DOCSLIB.ORG

M. Suzuki & Bach Collegium Japan (BIS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
M. Suzuki & Bach Collegium Japan (BIS BIS-CD-881STEREO DDD.I Total playing time: 77'31 BACH,Johann Sebastian(1685-i750) Cantatas7: Cantatasfrom Weimar 'Christen, Cantata No. 63, dtzetdiesen Tag', BWV 63 28',57 m l. Chorus Trombe.Timpani. Oboi. Violjni. Viole. Violoncello.Violone. Fasono. C)reano 5'02 Christen.atzet diesen Tag... tr 2, Recitative (Alto) Viotini. \'iole. Violoncello.Violone. Oryano 3'02 O selgerTagl o ungemeinesHeute,.. tr 3. Aria (Duet) (Soprano.Bass) Oboe(Masanirsu San-no-ni)a). Violoncello, Organo 7'59 Gott,du hastes wohl gefUget... tr 4. Recitative (Tenort Violoncello,Organo 0'52 So kehretsich nun heut... g 5. Aria (Duet) (Afto,Tenor) Violini.Viole. Viotoncelli. \'iolone. Organo 3'51 Ruft und fleht den Himmel an... g 6. Recitatiye (Bass) Oboi.Violini. Violc. Violonccllo. Violone. Fa-qotro. Organo l'00 Verdoppelteuch clemnach,ihr heilSenAndachtsflamnren... tr 7, Chorus Tronbe.Timpani. Oboi. \iioliii, Viole.Violonceili. Violone. Fagolro, Organo o55 Hcichster.schau in Gnadenan... 'Nun _ CantataNo.61, komm, der HeidenHeiland', BWV 6l 13'31 l-9J l. C)verture (Chorus.) Vidint Viole. Vjoloncellr. Violone, Fasofto. Orgdno 2'14 Nun komm, der Heiden Heiland. El 2. Recitatiye (Tenor) Vloloncelli,Orsano I'19 Der Heiland ist gekommen... @ 3. Aria (Tenor) vrolinr. Violc. Violoncelli. Violone.Orsano .l'05 Komm, Jesu. komm zu deiner Kirche... m 4. Recitative (Bass) Viotini. Viole. Violoncelli, Viotone.Oreano 0'57 Siehe. ich stehe vor der Ttir... E 5, Aria (Soprano) Violoncelli.Violone. Organo 3'25 Offne dich. mein _ sanle\ Her/e... LLll 6, Chorus Violini. Viole. Violoncelli. Violone.Faroto, Orsano 0'-51 Amen. Amen... CantataNo.l32, 'Bereitet die Wege,bereitet die Bahn" BWV 132 18'00 ts l. Aria (SoDrano) Oboi. Violini. Viole, Violoncelli. Viotone. Fagotto' Orgmo 6'05 Bereitet die Wese. bereitet die Bahnl . .. @ 2. Recitative (Tenor) Violoncello. Organo z'tl willst du dich GottesKind und Christi Brudernennen. tr 3, Aria (Basst Violoncello(Hidemi Suzuki).Organo W'erbist du? frage dein Gewissen 2'01 tr 4. Recitative (Alro) Violini. Viole. violoncello. Organo lch will. mein Gott. dir frei heraus bekennen tr 5. Aria (Alro) violin (Natsumi \Vakamatsu). Violoncello. Organo 3'44 Christi Glieder,ach bedenket... 6. Chorus Oboe.Violini. Viole. \'ioloncelli. Violone. Fagotto' Orgmo 0'52 Ertdt uns durch dein Giite. CantataNo. 172, 'Erschallet, ihr Lieder', BWV 172 15'42 3'50 @ l. Chorus liombe, Timpani. Vioiini. \'iole. \'iotoncello' Violone' Fagotto' Orgdo Erschallet, ihr Lieder, erklinget, ihr Saiten . E 2. RecitatiYe(Bass) Violoncello. Organo 0'46 Wer mich liebet.der u ird mein Wofl halten 2'04 @ 3. Aria (Bast Trombe, Timpani. Fagono. violoncello. Otgano Heiligste Dreieinigkeit 3'53 tr 4. Aria (Tenor) Violini, Viole. Violoncello.Violone. Organo O Seelenpuadies... 3',42 @ 5. Aria (Duet) (Soprano. Alto) Violoncello' organo Komm, laIJ mich nicht langer warten . r'17 tr 6. Chorus Violini, Viole. Vjoloncello. Violone. Fagono' Organo Von Gott kommt mir ein Freudenschein. Bach Collegium Japan directedby Masaaki Suzuki Vocal Soloists: Ingrid Schmithiisen. soprano;Yoshikazu Mera, counter-tenor. Makoto Sakurada, tenor; Peter Kooij' bass The Bach Collegium Japan is sponsoredby NEC. NEC Special thanks to Kobe Shoin Women's University. BWV 63: Christen, iitzet diesen Tag (for the 1723 performance. obbligato organ) represents (Christians, Engrave This Day) the sonows of the world of ment in canon, the soprano BWV 63 is the first cantara Bach wrote for Christmas and bass sing in acknowledgment that such sonows are Day. The orchestration. which requires lbur trumpets. in fact the *'ork of God's providence. In the middle sec- timpani and three oboes. makes it one of the larger tion, the bass moves with certain steps as trust in God's works of lhe Weimar period. Based in C major, the can- mercy becomes unclouded. tata is a chaming work. the expressive music evoking On Christmas Day, suffering is transfomed into sal- images of rejoicing in the Saviour's birth; it is a fine vction. The lenor \inB\ of this conrersion in a recitative example of Bach's treatment of the Christmas theme. (No.4). in which the Lord is refened to as rhe Lion of It is all bul certain thal the libretto is by J.M. Hei- David, making reference to his bow and sword. The con- neccius, pastor of the Liebfiaukirche in Halle, the town tinuo at this point reflects the flight of an anow launched known as the birthplace of Handel. Bach visired Halle from the bow. twice during his Weimar days: the llrs1 of these visits Movement 5 is a duet in G major (3/8 time) for alro was in the winter of l713 when he was applying for the and tenor It calls Christians to the heavens in a shout of position of organist at the Liebfraukirche. and the second joy, moving with the impetus of a dance. Cler musical was in the spring ol 1716, when he went to examine the structure reveals a powerful unity, and the work gives an newly repaired organ at that same church. It has been extremely modem impression. thought that on one of these trips. Bach might have per- Ar this poinr rhe bass. accompanied by the oboes fomed BWV 63 in Halle. bur timing and the contenr of and strings, commands the faithful to build up the flames the cantata raise doubts about this suggestion. Recently it of devotion (No.6, Recitative). The latrer half of the rc- has cone to be thoughr rhai BWV 63 was probably com- crtative repeats gratitude to Cod. posed at Christmas of l7l4l15 for use somewhere other The closing movement does not make use of a chor- than in Weimar (It has also been suggested thar it was ale, but is a splendid fiee-fom chorus (No.7, C major, converted from a secular cantata.) Regardless, Bach liked 4/4 time). It seems fairly rraditional in fbm, incorporat the cantata. and perfomed it for his 6rst Christmas in ing a combination of contrasting block-sections within a Leipzig (1723); he used it ar least three times during his da ( dpo (ABA) strudure. lifetime. The opening chorus, livelv and joyful music (C BWV 6l: Nun komm, der Heiden Heiland major, 3/8 time). is at a level equal ro that of the inrro- (Now Come, Saviour of the Heathen) duction to the Chtistmas Oratorio. Brass, woodwinds, The three cantatas on this recording were all composed strings and voices join in a grand competition to pro- in the latter pan of Bach's tenure at Weimar (1708-17). claim this day. In the middle section, which speaks of They were produced berween l714 and 1715, 'the when Bach light of grace', the rrumpers give way, and for a was 29 to 30, and gave brightness and heightened sig- while the music moves into a gentler A minor. nificance to the lirurgy from Advent to New Year's Day. (.Oh O sel ger Tag! blessed r1d).1)cries rhe alto, The founh Sunday before Chrisrmas, known as the beginning a long declamation againsr a background of First Sunday in Advent (or Advent 1), begins a season of understated strings (No.2. Recitative). The tone is laryely hopeful and solemn waiting for the Incarnation, and tilled with wonder at the Incamation. The nanative buiids marks the frrst day of the liturgical year. Perhaps this in mysterious ecstasy, leadiilg into the duet which follows. double signincance caused Bach to devote particular The beauriful duet fbr soprano and bass (A minor, care to creating a deep emotional content in his cantatas 4/4 time) bears the marking Adagio. An oboe obbligato for this Sunday. Three cantatas survive for Advent I of the lirst verse of Luther's (BWV 61, 62 and 36), but among these, BWV 6l emerges second, and tburth lines lively middle section takes the third as a truly monumental work. Bach first pedbmed it on chorale. while the Only the words Des sich wundert alle 2nd December 1714. while he was organist at the wei- line for its text. (At the whole u'orld vorderr)' in the middle mar court chapel, but used it again in Leipzig in his first Welt vhich set polYPhonicallY. year as Kantor at the Thomaskirche. passage, are ibr tenor follows Fi$t the anival of the The image of a beginning is strongly captured in the A recitative is tecounted. and then an outpouring of praise bold, solid fom of the opening chorus. This piece com- Saviour gratitude for that event ensues. The initial secco bines an old German chorale with the French overture and the recitative gives way to a reinforcing aruo-so, fom lirst used by Lully; the French ovefiure was tradi- style of continuo moving in canonlike form to reflect tionally the piece played at the beginning of a perfornr wirh the gntrance of hoPes. ance at the French court opera dwing the of the the fulfilment fbllows a llowing aria in C major (9/8 time)' king. A parallel can be drawn between this and the be- Then for strings, continuo and tenor' it makes ginning of the church year, which prepares for the anival written as a trio phrases to represent the coming of (or entrance) of the Saviour. The Gospel tbr the da) is use of descending The nrst and second violins and violas are gather- Matthes'21: 2-9, which relates Jesus's triumphant entr) Chrjst. 'king'. a unison obbligato which gives an impression of into Jerusa!emas ed into and wamth, and there is probably some sym- The chorale, which is incorpomted into the texture' richness a bolic reference to the unity of the church here as well' \s Nun komm, der Heiden Heiland (1524). Almost 'Beholdl The text of the next novement says: Jesus symbol for this season in the church year, this chorale (No.4.
Load more

Recommended publications
  • Juilliard415 Kristian Bezuidenhout, Harpsichord and Director
    Juilliard415 Kristian Bezuidenhout, Harpsichord and Director The Juilliard School presents Juilliard415 Kristian Bezuidenhout, Harpsichord and Director Recorded on April 10, 2021 Peter Jay Sharp Theater HENRY PURCELL Music of the Theater (1659-95) Overture to Dioclesian Hornpipe from King Arthur Rondeau Minuet from The Gordion Knot Untied First Act Tune from The Virtuous Wife Second Music from The Virtuous Wife Rondeau from The Indian Queen Chacony in G Minor J.S. BACH Contrapunctus XIV from The Art of Fugue, arr. for flute, oboe, (1685-1750) and four-part strings Harpsichord Concerto in D Minor, BWV 1052 Allegro Adagio Allegro GEORG PHILIPP Sonata à 5 for two violins, two violas, and basso continuo in TELEMANN G Minor, TWV 44:33 (1681-1767) Grave Allegro Adagio Vivace 1 Welcome to the 2020-21 Historical Performance season! The Historical Performance movement began as a revolution: a reimagining of musical conventions, a rediscovery of instruments, techniques, and artworks that inspire and teach us, and a celebration of diversity in repertoire. It is also a conversation with the past, a past whose legacy of racism and colonialism has silenced and excluded too many voices from being heard. We do not seek simply to recreate what might have been but to imagine what should be. We embrace Juilliard's values of equity, diversity, inclusion, and belonging through voices heard anew and historical works presented with empathetic perspectives, and we reject discrimination, exclusion, and marginalization. We recognize that we study and work on the traditional homeland of those who preceded us (see Juilliard's land acknowledgement statement, below).
    [Show full text]
  • M. Suzuki & Bach Collegium Japan (BIS SACD)
    BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 2 BACH, Johann Sebastian (1685-1750) Cantatas 34 · Leipzig 1725 Wie schön leuchtet der Morgenstern, BWV 1 22'23 Kantate zum Fest Mariae Verkündigung (25. März 1725) Text: [1, 6] Philipp Nicolai 1599; [2-5] anon. Corno I, II, Oboe da caccia I, II, Violino concertato I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo 1 1. [Chorus]. Wie schön leuchtet der Morgenstern… 8'19 2 2. Recitativo (Tenore). Du wahrer Gottes und Marien Sohn … 0'58 3 3. Aria (Soprano). Erfüllet, ihr himmlischen göttlichen Flammen … 4'14 4 4. Recitativo (Basso). Ein ird’scher Glanz, ein leiblich Licht… 0'56 5 5. Aria (Tenore). Unser Mund und Ton der Saiten … 6'24 6 6. Choral. Wie bin ich doch so herzlich froh … 1'18 Erhalt uns, Herr, bei deinem Wort, BWV 126 17'04 Kantate zum Sonntag Sexagesimae (4. Februar 1725) Text: [1, 3] Martin Luther 1542; [2, 4, 5] anon.; [6] Martin Luther 1529/Johann Walter 1566 Tromba, Oboe I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo, Organo 7 1. [Chorus]. Erhalt uns, Herr, bei deinem Wort … 2'44 8 2. Aria (Tenore). Sende deine Macht von oben … 4'44 9 3. Recitativo [& Choral] (Alto, Tenore). Der Menschen Gunst … 1'56 10 4. Aria (Basso). Stürze zu Boden, schwülstige Stolze! … 4'50 11 5. Recitativo (Tenore). So wird dein Wort und Wahrheit offenbar … 0'52 12 6. Choral. Verleih uns Frieden gnädiglich … 1'45 2 BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 3 Herr Jesu Christ, wahr’ Mensch und Gott, BWV 127 19'21 Kantate zum Sonntag Estomihi (11.
    [Show full text]
  • M. Suzuki & Bach Collegium Japan (BIS
    BIS-CD-841STEREO lDD Dl Total ptayingtime: 78'17 BACH,Johan n Sebastianr1685-1750) Cantatas5: Cantatasf rom Weimar lll Cantata No.18, 'Gleichwie der Regen und Schnee _ vom Himmel felltt, BWV 18.weimarer Fassung 13'58 1-11l. Sinfonia vioras,Brsso conrinuo (violoncelo. viotone. Bassoon. organor 2,15 E 2. Rezitativ ts,sr Bassoconnnuo(v,oronccrro.tsrssoon.orsano) l'09 _ Glcichwie der Regenund SchneeI'om Himmet tiillt... l-!J 3. Choral (Litanei) Choir.vioh, Basso conrnuo (viotoDcetb, vtrnone. Bassoon. or!$o) 5'37 und Rezitatiy rrenoL.srsr \4cin Gott.lricr u ird mein Herzeseiu... E 4. Arie tsopranl Viot!!. Bxssoconrhuo (violoncello, vnbne. orsd-r 3'16 Mein Seelenschatzist GottesWort... E 5. Choral Cho,r. violas. Brsso conrinuo(vioroncc|o. Violone. Eassoon.orruo) 1,07 Ich bitt, o Hen. ausHerzensgrund. .. Cantata No. 152, 'Tritt _ auf die Glaubensbahn', BWV 152 17,29 l-91 l. Sinfonia viohd rmo,.,vrclodrgarnbr.oboe,Recoder.\,saro J'16 E 2. Arie rnoty vioradasdmba.oboc.orsmo 2'JJ Tritt auf die Glaubensbahn... E 3. Rezitativ tg"nt !,oradasanrbr.oryano 1,,15 Der Heiland ist gesetzt... _ 19 4.Arietsop.ant Vntada,nore.VntrdxgrDrbi.Reco,dcr.ofgrno 4'14 Stein. der tiber alle Sch:itze... El 5. Rezitatiy (B^B) v(rr dasrn,bil. orsano I,21 Es rirgre sich die kluge Welt... _ Lll.l 6. Arie (Duett) isopmnrsilr vior^ d arno.e.obo.. Recordef.organo 3'5S Wie soll ich dich. Liebster der Seelen. umfassen']... CantataNo. 155, 'Mein Gott,wie lang, ach lange', BWV 155 12'58 El 1, Rezitativ (s.p-') viol,n,.v,orr.
    [Show full text]
  • M. Suzuki & Bach Collegium Japan (BIS
    BIS.CD-791STEREO IDD DI Total playing time: 79'09 BACH,Johann Sebastian rroas-rzsol Cantatas3: Cantatasfrom Weimar I Cantata No.12, 'Weinen, Klagen, Sorgen, Zagen', BWV 12 23',28 Kantateam Sonntag Jubilate tr l. Sinfonia Oboi.Violini. Viole. Basso conrinuo (Fagoito, Violoncello, violone. Organo) 2'31 tr 2. Coro Violini. Viole. BassocontinLro (FagdIo. Violoncello.Vioione. Organo) 6'55 tr 3, Recitativo Aho. Violini. Viole. Bassoconriiuo (Violoncello,Violone. Organo) 0'46 tr 4. Aria Alto, Oboe, Bassoconlinuo (Violoncello.Organo) 6'01 L!.1 5. Aria Basso.Violini. Vlola. Bassocontinuo (FagoIIo. Vidoncello. Violone.Organo) 2'14 tr 6. Aria Tenore. Tronlba. Basso conlinuo (Fagotro. Or'qano) 3'56 tr 7. ChOfal Oboe.Tromba. Violini. Viole. Bassoconrinuo (Fagofio. Violoncello. \'iolone. Organo) 0'50 Cantata No.54, 'Widerstehe doch der Siinde', BWV 54 10'31 Kantateam Sonntag Oculi tr l. Aria ALlo.Violiii, Viola. Bas50continuo (Viololcello. Viokrne,Organo) 6'0,1 tr 2. RecitativO Alro, Bassoconrinuo (Violoncello. Organo) t'23 @ 3. Aria Alro. Volirli. Viola. B$so continuo(Violoncello- Violone, Organo) 3'03 Cantata No.162,'Ach, ich sehe,itzt, da ich zur Hochzeit gehe', BWV162 15'36 Kantateam 20. Sonntaq nach Trinitatis E 1. Aria Basso.Violini, Viola. Bassocontinuo (Fagor().Viok)ncello, Violone. Organo) 3'41 'fenore. tr 2. Recitativo Bassoconrinuo (Violoncello. Orcano) t'44 @ 3. Aria Soprano,Flauto dolce. Bassocontinuo (Violoncello. Organo) 3'37 Obbligatctreconstrutted bl Masaaki Suzuki tr 4, RecitativO Alto. Bassoconrinuo (Violoncello. Organo) t'12 Lt9l 5. Dugtt-Aria Alto. Tenore.Basso conrinuo (Viotoncello. Organo) 3'49 @ 6. Chofal Violini. Viola. B{sso conrinuo(Fagotro. Violoncello, \iolone, Organo) 0'58 l-f'the r uurrr Br'.
    [Show full text]
  • Musicalische Exequien
    BERNVOCAL Leitung: Fritz Krämer bernvocal.ch Heinrich Schütz (1 585–1 672) Musicalische Exequien PROGRAMM Fr 1 3.1 1 .201 5 20.00 Bern, Nydeggkirche Sa 1 4.1 1 .201 5 20.00 Biel, Stadtkirche So 1 5.1 1 .201 5 1 7.00 Fribourg, Couvent des Capucins PRO G RAM M Herr, nun lässest du deinen Diener in Frieden fahren SWV 432 LUKAS 2, 29–32 Das ist je gewisslich wahr SWV 277 1 . TIMOTHEUS 1 , 1 5 Unser Wandel ist im Himmel SWV 390 PHILIPPER 3, 20–21 Herzlich lieb hab ich dich, o Herr SWV 387 [MARTIN SCHALLING] Gutes und Barmherzigkeit werden mir folgen SWV 95 PSALM 23, 6 Michael Praetorius (1 571 –1 621 ): Ballet (aus Terpsichore) Musicalische Exequien I. Konzert in Form einer deutschen Begräbnis-Missa SWV 279 Nacket bin ich von Mutterleibe kommen HIOB 1 , 21 Nacket werde ich wiederum dahin fahren HIOB 1 , 21 Herr Gott, Vater im Himmel [KYRIE I] Christus ist mein Leben PHILIPPER 1 , 21 ; JOHANNES 1 , 29 Jesu Christe, Gottes Sohn [CHRISTE] Leben wir, so leben wir dem Herren RÖMER 1 4, 8 Herr Gott, heiliger Geist [KYRIE II] Also hat Gott die Welt geliebt JOHANNES 3, 1 6 Auf dass alle, die an ihn gläuben JOHANNES 3, 1 6 Er sprach zu seinem lieben Sohn [MARTIN LUTHER 1 523] Das Blut Jesu Christi 1 . JOHANNES 1 , 7 Durch ihn ist uns vergeben [LUDWIG HELMBOLD 1 575] Unser Wandel ist im Himmel PHILIPPER 3, 20–21 Es ist allhier ein Jammertal [JOHANN LEON 1 592–98] Wenn eure Sünde gleich blutrot wäre JESAJA 1 , 1 8 Sein Wort, sein Tauf, sein Nachtmahl [LUDWIG HEMBOLD 1 575] Gehe hin, mein Volk JESAJA 26, 20 Der Gerechten Seelen sind in Gottes Hand WEISHEIT 3, 1 –3 Herr, wenn ich nur dich habe PSALM 73, 25 Wenn mir gleich Leib und Seele verschmacht PSALM 73, 26 Er ist das Heil und selig Licht [MARTIN LUTHER 1 524] Unser Leben währet siebenzig Jahr PSALM 90, 1 0 Ach, wie elend [JOHANNES GIGAS 1 566] Ich weiss, dass mein Erlöser lebt HIOB 1 9, 25–26 Weil du vom Tod erstanden bist [NIKOLAUS HERMAN 1 560] Herr, ich lasse dich nicht 1 .
    [Show full text]
  • Download Booklet
    'Iotal BIS,.CD.89I/892STIiREO tseE playingtime: 140'00 HANDEL, GeorgFriedrich (toss-rzsq) MeSSiah (rext:compil.rr by CharlesJennens from the Bible andPrayer Book Psalter) BIS.CD-891 Total playing time: 69'14 Part the First ' 53'52 t! MajoraCanamus (narralor) ... Andwithoutcontroversy. ...........0'36 tr Symphony 3'07 tr Accompagnato (tenor) . Comfort ye my people. 2'55 tr Air (tenor) . Ev'ry valley shall be exalted. ..t'15 Lll Chorus . And the glory ofthe Lord shall be revealed .2',48 L!i AccompaBnalo(ba:s). Thus saiththe Lord . t'27 tr Air (a1to) But uho ma1abrde the duy ol Hiscori;g. .4',20 EI Chorus. And He shall purify the sons of Levi .2'27 LYI Recitrtivelaltor... Behold, a virgin shall conceive. .0'29 @ Air andChoru: O Thou thartellest good tidings to Zion. 5'36 E Accompagnatofbas:). For behold,darkness shall cover the earth . .2'02 @ Air (bass) . The peoplethat walked in darkness. .3'47 tr Clhorus. .......Foruntousachildisborn. .3'46 tr Pifa .2',48 tr Recitative(soprano). .....Therewereshepherdsabiding.. ......0'15 tr Accompagnato(soprano). .Andlo,theangeloftheLord ........0'17 tr Recitative(soprano). .....Andtheangelsaiduntothern... .....0'32 @ Accompagnato(soprano) . And suddenlythere was with the angel . 0' i 6 Chorus. .......GlorytoGodinthehighest. .........1'47 @ Air (soprano) . Rejoicegreatly, O daughterof Zion . 4'12 n Recitative(alto)... ...... Thenshall theeyes ofthe blindbe open'd......0'31 @ Duet (alto, soprano) . He shall feed His flock 4'49 tr Chorus. .......Hisyokeiseasy.Hisburlhenislight..........2'15 Part the Second (opening) 52'39 @ Chorus. .......BeholdtheLambofGod.. ..........3'11 tr Air(alto) ......Hewasdespisedandrejectedofmen.........ll'04 BIS.CD-892 Totalplaying time: 72'00 Part the Second (conclusion) E Chorus Surely,He hath bome our griefs .
    [Show full text]
  • FOR RELEASE: February 22, 2012 SUPPLEMENT the BACH
    FOR RELEASE: February 22, 2012 SUPPLEMENT THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL A COLLABORATION WITH 92ND STREET Y SPRING 2013 Perspectives on Bach by MASAAKI SUZUKI, ALAN GILBERT, ANDRÁS SCHIFF, BERNARD LABADIE Mass in B Minor, Orchestral Suites, Mendelssohn, and Schumann _________________________________________ “Bach’s music really can be full of its most meaningful expression in a huge range of interpretations and stylistic approaches, and that’s one of the things that we’re trying to show. We also want to show that there are different, equally valid ways to approach the music through different lenses.” — Alan Gilbert __________________________________________ In the spring of 2013 the New York Philharmonic will present The Bach Variations: A Philharmonic Festival, exploring the work of Baroque master Johann Sebastian Bach through the lens of a variety of conductors’ and artists’ interpretations. Four orchestral programs, spanning March 6–April 6, 2013, will be led by different conductors, each bringing a different perspective to the composer’s work. Also in 2012–13, 92nd Street Y presents Bach Through the Season, which includes performances by some of the artists featured at the Philharmonic as well as a symposium with Mr. Gilbert. Together, the two institutions will offer a multidimensional portrait of Bach, featuring events that will explore varying interpretations of some of the composer’s greatest works. Alan Gilbert said: “Bach is the composer who, more often than not, ends up at the top of anybody’s list of greatest
    [Show full text]
  • M. Suzuki & Bach Collegium Japan (BIS SACD)
    Johann Sebastian Bach BACH COLLEGIUM JAPAN Masaaki Suzuki Rachel Nicholls Robin Blaze Ich habe meine Zuversicht Gerd Türk Peter Kooij BIS-SACD-1891 BIS-SACD-1891_f-b.indd 1 11-06-16 11.09.50 BACH, Johann Sebastian (1685–1750) Cantatas 49 · Leipzig 1727–29 Ich habe meine Zuversicht, BWV 188 24'15 Kantate zum 21. Sonntag nach Trinitatis (17. Oktober 1728) Text: Christian Friedrich Henrici (Picander) 1728; [6] Lübeck before 1603 Oboe I, II, Taille, Violine I, II, Viola, Soprano, Alto, Tenore, Basso, Organo obbligato, Continuo 1 1. Sinfonia Please see Production Notes by Masaaki Suzuki 7'50 2 2. Aria (Tenore). Ich habe meine Zuversicht … 6'38 3 3. Recitativo (Basso). Gott meint es gut mit jedermann … 1'59 4 4. Aria (Alto). Unerforschlich ist die Weise … 6'05 5 5. Recitativo (Soprano). Die Macht der Welt verlieret sich … 0'44 6 6. Choral. Auf meinen lieben Gott … 0'48 Ich steh mit einem Fuß im Grabe, BWV 156 16'41 Kantate zum 3. Sonntag nach Epiphanias (23. Januar 1729) Text: Christian Friedrich Henrici (Picander) 1728; [2] Johann Herman Schein 1628; [6] Kaspar Bieneman 1582 Oboe, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo 7 1. Sinfonia 2'47 8 2. Aria (Tenore, Soprano). Ich steh mit einem Fuß im Grabe … 6'11 9 3. Recitativo (Basso). Mein Angst und Not … 1'32 10 4. Aria (Alto). Herr, was du willt, soll mir gefallen … 4'00 11 5. Recitativo (Basso). Und willst du, dass ich nicht soll kranken … 1'04 12 6. Choral. Herr, wie du willt, so schicks mit mir … 0'58 2 Sehet, wir gehn hinauf gen Jerusalem, BWV 159 14'57 Kantate zum Sonntag Estomihi (27.
    [Show full text]
  • Fontana D'israel
    BERNVOCAL Leitung: Fritz Krämer bernvocal.ch Fontana d’Israel Das „Israelsbrünnlein“ von Johann Hermann Schein PROGRAMM Fr 20.05.201 6 20.00 Bern, Französische Kirche Sa 21 .05.201 6 20.00 Luzern, Hofkirche St. Leodegar So 22.05.201 6 1 7.00 Basel, Peterskirche Grusswort Liebes Publikum! Alles neu macht der Mai? Ja, fast könnte man es sagen. Die Vögel zwitschern es von den Dächern und stimmen Jubellieder an – endlich ist der Frühling eingekehrt. Bei BERNVOCAL gibt es bereits seit Anfang Januar einige Änderungen. Zum einen konnte Milena Geiser als neue Geschäftsführerin von BERNVOCAL gewonnen werden. Milena Geiser ist in Bern wohnhaft und ist durch ihr Engagement als Präsidentin des Chores der Universität Bern (201 2–201 5), als Presse- und Öffentlichkeitsarbeitsverantwortliche von einer bilinguen Konzerttournee (201 4) sowie als Koordinatorin einer CD-Produktion einer wenig bekannten Komponistin (201 5) im kulturellen Leben Berns bestens vernetzt und hat motiviert die neue Stelle angetreten. Fritz Krämer und Milena Geiser haben den Verein BERNVOCAL im Februar gegründet. Dies auch als weiterer Schritt, BERNVOCAL als ein professionelles Vokalensemble zu etablieren. Mit dem aktuellen Projekt steht ein weiterer grosser Komponist des Frühbarock im Fokus: Johann Hermann Schein (1 586–1 630), der bedeutendste Vorgänger Johann Sebastian Bachs im Amt des Thomaskantors zu Leipzig. Sein Motettenzyklus Fontana d’Israel ist in vielerlei Hinsicht der Geistlichen Chormusik seines Freundes Heinrich Schütz vergleichbar, geht aber in der Expressivität und Radikalität, mit der er den italienischen Vorbildern Monteverdi’schen Stils nacheifert, noch darüber hinaus. Im Israelis Brünnlein besingt er das Land, das heute Schauplatz von Krieg und Terror ist, aber vor allem verleiht er den Geschichten und Gebeten, die von den zeitlosen Nöten und Freuden des Menschen handeln, einen genialen, zutiefst bewegenden musikalischen Ausdruck.
    [Show full text]
  • Johann Sebastian Bach BACH COLLEGIUM JAPAN Masaaki Suzuki
    Johann Sebastian Bach BACH COLLEGIUM JAPAN Masaaki Suzuki Hana Blažíková Damien Guillon Nun danket alle Gott Christoph Genz Peter Kooij BIS-SACD-1961 BIS-SACD-1961_f-b.indd 1 2012-06-11 08.46 BACH, Johann Sebastian (1685–1750) Cantatas 51 · Leipzig 1727–32 Dem Gerechten muss das Licht immer wieder aufgehen 18'35 BWV 195 Kantate zur Trauung (1748/49, Frühfassung c. 1742, gleichnamige Trauungskantate c. 1727-32) Text: anon.; [1] Psalm 97,11–12; [6] Paul Gerhard 1647 Tromba I, II auch Corno I, II, Tromba III, Timpani, Flauto traverso I, II, Oboe I, II auch Oboe d’amore I, II, Violino I, II, Viola, Soprano, Soprano in Ripieno, Alto, Alto in Ripieno, Tenore, Tenore in Ripieno, Basso, Basso in Ripieno, Violoncello, Violone, Continuo 1 1. [Chorus]. Dem Gerechten muss das Licht immer wieder aufgehen … 4'37 2 2. Recitativo (Basso). Dem Freudenlicht gerechter Frommen … 1'07 3 3. Aria (Basso). Rühmet Gottes Güt und Treu … 4'50 4 4. Recitativo (Soprano). Wohlan, so knüpfet denn ein Band … 1'08 5 5. Chorus. Wir kommen, deine Heiligkeit … 6'05 Post Copulationem · After the Wedding 6 6. Choral. Nun danket all und bringet Ehr … 0'43 Nun danket alle Gott, BWV 192 10'49 Kantate, Bestimmung unbekannt (1730–31?) Text: Martin Rinckart 1636 Flauto traverso I, II, Oboe I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo 7 1. Chorus. Nun danket alle Gott … 4'53 8 2. [Duetto] (Soprano, Basso). Der ewig reiche Gott … 2'56 9 3. [Chorus]. Lob, Ehr und Preis sei Gott … 2'57 Ich lasse dich nicht, du segnest mich denn, BWV 157 19'29 Kantate für eine Trauerfeier (6.
    [Show full text]
  • Bach 2020 5 Early Cantatas II Oct14
    J.S. BACH fall 2020 5 early cantatas II Ray Squitieri THE VOCAL MUSIC OF J.S. BACH1 CLASS 5 Oct 19 EARLY CANTATAS II; INSTRUMENTAL COMPOSITIONS AT CÖTHEN Outline 1. Bach served as court musician and composer at Weimar 1708-17. Exposed to Vivaldi’s concertos, he transcribed and adapted them in order to learn the Italian concerto style. Wrote cantatas for the court, including several of his best. 2. He enjoyed favorable circumstances at Cöthen 1717-23—no onerous non-musical duties. With no elaborate church music required, a flood of instrumental compositions now poured from Bach’s pen, including Book I of The Well-tempered Clavier, the solo sonatas and partitas for violin, the solo suites for cello, suites for orchestra, and the Brandenburg Concertos. 1. Bach’s wife Maria Barbara died suddenly in 1720, leaving him with 4 children to raise. Eighteen months later he married Anna Magdalena Wilcke, a fine soprano who was to bear him 13 more children. Cantata BWV 4, “Christ lag in Todes Banden” (Christ lay in death’s bonds) ne of Bach’s earliest cantatas, this masterful work depicts the mighty struggle between life and death. It takes both text and its hymn tune from a chorale by Martin Luther, written nearly 200 Oyears earlier. Each of the cantata’s seven movements uses as its text one stanza from the chorale, with the chorale theme appearing in different forms throughout. Conductor and Bach scholar John Eliot Gardiner describes the work as Bach’s “first-known attempt at painting narrative in music.” The mournful opening SInfonia introduces the the chorale tune, in preparation for the stirring opening chorus (movement 2) .
    [Show full text]
  • BACH COLLEGIUM JAPAN BACH • HANDEL • VIVALDI Philippe Sly Bass-Baritone | Michael Mcmahon Fortepiano Masaaki Suzuki Music Director | Joanne Lunn Soprano
    BACH COLLEGIUM JAPAN BACH • HANDEL • VIVALDI Philippe Sly bass-baritone | Michael McMahon fortepiano Masaaki Suzuki music director | Joanne Lunn soprano AT THE CHAN CENTRE DEC09 This concert is generously supported by Zelie & Vincent Tan and Adèle Lafleur and Maurice & Tama Copithorne 2 | EMV Masterworks Series 2018/19 Bach Collegium Japan [email protected] E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directorsChris Guzy GOVERNMENT SUPPORT Chris Guzy president Fran Watters Fran Watters vice presidentSpencer Corrigal , We acknowledge the support of the Province of British Columbia Spencer Corrigal cpa,ca treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace THE BRENNAN SPANO Kathleen BourchierMelody Mason FAMILY FOUNDATION Sherrill Grace Jesse Read Tim Rendell , THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Tim Rendell cpa,caIngrid Söchting Johanna ShapiraVincent Tan 2018-19 PRODUCTION PARTNERS Ingrid Söchting Vincent TanJosé Verstappen EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ José Verstappen cm pacific baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew White staff Nathan Lorch Matthew White executive & artistic director Jocelyn Peirce Nathan Lorch business manager Laina Tanahara Jocelyn Peirce ¡¢£ ¡£¤¥ ¢£ ¦¢¡¢ §: development coordinator Jonathan Evans Laina Tanahara marketing & volunteer coordinator Jan Gates Jonathan Evans CORPORATE SUPPORT production coordinator Murray Patterson Jan Gates Marketing Group Rosedale on Robson Suite Hotel event photographer VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected] Murray PatersonTrevor Mangion 1291 West 40th Avenue, Vancouver, B.C.
    [Show full text]