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Complete Cantatas 1 Import


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Product Details

  • Audio CD (Nov. 7 1995)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Format: Import
  • Label: Elektra / Wea
  • ASIN: B000005EEI
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)

Disc: 1
1. Ich hatte viel Bekümmernis, BWV 21: Sinfonia
2. Ich hatte viel Bekümmernis, BWV 21: Coro: Ich hatte viel Bekümmernis
3. Ich hatte viel Bekümmernis, BWV 21: Aria: Seufzer, Tränen, Kummer, Not
4. Ich hatte viel Bekümmernis, BWV 21: Recitativo: Wie hast du dich, mein Gott
5. Ich hatte viel Bekümmernis, BWV 21: Aria: Bäche von gesalznen Zähren
6. Ich hatte viel Bekümmernis, BWV 21: Coro: Was betrübst du dich, meine Seele
See all 17 tracks on this disc
Disc: 2
1. Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina
2. Gottes Zeit ist die allerbeste Zeit, BWV 106: Coro: Gottes Zeit ist die allerbeste Zeit - Ach herr, lehre uns bedenken
3. Gottes Zeit ist die allerbeste Zeit, BWV 106: Aria: In deine Hände befehl ich meinen Geist
4. Gottes Zeit ist die allerbeste Zeit, BWV 106: Coro: Glorie, Lob, Ehr und Herrlichkeit
5. Der Herr denket an uns, BWV 196: Sinfonia
6. Der Herr denket an uns, BWV 196: Coro: Der Herr denket an uns
See all 23 tracks on this disc
Disc: 3
1. Der Himmerl lacht! die Erde jubilieret, BWV 31: Sonata
2. Der Himmerl lacht! die Erde jubilieret, BWV 31: Coro: Der Himmel lacht! die Erde jubilieret
3. Der Himmerl lacht! die Erde jubilieret, BWV 31: Recitativo: Erwünschter Tag! sei, Seele, wieder froh
4. Der Himmerl lacht! die Erde jubilieret, BWV 31: Aria: Fürst des Lebens, starker Streiter
5. Der Himmerl lacht! die Erde jubilieret, BWV 31: Recitativo: So stehe dann, du gottergebne Seele
6. Der Himmerl lacht! die Erde jubilieret, BWV 31: Aria: Adam muss in uns verwesen
See all 27 tracks on this disc

Product Description

Amazon.ca

Bach's 200 existing cantatas (100 more have been lost) represent one of music history's most remarkable achievements. The first volume in Erato's ambitious but much-needed traversal of the complete canon contains nine cantatas from Bach's early career. Except for "Christ lag in Todesbanden," these are lesser-known works, yet that doesn't mean they are of lesser quality. Here are some of Bach's most compelling choruses, accompanied by colorful and ingenious instrumental writing. Highlights abound, including the appendices that reproduce Bach's revised versions of cantatas 4 and 21. The choral singing is excellent: sensitive and agile, with unforced tone. Of course, there's Barbara Schlick's fluttery vibrato and occasional shrillness and tenor Guy de Mey's emphasis on "prettiness" over textual understanding. But from the very beginning of BWV 21 we hear confident, well-prepared music-making that carries throughout the recording. Perhaps most importantly--and largely due to Koopman's even-handed, purposeful direction--everything, including the sonic ambience, feels and sounds in proportion: a feature that bodes well for the whole series and makes this an excellent reference set. --David Vernier

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Most helpful customer reviews

Ton Koopman starts the complete recording of Bach cantatas with some masterpieces written by Bach in Cothen and Weimar. I consider useful to remark the characteristics of each cantata so you can realize the differences among these masterpieces. BWV 21: This very famous cantata contains some remarkable pieces: the Sinfonia, the first chorus and an aria in F minor in the first part, and a duett (soprano-bass)and the final striking chorus with trumpets and timpani in the second part. N.B. There are also two arias (n.5 and 10)written for tenor, but in this recording they are singed by the soprano (Barbara Schlick). BWV 131: This cantata is based on the psalm "De prufundis"; the organic is composed only for oboe and strings but music is very moving. BWV 106: This magnific masterpiece is written for human soul; the tranquillity of music is given in the exact way by Koopman. Moreover there are 2 recorders and 2 violas da gamba that give a very ancient atmosphere. BWV 196: It's very short, but music is pretty. There are a lot of Italian reminiscences especially in the parts of violins. BWV 71: A very interesting cantata without recitatives; the string orchestra is enriched by oboes, recorders, trumpets, timpani, violoncello piccolo and organo obbligato. BWV 150: An other cantata with italian influences; Ton Koopman doesn't use the choir but only the solo voices. BWV 31: After a sinfonia with full orchestra there is a striking chorus in which you can examine the great skill of the Amsterdam Baroque Choir ( and also the Orchestra ). BWV 185: It opens with a strange duet for soprano and tenor with female choir; the first aria for alto, oboe and strings is enough famous. BWV 4: This very famous masterpiece was written to commemorate the death of Christ (Easter). Koopman gives a very good interpretation both for the sonorities and for the tempos without altering the atmosphere of great religiousness.
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Recently appointed 'honorary doctor' Ton Koopman with his Amsterdam Baroque Orchestra and Choir embarked a few years ago on a project to record all the Bach cantatas, both religious and secular. Koopman chose to record the cantatas in chronological order, and not by BWV number. Consequently, vol. 1 of the series (that eventually will include 20 volumes) includes 'early cantatas' composed in Weimar and Mühlhausen. It even includes the cantata "Nach dir, Herr, verlanget mich" BWV 150, which is assumed to be the oldest Bach cantata in existence, written before 1707, i.e. the Arnstadt period. The Amsterdam Baroque Choir and Orchestra show to be well at home in the music of Bach. Of the soloists especially Guy de Mey (tenor) and Klaus Mertens (bass) should be mentioned. Koopman's interpretations are allways with a certain drive, which sometimes tends to result in "nervousness". His relatively high tempi however do work as they give the music liveliness and lightness. In this first volume there is sometimes to much of this, leading to a distortion of the balance between liveliness and "draught" that Bach's music needs too. All in all this first volume promises a series of Bach cantatas that will make heaven laugh and the earth rejoice, to quote the opening lines of cantata BWV31 "Der Himmel lacht! die Erde jubilieret".
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
17 of 17 people found the following review helpful
Heaven laughs, earth rejoices. May 8 2000
By J. Pruim - Published on Amazon.com
Recently appointed 'honorary doctor' Ton Koopman with his Amsterdam Baroque Orchestra and Choir embarked a few years ago on a project to record all the Bach cantatas, both religious and secular. Koopman chose to record the cantatas in chronological order, and not by BWV number. Consequently, vol. 1 of the series (that eventually will include 20 volumes) includes 'early cantatas' composed in Weimar and Mühlhausen. It even includes the cantata "Nach dir, Herr, verlanget mich" BWV 150, which is assumed to be the oldest Bach cantata in existence, written before 1707, i.e. the Arnstadt period. The Amsterdam Baroque Choir and Orchestra show to be well at home in the music of Bach. Of the soloists especially Guy de Mey (tenor) and Klaus Mertens (bass) should be mentioned. Koopman's interpretations are allways with a certain drive, which sometimes tends to result in "nervousness". His relatively high tempi however do work as they give the music liveliness and lightness. In this first volume there is sometimes to much of this, leading to a distortion of the balance between liveliness and "draught" that Bach's music needs too. All in all this first volume promises a series of Bach cantatas that will make heaven laugh and the earth rejoice, to quote the opening lines of cantata BWV31 "Der Himmel lacht! die Erde jubilieret".
13 of 16 people found the following review helpful
The best performance of Bach Cantatas (Volume 1) Dec 14 2000
By Corrado Speranza - Published on Amazon.com
Ton Koopman starts the complete recording of Bach cantatas with some masterpieces written by Bach in Cothen and Weimar. I consider useful to remark the characteristics of each cantata so you can realize the differences among these masterpieces. BWV 21: This very famous cantata contains some remarkable pieces: the Sinfonia, the first chorus and an aria in F minor in the first part, and a duett (soprano-bass)and the final striking chorus with trumpets and timpani in the second part. N.B. There are also two arias (n.5 and 10)written for tenor, but in this recording they are singed by the soprano (Barbara Schlick). BWV 131: This cantata is based on the psalm "De prufundis"; the organic is composed only for oboe and strings but music is very moving. BWV 106: This magnific masterpiece is written for human soul; the tranquillity of music is given in the exact way by Koopman. Moreover there are 2 recorders and 2 violas da gamba that give a very ancient atmosphere. BWV 196: It's very short, but music is pretty. There are a lot of Italian reminiscences especially in the parts of violins. BWV 71: A very interesting cantata without recitatives; the string orchestra is enriched by oboes, recorders, trumpets, timpani, violoncello piccolo and organo obbligato. BWV 150: An other cantata with italian influences; Ton Koopman doesn't use the choir but only the solo voices. BWV 31: After a sinfonia with full orchestra there is a striking chorus in which you can examine the great skill of the Amsterdam Baroque Choir ( and also the Orchestra ). BWV 185: It opens with a strange duet for soprano and tenor with female choir; the first aria for alto, oboe and strings is enough famous. BWV 4: This very famous masterpiece was written to commemorate the death of Christ (Easter). Koopman gives a very good interpretation both for the sonorities and for the tempos without altering the atmosphere of great religiousness.
4 of 4 people found the following review helpful
Beautiful Bach Aug. 19 2010
By Cort R. Johnson - Published on Amazon.com
Verified Purchase
I just finished the Suzuki Cantata Box sets. I found them wonderful and so here I am immediately back into Bach's Cantata's with Koopman. I felt Suzuki's interpretation was powerful and a bit darker than Koopman's. He often brought a kind of a sad beauty to them that I found compelling. Koopman has lighter touch and at times a spaciousness that is a bit sweeter and equally beautiful. He seems to be a bit nimbler on his feet as well as a bit rawer at times. Bach, of course, can successfully be interpreted in so many ways. For me, I think we're lucky to have such skilled interpreters. I loved Koopman #1 and am looking forward to exploring more.
Exemplary performance Nov. 2 2013
By David A. Beamer - Published on Amazon.com
Verified Purchase
I got this recording for BWV 4 (Christ lag) -- my favorite recording has been getting on my nerves lately. This one is an extremely good performance of that cantata, and all the others herein. The soloists are quite good...one has a touch too much vibrato for my taste, but I'm picky.


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