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Download Booklet BIS-CD-93ISTEREg E p p] lbral playingtime: 67'12 BACH,Johan n Sebastianrr685-1750) Cantatas9: Leipzig7723 CantataNo.76, 'Die Ilimmel erzdhlendie Ehre Gottes',BWV 76 33'36 Erster'feil/Partl 19'08 E l. Chorus Tfonrba,Oboi. Violini, Viola. Continuo(Violoncello. Violone. Fagoto. Organo) ,l'09 Die Hinrmel erzilhlen die Ehre Gottes... E 2, Recitative tTenoLt violiri. Viola. Cortinuo lVioloncello.Viol(ue. Organo) l'29 So lllSt sich Gott licht unbezeugetl... El 3. Aria {soprano) Violiio. Conlinuo (Violonccllo.organo) 5'34 Hcirt. ihr Vcilker, Gottes Stimme... E 4. Recitative (Bass) Conrinuu(Violonccllo, Orgnno) 0'4,1 \!'er aber hcirt... [i 5. Aria (Bass) IforDba.Oboi. violini. Vrdr. Continuo(Violoncello, \/iolone. Fagorto.Organo) 3'04 Fahr hin. abgdttilche Zunfil. .. E 6. Recitatiye (Alft)l Conrinuo(Vroloncello. (Jrgano) l'-14 Du hast uns. Hcn. ron allen Straren... E T.Chorale Trombad[lirafsi,Oboi.\'iolini.Viola.Conlinuo(Vidoncel]o.violone.Fagono.Organol2'27 Es woll uns Gott geniidig sein. Zweiter Teil / Part II 14'18 E 8. Sinfonia oboedanore. Viola dr garnba.Continuo (Violoncello. Organo) 2'30 El 9. Recitative (Bass) violini.viola. conrinuo (Violoncello. Violone. orgenoJ 0'51 _ Gott segnenoch clietreue Schar... ll-9J10. Aria rTenort Continuo(\jlolonccllo. Organo) 2'38 Hassenur. hasse mich recht... E ll. Recitatire (ato) Corrinuo(\iioloicello. organo) 0'58 Ich ftihleschon im Geist... @ 12.Ariat-clrul Oboedrnore.Violadagamba,Conrirluo(Violoncello.organo) 3'56 Liebt.ihr Christen.in derTal!. E 13. Recitative (Tcnor) Conlinuo(Violonccllo. Orcano) 0'48 So solldie Christenheit... E l,l.Chorale Trrrbadatirarsi.Oboi.Violini.Viola.Continuo(Violoncello.Violone.Fagoilo.Organo)2'31 E>drnke. Gorr. und lobctlich. CantataNo.24, 'Ein ungefdrbt Gemiite', BWy 24 14'55 El l. Aria (atto) violini, Viola.Continuo (Violoncello. Violone, Fagotto, Organo) 3'05 Ein unseftrbt Gemiite... @ 2. Recitative (renor) Continuo(vloloncello, organo) 1'53 Die Redlichkeitist eine von den Gottessaben... E 3. Chorus Clarino,Oboi, Violini, Viola,Conilnuo (VioLoncello, Violone, Fagotto, Organo) 2'4g Alles nun. das ihr wollet. .. @ 4. Recitative (Bass) violini, Viola,Conlinuo (Violoncelio. Violone, Organo) l'43 Die Heucheleiist eine Brut, die Belial gehecket... E 5.Aria(TenoO Oboid'amore,Continuo(Violoncello,Organo) 3'41 Treu und Wahrheit sei der Grund.. @ 6. Chorale Clilino, oboi, Violini, Viola,Continuo (Violoncello, Violone, Fagotto, Organo) l'36 O Gott. du frommer Gott.. CantataNo. 167,'Ihr Menschen,riihmet GottesLiebe', BWV 167 17'30 E l. Aria (Tenoo Violini, viola, Continuo(Violoncetlo, violone, Fagotto, Organo) 4'41 Ihr Menschen. riihmet Gottes Liebe.. E 2. Recitative (Alto) Continuo(Violoncello, organo) 1'58 Gelobetsei der Hen Gott Israel... @ 3, Aria (DuetSop./Alto) oboe dacaccia, Continuo (violoncello. orgmo) 7'09 Gottes Wofi. das triiset nicht... E 4. Recitatiye (Bass) Continuo(violoncetlo, Organo) 1'18 Des Weibes Smen kam. @ 5. Chorale Tromba,Oboe, Violini, Viola.Continuo (Violoncello, Violone, FaSotto, Organo) 2'18 Sei Lob und Preismit Ehren... Bach Collegium Japan directedby Masaaki Suzuki VocalSoloists: Midori Suzuki, soprmo;Robin Blaze, counter-tenor; Gerd Tiirk, tenor;Chiyuki Urano, bass fffift TheBach Collegiun Japan is sponsoredby NEC. NEC Specialthanks to KobeShoin Women's University. BWV 76: Die Himmel erzdhlen die Ehre Gottes Psalm 19 as does a popular chorus in Haydn's C,"aIlot (The heavens declare the Glorv of God) (also in C majorl). The first half, led by the trumpers, Bach's duty, as Kantor of the Thomaskirche, of pro- reflects the glory of God, while the fugal last half dwells ducing cantatas for Sundays and feast days began on on lhe widespread .ound oI Cod'' voice. 30th May 1723. On that day, the First Sunday after Cmying on, the tenor begins the story (No. 2, recir- Trinity, BWV 75 was introduced, and from that poinr on- ative). A11 of nature shows God's blessing, and even now 'Liebesmahl' ward, Bach proceeded to write and perfom his cantatas He calls all men to his ('banquet of love'). at a pace of about one work a week. The works on this In the central arioso section (Andante), the motion of the recording date from June of the same year, when that strings reflects the movement of God's spirit at work. enthusiastic work of creation had barely been staned. No.3 is a soprano aria in G major With a little morif BWV 76 was the second cantata perfomed by Bach attached to the words Hiirt, ihr V6lker' ( Listen, ye as Kantor at Leipzig, premiered on the Second Sunday peoples'), the violin and continuo dodge around the after Trinity, 6th June 1723. Together wirh rhe cantata for soprano. There is a l'eel of three-paft chamber music. the Firut Sunday afrer Triniry, BWV 75, which was per- Then the ba'r beginr a .everell accu'ing recitari\e fbrmed the week before. it is perhaps appropriare ro (No. ,l), stating that the greater part of mankind u'orships think of this as the work that announced the commence- inner idols. He continues with a brave C major aria. The ment of Bach's duties there. a sott of commemoration. big steps in the continuo. the trumpet fanfares and the 'noisy This is because BWV 76 is built on no less monumental strings' motif impeach the idol-worshippers. a scale than BWV 75. and exhibits various similar The alto follows (No.6, recitative) with a ponrayal characteristics. Some examples of this similarity are the of the meaning of the banquet as the enjoyment of the overall structure (bipanite, fourteen [Bach's number!] spirit of God. The second half changes to a modest movements in all). a great chorus based on a psalm verse arioso prayer Closing the lirst part is a Lutheran chorale to open the first part, an instrumental sinlbnia opening (based on Psalm 67) which is a gentle prayer for blessing the second part, the use of the same chorale melody to and guidance, notable for the singular form in which a close each of the two pans, and the incorporation of two melody in the trumpet is repeated by the chorus. From arias in each part for a total of four. The similarity the continuo, we hear a Iively motif which contains extends to the scale of the content as well. The librettist traces of the preceding strife. has taken a poflion of Lukc's Gospel (1,1: 16-24) - rhe Pail Two opens with an E minor sinfonia (A/dgt., story of the splendid banquer ro which the invited guests |irace). The music makes a reappearance as the first of did not come. so that poor and infirm people were tlx Ttio SonaLds (BWV528); ir is rhoughr ro be an bidden to come instead and interprets ir in the light of a anangement of an earlier trio. now lost. It is a rare orch- grander\cenet all thrng. in the unrrer.e are coming estration tbr oboe d'amore, viola da gamba and con- together to the banquet of God. The rext thus unfolds a tjnuo. Next, over harmony lrom the strings, the bass 'die depiction of the conflict between those who follow idols prays to God to protect treue Schar' ('the faithful and those who have received the spirit ot' God. Built flock') (No.9. recitative). The renor continues in an arja mound this, Bach's music contains such variety that the (A minor) with sharp interval leaps, declaring his deci- listener never wearies. sion to abjure hatred. A characteristic figure is repeated The C major chorus which opens rhe cantara is built m the continuo. on a two-part structure reminiscent of a prelude and In a sweet arioso, the alto, who has tru]y felt the 'the fugue, and uses the same two well-known verses of love of Christ, examines manna that sustains' (No. I l), then sings an E minor aria extollinS brotherly The cantata opens with an F major alto ilia in 3/4- love (No. I 2). This aria is similar to the sinfonia in key time. The subject played by the strings, which was taken 'ein and instrumentation. and through relaxed compound from the violin sonata BWV 1014, suggests unge- rhythm portrays the strcams of love. fiirbt Gemiite' ('An open mind'). Both then and now' this To Christians who worship God, nothing proclaims is an aria that encompasses Geman values. Following a the glory of God more than the heavens the tenor tenor recitative which expounds on the meaning of sin- recitative (No. 13) brings back the universal theme with cerity (No. 2), a chorus in G minor based on a passage 'erz:ihlen' which the cantata began. The word (proclaim) from St. Matthew's Gospel develops. lt gives m image is given panicular emphasis here, The work closes with of many individual people joining their voicesi there is a the retum of the Lutheran chorale from No.7. to which a good contrast between the homophonic lirst half and the ver.e ofa differenthymn is.uns lhi\ lime. double fugue (.Allegro e Vbace) in the second hall. ln the 'Alles double fugue, the theme nun' ('Therefore all BW\r 2,1: Ein ungefdrbt Gemiite (An open mind) things') and the powerful advice'das tut' ('do ye even') BWV24, a cantata for the Fourth Sunday after Trinitl' are simultaneously combined. (in 1723 this was 20th June), was performed after the No.4 is a bass recitative that stdctly censures hypo- initial presentations of BWV75 and 76 and a repeat crisy. It is written in dramatlc dccomPasrdlo style. Mov- performance of BWV2I (which is to say that, dating ing on to'rinceritl and lrulh-. the lenor singsane$ rn m from Bach's taking of oflice. it was the third cantata aria in A minor (No.5).
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