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M. Suzuki & Bach Collegium Japan (BIS BIS-CD-851STEREO IDD DI Totalplaying time: 68'01 BACH,Johan n Sebastian(1685-1750) Cantatas6: Cantatasfrom Weimar CantataNo.3l,'Der Himmel lacht,die Erdejubilieret', BWV3I l9'S3 1. tr Sonata Trombe. TiInpani. Oboi, Taille, Violini. Viole. Violoncello, violone, Fagotto. Organo 2'37 2. tr Chorus Trombe. Timpanj. Oboi, Violini. Viole, Violonccllo. Violone. Fagotro. Oreano 3t43 Der Himmel lacht! die Erde jubilieret... E 3. Recitativo (Ba$) Violoncello, Organo 2'07 ErwiinschterTagl sei,Seele, wieder frohl... @ ,1.Aria (Bass) Violonceilo,Organo z',26 Fiirst des Lebens,starker Streiter... E 5. Recitativo (Tenor) Violoncelio,Orgmo I'13 So stehedann, du gottergebneSeele... E 6. Aria (Tenor) Vrotrni,Vjote. Violoncello. Violone. FaSotto, Ogano 2'01 Adam muB in uns veruesen... tr 7. Recitativo (Soprano) Violoncello.Organo 0'48 Weildann da\ HauptreinerClied... tr 8, Aria (Soprano) Oboe, Violini, Viole. Violoncello.Violone. Organo 3'38 LetzteStunde, brich herein,.. E 9. chorus Tromba, Oboi. Taille Violini, Viole. Violoncello, Violone. Fagoto, Organo l'05 So fahr ich hin zu JesuChrist... 'Ich CantataNo.21, hatteviel Bekiimmernis'. BWV 2l 37'15 Erster Teil @ l. Sinfonia Oboe(Marcel ponseele). Violini, Viola,Violoncello, Fagofto. Organo, Vjotone 3'04 tr 2. Chorus Oboe, Violini. Viola, Violoncello, Fagotto, Organo. Violone 3'53 Ich hatte viel Bekiimmernis in meinem Herzen tr 3. Aria lSoprrno) Oboe, Violoncello. Organo 4',23 Seufzer,Trinen. Kummer. Not.,. tl. EI Recitativo (Soprano) Violini. Viota.Violoncello. Fagorto, OrSano, Violone t'26 Wie hastdu dich. mein Gotr... @ 5. Aria (Tenor) Violini.Viola. Violoncello, Fagotto, organo. Violone 5'18 Blchc von ge.alznenZahren... E 6. Chorus Oboe.Violini. Viola. Violoncello. Fagotto. Organo. Violone 3'27 \4.asbetriibst du dich. meine Seele... Zweiter Teil E 7. Recitativo (Soprano,tsass)Violini. Viola. Violoncello. Fagotto. Ofgano, Violone l'17 Ach Jesu,meine Ruh. .. E 8. Aria (Duet) (SopranoBass)Violoncello. organo 3'45 Komm. mcin Jcsu.und erquicke... @ 9. Chorus Oboe,VioliDi. \iiola. \rrcloncello. Fagotro. Organo. Violone 4'27 Sei nun wieder zufrieden... E 10. Aria (Soprano) violoncello.organo 2'37 Erfieue dich, Seele... @ 11.Chorus Trombe.Timpani. Oboe. \'ioLini, Viola. Violoncello, FagotIo, Organo' Violone 3'13 Das Lamm, daserwiirget ist... Alternative Movements.BWV 21 E 3. Aria (Tenor) Violoncello.organo 4'30 Seul/er,lrlncn. Kummer. \o1... E 7. Recitativo (Tenof,Eass) Violini. Viola. viobncello. Fagollo,Ofgaro. Violone l'22 Ach Jesu. meine Ruh... E 8, Aria (Duet) (Tenor/Bass) violoncello. Organo 3'46 Komm. mein Jesu. und erquicke... Bach CollegiumJapan directedby Masaaki Suzuki VocalSoloists: Monika Frimmer, soprano;Gerd Tiirk, tenorlPeter Kooij, bass fs?N TheBach Collegium Japan is sponsored by NEC. NEC Special thanks to Kobe Shoin Women's Universit!. BWV 2l: Ich hatte viel Bekiimmernis basis lbr the version on this recording). Yet an- (There were many afflictions) other manuscript. this one strengthening the brass, In the latter part of his tenure as organist at the was created for perfbrmance on the appropriate court chapel in Weimar (1708-17, when he was Sunday in 1723 (l3th June), immediately after 23-32 years of age), Bach composed approximate- Bach took up the position of Kantor at the Thomas- ly 20 church cantatas to be used in feast-day kirche. For a detailed discussion of the variations services.These are filled with youthful sensibility in the voice parts and in pitch between the various and vitality, and are considered to have been a versions,please refer to Masaaki Suzuki's notes in stepping-stone to the greater Leipzig cantata this booklet. series,which Bach began in 1723. This recording Cantata 2l has at its heart the text from the contains two especially well-known cantatasfrom Gospel for the Third Sunday after Trinity: the Weimar; Bach himself considered these fo be parable of the lost sheep (Luke l5: l-10). lt important works. as it is known that he repedorm- illustratesthe message.'Joy shall be in heaven ed them on a number of occasions,with some sig- over one slnner that repents. more than over ninety niflcant revisions to differing perfomance venues and nine just persons, who need no repentance.' and personnel. This parable was told by Jesus, who was with a BWV 2l is a large cantata consisting of I I group of tax collectors and sinners, as a reproach movements organized into two parts - notable to the discriminatory and critical Pharisees and even among Bach's cantatasfor its scale.The cir- scribes.Salomo Franck's libretto is from the per- cumstancesof its composition are convoluted, but spective of one of these sinners. who, over- Martin Petzoldt's recent analysis suggeststhe whelmed by the evils of the world. is on the brink fbllowing. The original fom of the work (move- of the abyss of despair when he sees the light of ments 2-6 and 9) was produced for a memorial Jesusand is filled with joy, praising God, The service held on 8th October 1713 at the Church of Iamenting first part is grounded in D minor. while SS. Peter and Paul in Weimar tbr the former Prime Part II, which sings of the joy of salvation,moves Minister Schwarzburg-Rudolstadt'swife, Aemilia through G major to an eventual B major resting Maria Haress.ln 171;1Bach expanded the cantata place. to its present I I movements fbr performance on The first movement opens with an instrument- the Third Sunday after Trinity (17rh June). al Sinfonia, an Adagio assai in D minor. It is a encompassing in its scope a farewell to Duke sorrowful piece dominated by the oboe and first Johann Ernst, who was then setting off on a violin. lourney. This is now referred to as the Weimar The chorusenters with the word'Ich'('I') version. Subsequently.in the autumn of 1720. repeatedthree times in overlappingprogression. when Bach was a candidate for the position of and moves into the main chorus (number 2, D organist at the Jacobikirche in Hamburg, he pro minor). Following a Vivaldi-likc frcc fugue, the 'aber' duced a neu manuscript in D minor (which is the word ('but') introducesa shift to a Vit,aceF major for the latter half of the movement. For all major), has joyful steps as the retum to the fold is of that, it is no more than a preview of the con- sung, and all the shadows of the first aria (number solation to follow. 3) are lost in heavenly light. This moves into the The soprano aria (Molto adagio, D minor) in finale, a very lively chorus which calls for three the thild movement itemizes a list of synonymous trumpets and timpani (number 11, D major). It expressionsof the sinner's sonow and tribulation. begins with a massive Grave, ar'd flows into an A gentle basso continuo underlies the oboe that Allegro fugue that would not seem out of place in illustrates the suffering expressed with deep senti- Handel's Messiah. ment by the soprano. The soprano builds on this imagery of suffering in the next movements BWV3I: Der Himmel lacht, die Erde jubilieret (number 4, a recitative, and number 5, a Largo The heavens laugh. the earth rejoices aria in G minor). The weeping introduced in With the exception of the Easter Oratorio, only 'streams movement 3 becomes of salt tears...'. two of Bach's cantatas for Easter Day are still in 'storms', and in the middle section, images such as existence: BWV4 and BWV3l. Both of these 'waves' 'hell' and are vividly illustrated. The works are relatively early but offer a wide range of chorus closes the first part with a quotation from conlrasts, and were often reperfomed in Leipzig. 'Why Psalm 42: troublest thou thyself, my soul?' Unlike BWV4. which looks back on the (number 6, G minor). In comparison with the Passion through a Lutheran chorale text, BWV 3 I, opening chorus, this movement begins with a call which uses a libretto by Salomo Franck, is a true of consolation and is uplifting both in tempo and festival piece, requiring three trumpets, timpmi, in mood. three oboes and m oboe da caccia, which caplures Part II opens with a dialogue between the soul the great rejoicing of Jesus's resunection. This re- (soprano) and Jesus (bass). The soul, wandering in joicing is transfomed into fervent hope of parti- darkness, calls to the Lord for help, and Jesus cipation in the resunection of Chdst, at last lead- answers, promising light and protection. The two ing to a great chorale singing of death and etemity. then sing a charming love duet (number 8, F The cantata was first performed on 21st April 'nein' major). Skilful exchangesof'ja' ('yes') and 1715, when Bach had jusr tumed 30. It was heard ('no') resemble the Italian opera buffa form. At again the very next yem; Masaaki Suzuki describ- this point, the chorus presents the text of a psalm es subsequent perfomances and the questions of verse in polyphony, interwoven with a chorale pitch and instrumentation elsewhere in this book- melody (number 9, A minor). Explaining the let. pointlessness of fear, the chorus exhorts the soul to The cantata opens with a movement entitled be contented in this movement initially conceived Sonata, which is a concerto-like insttumental of as the ending of the cantata. overture. Dancing 6/8 metre here is evocative of The soprano aria which was added ('Erfreue the Brandenburg Concertos. As this movement 'The dich, Seele' ['Rejoice thee, soul'], number 10, F ends, the chorus introduces the shouts of heavenslaugh! The eanh rejoicesl' The Allegro C closing chorale ('Wenn mein Stiindlein vorhanden major chorus uses short blocks and fugue-sections ist' [When my last hour is at hand]). in alternation to present very lively images of The last movement of the cantata.
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