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Bach, J S - Early Cantatas, Vol. 2: Weimar Cantatas - Kirkby, Emma (soprano)


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The Weimar cantatas belong to a period in Bach’s life when he had taken the title of ‘Concertmaster’ at the Weimar court. The principal condition of his new post was an obligation to produce a new church cantata on a monthly basis, a task to which Bach applied himself with great zeal. Previously, he had composed vocal music infrequently and only as particular occasions demanded. He now faced the task of writing cantatas at regular intervals for Sundays and feast days of the liturgical year. There arose a series of some thirty cantatas, with free verse texts as the essential basis for the composition of recitatives and da capo arias, entirely lacking from Bach’s earliest cantatas. Of great significance for Bach was his encounter with the modern Italian style, to which the Weimar court orchestra began to adapt itself. From then on a thoroughly worked-out setting for the outer voices, with concise and unified thematic material and a clearly articulated plan of modulation, typical of Vivaldi, remained an
essential element in Bach’s style of composition. This technique was coupled with complex counterpoint, a distinct and lively texture of middle voices, and harmonic finesse, the whole elevated to a highly characteristic level.

Uniquely, The Purcell Quartet employs single voices – no choir – which is in keeping with evidence of what Bach himself used. The stance is still controversial, but recreates the works as they would have been performed originally, and therefore stands out from the more conventional approach, the product of subsequent developments of massed choral singing. Accompanied by The Purcell Quartet and their guest instrumentalists, the voices, their
lines and hence also the meaning of the texts, are allowed to stand out and make their full effect. Included on this disc are BWV 61 Nun komm, der Heiden Heiland, deservedly one of the most popular of Bach’s cantatas, and one of Bach’s most tranquil and beautifully expressive works, and BWV 161 Komm, du süße Todesstunde, and they benefit greatly from performances by one of today’s most popular early music groups.

The Weimar cantatas of J.S. Bach form an exceptional body of work and it is thrilling to hear them performed in a way that Bach would have recognised.
Tietoja
Tuotenumero CHAN0742
Viivakoodi 0095115074220
Julkaisupäivä 4.6.2007
Kategoria Klassinen
Levymerkki Chandos / Chaconne
Formaatti CD
Tuotteiden lukumäärä 1
Esittäjät
Artistit Kirkby, Emma (soprano)
Säveltäjät Bach, J S
Levy: 1
Komm, du süße Todesstunde, BWV161
1 Sinfonia
2 Weinen, Klagen, Sorgen, Zagen
3 Recitativo. Wir müssen durch viel Trübsal
4 Aria. Kreuz und Kronen sind verbunden
5 Aria. Ich folge Christo nach
6 Aria. Sei getreu, alle Pein
7 Choral. Was Gott tut, das ist wohlgetan
8 Sinfonia
9 Recitativo. Gleichwie der Regen und Schnee vom Him
10 Recitativo. Mein Gott, hier wird mein Herze sein.
11 Aria. Mein Seelenschatz ist Gottes Wort
12 Choral. Ich bitt, o Herr, aus Herzens Grund
13 Ouverture. Nun komm, der Heiden Heiland
14 Recitativo. Der Heiland ist gekommen
15 Aria. Komm, Jesu, komm zu deiner Kirche
16 Recitativo. Siehe, ich stehe vo der Tür und klopfe
17 Aria. Öffne dich, mein ganzes Herze
18 Amen! Komm, du schöne Freudenkrone
19 Aria. Komm du süße Todesstunde
20 Recitativo. Welt, deine Lust ist Last
21 Aria. Mein Verlangen
22 Recitativo. Der Schluß ist schon gemacht
23 Coro. Wenn es meines Gottes Wille
24 Corale. Der Leib zwar in der Erden
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