M. Suzuki & Bach Collegium Japan (BIS

Total Page:16

File Type:pdf, Size:1020Kb

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'. I hel l the oo{ ul coun orp.rni.l Jl W(i- sonow shall be tumed inro jo) (John 16:20).The rnafow of rr:rrrrr S.r.h.e r \\rrrrrr lrurn l-ol lo l_17.Durin! Franck s thene is this chan-eingof sonos into.joy fhrough I I tltc.cnrru \rrl Br.1 \\rol( nu.t ',1hr\,rr!.ln $urk\. fuilh:Lhe .hrrp junlra.l brl$(rI lhc.cl$u uplo'in! .un\(pl. arld his lame spr;ad wi.lel] as a young masrer01 the organ. is emphasized in skilful baroque rhetoric. Bilch sers this He also composed approximatell'twenty cantairs. mainlv contrastin the music. using descendingchromatic passages to during the latter hall ol rhis period. This recording comprises ponra) sufTering,while.jo) is depicredb) ascendingwhole four of thc Weinar cintatas. Bach did not begiil to write tone scales.Because this latler ascendin8whole tone pallern regular caitatas as a couil dui\ at Weimar until March 171.1. also appearsin thc lirst phrase oi fie nielody ol the concluding almostsix lears afler his ani\a1. li the winrer of l7l3 he was chorale (Samuel Rodigasr's ll2.\ Gttt tut. Llas ist whlgetdn in Hrlle. the birlhplacc of Handel, wherc he applied lbr lhe lwhat God does, Ihat i\ done wel]l). the chorale is deeply post of organist at the Liebtrauenkirche, was awarded the intenelated with the movemenls which precede it. The actual posilioil. and lhen relusedir ar the las! ninute. It Nas ar this shift from sorro\\' to .jov takes place between the fourth and trne tlirt lre qrs given the litle of Kon:ennttisl.r b) Duke fifth movements(alto and bassafias respectivel)). Wilhelm Ems!. thus beconing responsiblefof lhe wriling of a The Addllio d.rJdi opening movement, a sintbnia in F cantata eveil month. ln rcsponse Io this new dut). Bach began ninor. Sives an impressionof hearin-qthe slow movementol Io trrite canlalaswhich. in contrasl to the six works he had a concefto. An oboe solo introducesa tearful melody, and 'sighing producedat Nluhlhausen(1707-1708) and before,exhibit the then the strings enrer q'ith fte motif. The a.,r/o C influence of the Italian sryle. The \\'eimar cantata,(rnust not minor chorus thus introduced was later written into the B be considefedlesser rvorks or exercisesin preparationfor the niinor Mass. In this chaconnetbrm chorus.the s]nonvmous bulk of Bach's canlataconlposirion. \\'hich tras froduced at lis! W.i/cr. Kldpen. Sarten, Zd,qe, (weeping. complaining, Leipzig; nant of Iheseearlier cantataswere also perfbrmed wories, fears)is sung. eachterm overlappinSthe last.oYer a 'lamenting ar Leipzig and uere part of lhe regul{r repeftor} therc. The ground bass in descendingsemitones. This libretros lor lhe weinar crnteles fitlotr the opefalic fbrm molement is divided into three sections,the midclle one of introduced by E. Neumeiste. The heart of each is an aria or shich. marked Lin poto alleqro. does not appear in the B duet. otliet by recilaljvc; Ihe full and friendl) warmth of !his ntinar Mdss. In this sectionlhe chorus goes into moteFlike solo elemenl creates the characlcristic charm of the cantatas lbrm and sings of rhe si-sn ol ChrisL Movement three is {n of Ihis period. The mos! impofant of Bach s librerlists in alto recitative uhich tells us in words taken from the book of Weimar uas the coufi poer Salomo Franck. who {rote fie AcIs that \\'e sufler lribulations in order that we may enler the text tbr three of the four canlalas on this recording. Chrono- kingdom of God. The ascending C major scale lrom the lirst 'enterinS logically,three of thesefour cantataswcrc written during the violin at the end ol lhis recitarive. rcprcsenting the year Bach $as appoinled KoD:.rrrr.irt.r (171,+).and one kingdon of God'. anticipatesthe melody of the closing (BWV 162) is the productofthe autunn of 1716. chorale. The next aria, Icd b) the oboe (molenent four, C minoi), is an elegant and m]slerious piece $,i!h a text lhat tsWV l2: \{'einen, Klagen, Sorgen, Zagen tells of the unit) oi c|oss and crotrn. struggleand jewel. This (Weeping,Complaining, Caring. QuailinS) piece has a ditlicult tune. but ir1the middle section, the Iext ot' CantataNo.12. llrst perfornrcdon 2lnd Apil 171,1(lhe rhird which speaksol Christ s trounds'. a hint ofcomfon is giver. Sunday in Easter, called .luhilut.). wns lhe second of Bach's At this poinl the mood changestnow Ihe decisionto follow cantata compositions as Kan.?rtnteister. The libretto is attrib Christ is the thcme ol the jo) ful bass aria (movement llve. E uted to Franck, aDd contains three con\eculile arias. One flat major). The motif is the walking'stcp; lhe imilative movemenlof this cantalacontains elements which Bach later trealnent of this theme portrays the tbllowing' ol Christ. At reused in composing Ihe arrr df!t ibr rhe gfear B ,?i/?or the end of the aria this step form expands, exceedinll an Mdss. The rending ar lhe service on Jubilate Sunday is about octave. io illustrate the conccpt tllat thc palh we lbllow in Jesuss prophecy ot' his coning pdssion and resurrection. lbllotr ing Chrisr leads as lar as heaven. The third arja (mo\e- Jesussays to his disciples, Ye sh{ll be soroq'ful. but your menl 6. G minor) is in 3 and uses three voices (threebeing the number symbolic of God the Trinity), expiessing trust in BWV 162: Ach, ich sehe, itzt, da ich zur Hochzeit gehe 'sei the world of God. The tenor repeats the text getreu' (be (Ah, I see. now as I go to the wedding) laiIhful) above an ostinato-like bass, while in the background It was thoughr lha! this cantata for the tu'entieth Sunday afier a trumpet plays the melody of the chorale Jcsu. nleine Freude Trinit) was lirst perfbrmed on 6th October 1715. According (Jesu,my jo,v). Finally, Samuel Rodigast'schorale. respecF to recent research.however, it appearslikely that the premidre fullt hinted at during the development which precedesit, took place on Ihe same Sunday of the following year (25th appears in full (movement 7, B flat major): it concludes the October 1716).This is becauseit has become clear that, in rexrual discussion with the statement that what God does is August 1715. the coun enlered a state of mourninS for Duke trell done. The chorale is arranged for four-pan chorus and Johann Ernst. and fhe performance of cantataswas halted orche.lrd.$rlh rheoumper adding r fillh roice unril the beginning ol November by this obsewance. Examin- alion of a new chronological lisl of cantatas from this period BWV 54: Widerstehe doch der Siinde (Resist then sin) re\eals that between oclober and December 1716,the pitch CanraraNo.5'1 is a small-scalecantata for {lb. consis(ing Bach used tbr his cantataswas raised (BwV 161. 162, 70a, only of iwo ailas linked by a recitative. It has been suggested. 186a. 1,17a).This revolves around the death from illness of because of iis shoil length, that it may be a fragment of a the coun s Kapallrrerrlel,J.A. Drese,on lst Decembei 1716, longer work. Since the original of the text by Georg Chrislian and possibly also a hope of being named as Dtese's successor Lehms has come to light. however, (in Gottgefcilliges Kirchen in that post. In any case. the series of cantatas composed at Op,lcr.Darnstadt, lTll), it seemsclear that the trork sas the higher pitch concludes with BWV 147a, llrsl perfomed meant !o stand on iIs own. It is cenainly a Weimd composi- on 20rh December tion; il has come down to us in a manuscript prepared by CanrataNo.162 usesFranck's libretto. which appearsin Bach's pupil J.T. Krebs and the weimar orSilist J.G. walther. lhe l7l5 Eldr.gelis.lrcs At1(ld.hts-Opter:it is based on the The division of the viola paft into two also suppons the idea reading for the twentieth Sunday after Trinity (the parable of that the cantata is an eaalv work.
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]
  • Programm 01.05
    PROGRAMM 01.05. - 23.06.2019 VOX ORGANI 2019 2 VOX ORGANI 2019 VOX ORGANI 2019 VORWORT Liebe Gäste und Freunde von Vox Organi, nach dem großen Erfolg des vergangenen Jahres gehen wir mit großer Vorfreude in die neue Festspielsaison. 2019 hat Vox Organi eine noch größere Reichweite, und wir dürfen eine noch internationalere Solistenriege aus allen Teilen Europas und zum ersten Mal auch aus Übersee begrüßen. Vielfach haben wir im letzten Jahr, sowohl von Konzertbesuchern als auch von den teil- nehmenden Musikern, vor allem aus dem Ausland, gehört, wie wunderschön unsere Re- gion ist und was für Schätze wir an unseren alten Kirchen und ihren historischen Orgeln haben. Das Bewusstsein dafür regional zu stärken und möglichst weit in die Welt hinaus zu tragen, bleibt neben dem Wunsch, viele viele Menschen jeden Alters und jeder Her- kunft für unsere großartige Orgel- und Kirchenmusik zu begeistern, ein Anliegen unseres Festivals. Wie im vergangenen Jahr kooperieren wir am westlichen Rand Südniedersachsens mit unserem Nachbarn Nordrhein-Westfalen. In der Abtei Marienmünster beginnt am 1. Mai 2019 das Festival mit einer festlichen Auftaktveranstaltung, der das Eröffnungskonzert folgt. Auch in diesem Jahr werden einige Konzerte ergänzt durch Beiträge hervorragender Vokalsolisten und Ensembles. Außerdem stehen zusätzlich zwei Orgelführungen mit einem renommierten Organisten und Orgelkenner auf dem Programm. Sie sind Bestand- teil des Symposions Vox humana, einem Kooperationspartner von Vox Organi. Lassen sie sich begeistern und bereichern, treffen Sie wunderbare Menschen, begegnen Sie heraus- ragenden Künstlern, mit einem Wort: Willkommen bei Vox Organi 2019! Ihr KMD PROF. DR. FRIEDHELM FLAMME (1. Vorsitzender Concerto Gandersheim e.V.) 3 VOX ORGANI 2019 Vorwort 3 Grußworte 6 Veranstaltungen 10 Mittwoch, 1.
    [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]
  • Great Sacred Music Easter Day, April 4, 2021
    Great Sacred Music Easter Day, April 4, 2021 Traditional, arr. John Rutter: Jesus Christ is risen today The Choir of Saint Thomas Church, New York City; Saint Thomas Brass, John Scott Jeremy Bruns, organ Randall Thompson: Alleluia Harvard University Choir, Murray Forbes Somerville Joseph Noyon, arr. Gerre Hancock: Christus Vincit The Choir of Saint Thomas Church, New York City; St. Thomas Brass, John Scott Jeremy Bruns, organ From Oxford University Press: Christ the Lord Is Risen Today is an arrangement of the Easter hymn tune ‘Lyra Davidica’ for SATB, optional congregation, and organ or brass choir. Dr. Murray Forbes Somerville was Gund University Organist and Choirmaster from 1990 to 2003, The Memorial Church at Harvard University. This festive Easter anthem by French composer Joseph Noyon (1888-1962) is the only piece in his extensive oeuvre which survives in common usage. Henry Ley: The strife is o'er Choir of Liverpool Cathedral, David Poulter Ian Tracey, organ Pietro Mascagni: Regina coeli (Easter Hymn) from Cavalleria rusticana Atlanta Symphony Orchestra & Choruses, Robert Shaw Christine Brewer, soprano Diane Bish: Improvisation on the hymn tune "Duke Street" Diane Bish, organ 1969 Walcker organ of the Ulm Cathedral, Austria Francis Pott translated the 17th century Latin text for "The strife is o’er” in 1861. The musical forces which appear in this morning’s performance of Mascagni’s Easter Hymn are as rich and lush as the music itself. Kansas native Diane Bish (1941-) has had a dazzling career as a professional organist. Ms. Bish has played recitals on organs worldwide. Easter Greeing: The Reverend Canon Jean Parker Vail Sir Arthur Sullivan, arr.
    [Show full text]
  • Download Booklet
    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]
  • 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]
  • Radio 3 Listings for 12 – 18 January 2019 Page
    Radio 3 Listings for 12 – 18 January 2019 Page 1 of 24 SATURDAY 12 JANUARY 2019 Dietrich Buxtehude (1637-1707) Membra Jesu nostri - 7 passion cantatas BuxWV.75 SAT 01:00 Through the Night (m0001yjc) Barbara Schlick (soprano), Monika Frimmer (soprano), Michael The Art of the Cello Chance (alto), Christophe Pregardien (tenor), Peter Kooy (bass), Amsterdam Baroque Orchestra, Hannover Knabenchor, Ton Estelle Revaz in a solo recital featuring Bach, Berio and Koopman (conductor) Gubaidulina recorded in Switzerland. Jonathan Swain presents. 02:48 AM 01:01 AM Michael Tippett (1905-1998) Johann Sebastian Bach (1685-1750) Five Negro Spirituals from the oratorio "A Child of our Time" Prelude from Cello Suite No 3 in C BWV1009 Vancouver Bach Choir, Bruce Pullan (conductor) Estelle Revaz (cello) 03:01 AM 01:04 AM Maurice Ravel Luciano Berio (1925-2003) Gaspard de la nuit Les mots sont allés Zhang Zuo (piano) Estelle Revaz (cello) 03:22 AM 01:07 AM Franz Schubert (1797-1828) Johann Sebastian Bach (1685-1750) String quartet No 2 in C major D.32 Allemande from Cello Suite No 3 in C, BWV 1009 Orlando Quartet Estelle Revaz (cello) 03:42 AM 01:12 AM Johann Nepomuk Hummel (1778-1837) Xavier Dayer (1972-) Rondo brillant for piano and orchestra in A major Op 56 Cantus II Rudolf Macudzinski (piano), Bratislava Slovak Radio Symphony Estelle Revaz (cello) Orchestra, Ludovít Rajter (conductor) 01:17 AM 04:03 AM Johann Sebastian Bach (1685-1750) Orlande de Lassus (1532-1594) Courante from Cello Suite No 3 in C BWV 1009 Dulces Exuviae - motet Estelle Revaz (cello)
    [Show full text]
  • REBEL Jörg-Michael Schwarz & Karen
    R E B E L Jörg-Michael Schwarz & Karen Marie Marmer, directors Hailed by the New York Times as “Sophisticated and Beguiling” and praised by the Los Angeles Times for their “astonishingly vital music-making, the New York-based Baroque ensemble REBEL (pronounced “Re-BEL”) has earned an impressive international reputation, enchanting diverse audiences by their unique style and their virtuosic, highly expressive and provocative approach to the Baroque and Classical repertoire. The core formation of two violins, recorder/traverso, cello/viola da gamba and harpsichord/organ expands with additional strings, winds, theorbo and vocalists, performing on period instruments. REBEL, through its longterm residency from 1997-2009 at historic Trinity Church, Wall Street in New York City, has achieved high acclaim for its collaborations with Trinity Choir in performance, radio broadcasts, webcasts and recordings with works ranging from the cantatas of Bach to large scale works by Monteverdi, Handel, Bach, Purcell, Mozart and Haydn. An 8-CD set of the complete masses of Haydn was released in 2009 on the Naxos label. The REBEL Baroque Orchestra first gained worldwide recognition for its acclaimed performance of Mozart’s Requiem with Trinity Choir under the direction of Dr. Owen Burdick, broadcast nationally over National Public Radio in September 2001, and for its annual performances of Handel’s Messiah and the choral works of Haydn, which had been broadcast live over WQXR-FM in New York City, as well as internationally over the internet. Named after the innovative French Baroque composer Jean-Féry Rebel (1666-1747), REBEL was originally formed in The Netherlands in 1991.
    [Show full text]