprano)
Schmucke dich, o liebe Seele, BWV 180: Recitative: Mein Herz fuhlt in sich Furcht und Freude (Alto)
Schmucke dich, o liebe Seele, BWV 180: Aria: Lebens Sonne, Licht der Sinnen (Soprano)
Schmucke dich, o liebe Seele, BWV 180: Recitative: Herr, lass an mir dein treues Lieben (Bass)
Schmucke dich, o liebe Seele, BWV 180: Chorale: Jesu, wahres Brot des Lebens
Das neugeborne Kindelein, BWV 122: Das neugeborne Kindelein (Chorus)
Das neugeborne Kindelein, BWV 122: Aria: O Menschen, die ihr taglich sundigt (Bass)
Das neugeborne Kindelein, BWV 122: Recitative: Die Engel, welche sich zuvor (Soprano)
Das neugeborne Kindelein, BWV 122: Aria and Chorale: Ist Gott versohnt und unser reund (Soprano, Tenor, Alto)
Das neugeborne Kindelein, BWV 122: Recitative: Dies ist ein Tag (Bass)
Das neugeborne Kindelein, BWV 122: Chorale: Es bringt das rechte Jubeljahr
Herr Christ, der einige Gottessohn, BWV 96: Herr Christ, der einge Gottessohn (Chorus)
Herr Christ, der einige Gottessohn, BWV 96: Recitative: O Wunderkraft der liebe (Alto)
Herr Christ, der einige Gottessohn, BWV 96: Aria: Ach, ziehe die Seele mit Seilen der Liebe (Tenor)
Herr Christ, der einige Gottessohn, BWV 96: Recitative: Ach, fuhre mich, o Gott, zum rechten Wege (Soprano)
Herr Christ, der einige Gottessohn, BWV 96: Aria: Bald zur Rechten, bald zur Linken (Bass)
Herr Christ, der einige Gottessohn, BWV 96: Chorale: Ertot uns durch dein Gute

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