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.