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B Ach Cantatas Gardiner Bach Cantatas Gardiner CD 1 78:53 For Christmas Day 1-7 26:28 Christen, ätzet diesen Tag BWV 63 8-10 13:42 Gloria in excelsis Deo BWV 191 Claron McFadden soprano, Bernarda Fink alto Christoph Genz tenor, Dietrich Henschel bass For Epiphany 11-17 15:21 Sie werden aus Saba alle kommen BWV 65 18-23 23:22 Liebster Immanuel, Herzog der Frommen BWV 123 Sally Bruce-Payne alto James Gilchrist tenor, Peter Harvey bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Herderkirche, Weimar, 25 December 1999 Nikolaikirche, Leipzig, 6 January 2000 Weimar The English Flutes Leipzig The English Recorders, Flutes The Monteverdi Choir Baroque Soloists Rachel Beckett The Monteverdi Choir Baroque Soloists Rachel Beckett Christine Garratt Christine Garratt Sopranos First Violins Sopranos First Violins Donna Deam Alison Bury Oboes Suzanne Flowers Kati Debretzeni Oboes Suzanne Flowers Lucy Howard Marcel Ponseele Katharine Fuge Nicolette Moonen Marcel Ponseele Katharine Fuge Penelope Spencer James Eastaway Nicola Jenkin Penelope Spencer Patrick Beaugiraud Nicola Jenkin Debbie Diamond Catherine Latham Ruby Hughes Peter Lissauer Bassoon Elin Manahan Thomas Rebecca Livermore Mark Radcliffe Gillian Keith Matthew Truscott Alastair Mitchell Belinda Yates Emma Preston-Dunlop Second Violins Bassoon Second Violins Horns Altos Kati Debretzeni Alastair Mitchell Altos Anne Schumann Gabriele Cassone Elinor Carter Peter Lissauer Lucy Ballard Rodolfo Richter Trumpets Luca Marzana David Clegg Catherine Ford Angus Davidson Ulli Engel Niklas Eklund Mauro Bernasconi Charles Humphries Stephen Jones Charles Humphries Daphna Ravid Marc Ulrich Richard Wyn Roberts William Missin Organ Violas Frode Jakobsen Violas Silas John Standage Tenors Annette Isserlis Ulrik Hoglund Tenors Jane Rogers John Bowley Lisa Cochrane Vernon Kirk Mari Giske Harpsichord Timpani Simon Davies Rosemary Nalden Rory O’Connor Emma Alter Malcolm Proud John Chimes Vernon Kirk Iain Rhodes Cellos Cellos Nicolas Robertson Organ Nicolas Robertson David Watkin Alison McGillivray Howard Moody Basses Christopher Poffley Basses Catherine Rimer Julian Clarkson Harpsichord Alex Ashworth Double Bass Double Bass Thomas Guthrie Silas John Standage Christopher Foster Valerie Botwright Valerie Botwright Daniel Jordan Michael McCarthy Michael McCarthy Charles Pott CD 2 52:16 For the First Sunday after Epiphany 1-8 16:01 Mein liebster Jesus ist verloren BWV 154 9-14 13:19 Meinen Jesum lass ich nicht BWV 124 15-20 22:55 Liebster Jesu, mein Verlangen BWV 32 Claron McFadden soprano, Michael Chance alto James Gilchrist tenor, Peter Harvey bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recording from the Bach Cantata Pilgrimage Hauptkirche St. Jacobi, Hamburg, 9 January 2000 The Monteverdi Choir The English Oboes Baroque Soloists Marcel Ponseele Sopranos Patrick Beaugiraud Suzanne Flowers First Violins Mark Radcliffe Nicola Jenkin Kati Debretzeni Ruby Hughes Nicolette Moonen Organ Gillian Keith Penelope Spencer Silas John Standage Emma Preston-Dunlop Peter Lissauer Harpsichord Altos Second Violins Malcolm Proud Lucy Ballard Anne Schumann Angus Davidson Ulli Engel William Missin Daphna Ravid Tenors Violas Vernon Kirk Jane Rogers Rory O’Connor Mari Giske Nicolas Robertson Cello Basses Melanie Beck Alex Ashworth Double Bass Christopher Foster Valerie Botwright Charles Pott SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 2 Johann Sebastian Bach 1685-1750 Cantatas Vol 18: Weimar/Leipzig/Hamburg CD 1 78:53 For Christmas Day 26:28 Christen, ätzet diesen Tag BWV 63 1 (4:48) 1. Coro Christen, ätzet diesen Tag 2 (3:13) 2. Recitativo: Alt O sel’ger Tag! 3 (7:02) 3. Aria (Duetto): Sopran, Bass Gott, du hast es wohlgefüget 4 (0:42) 4. Recitativo: Tenor So kehret sich nun heut 5 (3:15) 5. Aria (Duetto): Alt, Tenor Ruft und fleht den Himmel an 6 (0:53) 6. Recitativo: Bass Verdoppelt euch demnach 7 (6:34) 7. Coro Höchster, schau in Gnaden an 13:42 Gloria in excelsis Deo BWV 191 I. Teil 8 (5:50) 1. Coro Gloria in excelsis Deo II. Teil 9 (3:55) 2. Aria (Duetto): Sopran, Tenor Gloria Patri 10 (3:58) 3. Coro Sicut erat in principio 2 SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 3 For Epiphany 15:21 Sie werden aus Saba alle kommen BWV 65 11 (4:11) 1. Coro (Concerto) Sie werden aus Saba alle kommen 12 (0:36) 2. Choral Die Kön’ge aus Saba kamen dar 13 (1:41) 3. Recitativo: Bass Was dort Jesaias vorhergesehn 14 (2:52) 4. Aria: Bass Gold aus Ophir ist zu schlecht 15 (1:21) 5. Recitativo: Tenor Verschmähe nicht 16 (3:21) 6. Aria: Tenor Nimm mich dir zu eigen hin 17 (1:17) 7. Choral Ei nun, mein Gott, so fall ich dir 23:22 Liebster Immanuel, Herzog der Frommen BWV 123 18 (5:10) 1. Coro (Choral) Liebster Immanuel, Herzog der Frommen 19 (0:46) 2. Recitativo: Alt Die Himmelssüßigkeit, der Auserwählten Lust 20 (7:02) 3. Aria: Tenor Auch die harte Kreuzesreise 21 (0:37) 4. Recitativo: Bass Kein Höllenfeind kann mich verschlingen 22 (8:36) 5. Aria: Bass Lass, o Welt, mich aus Verachtung 23 (1:10) 6. Choral Drum fahrt nur immer hin 3 SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 4 CD 2 52:16 For the First Sunday after Epiphany 16:01 Mein liebster Jesus ist verloren BWV 154 1 (3:27) 1. Aria: Tenor Mein liebster Jesus ist verloren 2 (0:38) 2. Recitativo: Tenor Wo treff ich meinen Jesum an 3 (1:07) 3. Choral Jesu, mein Hort und Erretter 4 (3:11) 4. Aria: Alt Jesu, lass dich finden 5 (1:13) 5. Arioso: Bass Wisset ihr nicht 6 (1:55) 6. Recitativo: Tenor Dies ist die Stimme meines Freundes 7 (3:29) 7. Aria (Duetto): Alt, Tenor Wohl mir, Jesus ist gefunden 8 (1:00) 8. Choral Meinen Jesum lass ich nicht 13:19 Meinen Jesum lass ich nicht BWV 124 9 (3:18) 1. Coro (Choral) Meinen Jesum lass ich nicht 10 (0:42) 2. Recitativo: Tenor Solange sich ein Tropfen Blut 11 (3:07) 3. Aria: Tenor Und wenn der harte Todesschlag 12 (0:53) 4. Recitativo: Bass Doch ach! Welch schweres Ungemach 13 (4:14) 5. Aria (Duetto): Sopran, Alt Entziehe dich eilends, mein Herze, der Welt 14 (1:04) 6. Choral Jesum lass ich nicht von mir 4 SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 5 22:55 Liebster Jesu, mein Verlangen BWV 32 15 (5:21) 1. Aria: Sopran Liebster Jesu, mein Verlangen 16 (0:23) 2. Recitativo: Bass Was ist’s, dass du mich gesuchet? 17 (8:13) 3. Aria: Bass Hier, in meines Vaters Stätte 18 (2:25) 4. Recitativo (Dialogo): Sopran, Bass Ach! heiliger und großer Gott 19 (5:19) 5. Aria (Duetto): Sopran, Bass Nun verschwinden alle Plagen 20 (1:1 3) 6. Choral Mein Gott, öffne mir die Pforten 5 SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 6 SDG174_booklet_dg:SDG118_booklet_dh3 13/8/10 13:20 Page 7 When we embarked on the Bach span meant deciding on a single pitch (A = 415) for Cantata Pilgrimage in Weimar on each programme, so that the early Weimar cantatas Christmas Day 1999 we had no real written at high organ pitch needed to be performed sense of how the project would turn out. in the transposed version Bach adopted for their There were no precedents, no earlier revival, real or putative, in Leipzig. Although we attempts to perform all Bach’s surviving had commissioned a new edition of the cantatas church cantatas on the appointed feast by Reinhold Kubik, incorporating the latest source day and all within a single year, for us findings, we were still left with many practical to draw on or to guide us. Just as in decisions to make over instrumentation, pitch, bass plan ning to scale a mountain or cross figuration, voice types, underlay and so on. Nor did an ocean, you can make meticulous we have the luxury of repeated performances in provision, calculate your route and get which to try out various solutions: at the end of each all the equipment in order, in the end feast-day we had to put the outgoing trio or quartet you have to deal with whatever the of cantatas to the back of our minds and move on elements – both human and physical – to the next clutch – which came at us thick and throw at you at any given moment. fast at peak periods such as Whitsun, Christmas With weekly preparations leading to and Easter. Introduction John Eliot Gardiner the performance of these extraordinary The recordings which make up this series were works, a working rhythm we sustained throughout a a corollary of the concerts, not their raison d’être. whole year, our approach was influenced by several They are a faithful document of the pilgrimage, factors: time (never enough), geography (the initial though never intended to be a definitive stylistic retracing of Bach’s footsteps in Thuringia and Saxony), or musicological statement. Each of the concerts architecture (the churches both great and small where which we recorded was preceded by a ‘take’ of the we performed), the impact of one week’s music on final rehearsal in the empty church as a safety net the next and on the different permutations of players against outside noise, loud coughs, accidents or and singers joining and rejoining the pilgrimage, and, meteorological disturbance during the performance. inevitably, the hazards of weather, travel and fatigue. But the music on these recordings is very much Compromises were sometimes needed to accom- ‘live’ in the sense that it is a true reflection of what modate the quirks of the liturgical year (Easter falling happened on the night, of how the performers reacted exceptionally late in 2000 meant that we ran out of to the music (often brand new to them), and of how liturgical slots for the late Trinity season cantatas, so the church locations and the audiences affected our that they needed to be redistributed among other response.
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