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Album Booklet 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.
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