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Download Booklet BIS-CD-991STEREO Fpl Totalplaying time: 67'59 BACH,Johan n Sebastiantloas-tzsol Cantatas11 : Leipzig 17 23 I lV CantataNo. 136,'Erforsche mich, Gottt und erfahre mein Herz'. BWY 136 14'50 E 1.chorus Erforschemich. Gott. und efahre mein Herz... 3'44 Como. Oboe. Oboe d'amore. Violini, Viola. Basso Conlinuo (Violoncelli. Violone, Fagotro, Organo' Cembalo) E 2. Recitative (Tenor) Ach, daBder Fluch, so dort die Erde schlagt... l'07 BassoContinuo (Violoncello,Cembalo) E :. ,qria (,qlro) Es kommt ein Tag. 4',19 Oboe d'amore. Basso Continuo (Violoncello, Fagotto, Organo) E 4. Recitative (Bass) Die Himmel selber sind nicht rein. l'01 Basso Continuo (Violoncello. Cembalo) E 5,,qria (Duet) (Tenor, Bass) Uns treffenzwar der SiindenFlecken... 3'42 Violini, Basso Continuo (Violoncelli, Violone. FaSotto. Orgarlo, Cembalo) E 6. chorale Dein BIut. der edle Saft.. 0'53 Como, oboe. Oboe d'amore, Violini, vio1a. Basso Conlinuo (Violoncelli, Violone, Fagoito. organo) Cantata No.138, 'Warum betriibst du dich, mein Herz" BWV f38 16'02 El 1. Chorale and Recitative (Alto) Warum betriibstdu dich, mein Herz... 4'14 Oboi d'amore,Violini. Viola.Basso Coniinuo (Violoncelli. Violone, FaSotto, Orgatro) E 2. Recitative(Bass, Soprano, Alto) and Chorus Ich bin veracht'.. 3'5,1 Oboid'amore, Violini. Viola, Basso Continuo (Violoncelli, violone, FaSotto. Organo) E 3. Recitative (Tenor) Ach siiBer Trost.. l'03 Basso Continuo (Violoncello, Organo) E 4. Aria (Bass) AufGott stehtmeine Zuversicht... 4'26 Violini, Viola, Basso Continuo (Violoncellj, Violone, Fagotto, Organo) E 5. Recitative (Alto) Ei nun! So will ich auch recht sanfte ruhn... 0'24 Basso Conlinuo (Violoncello, Organo) @ 6. Chorale Weil du mein Gott und Vaterbist... 1'56 Oboi d amore, Violini, Viola, Basso Continuo (Violoncelii. Violone, Fagoito. Organo) God. follorved b)' the florid horn. ln a rvhile a fugue Beginning at the end of May 1723. the weekly composr- delelops. Tlte music is based on the sane material as the tion and periormance of cantatls at the Thomaskirche movement of the Mcsr fu A rrcjor'. BWV 234; prob- ras recluired of Bach without respite. even throughout final both were developed ironl the same original work the summcr. Even uncler these conditiuls. Bach searched ably i! a tenor recilative. Existencc is conupt and oul a scparatc themc for cach and producecl a series of No.2 flourish, he sings. acconpanied by exquisitely individual uorks. The four caniatas on this recording hypocrites But the da) of their judgement is com- canre inlo e\islencc belween the monlhs of July and shadl harmony. an alto aria sith the sound of rushing Septenber. Whilc ione of them is particularly well ingl So announces - jn of beautl (No 3. A./dgio - Pre;to knoun. cach is nevenheless impressive for the reflection feet the midst F sharp minor. '1ll - l2lE - '1l'1). An oboe of Bach s sinccril) of pu4lose in thentatic selection' and Aclagio. jn In the middle section. lhe fear of also for his grcrl e\pertise cvident the product itself' d'amore accompanies. forth. The libretlisl\ arc utlknoun. hut if se consider the large God bursts the heavens are not clean (book ol Job). how differences in usage. tbr c'rample. oi chorales between lf even endure just here thc cleansing the texts, we can cxtrapoldte that between Bach and this can nan iudgemcnt'l of Jesus s blood rs brought inlo the spotlight unknorvn person (or possibll people) there exlsted a power (No.4. The cantata proceeds uith l'Jo 5, give-and{ake involving degrees of cooperation' demand, bass recitative). and bass duet (B nlinor. 12/8). Adam's sin is tugs of war. and difierence of opinion. Of tlle four can- a tenor blood. The duet begins u ith an enjoy- talas, BWV95 is unlike the others in lhat it has a cal- purged by Jesus's continues wilh the developmcnl of a culated tension of a sort between music and uords able ritomello and canon combining parallei progress. The closing move- praises precious blood ol Chrisl in the words of BWV 136: Erforsche mich, Gott, und €rfahre mein ment the s chorale (No 6. B minor) A tour- Herz Johann Heerntann to dve voices b!' the violins This cantata tbr the eighth Sundal af'ter Trinity was first paft chorus is bfodclened perfomed on l8th Jull' l8 1713. It has come dosn to us betriibst du dich. mein Herz? in the original parts and tu'o partial scores; the scores BWV 13{l Warum was premiired on the l5th Sunday afier contain fajr copies of the middle section of the alto aria This cantata week befofe Bwv 95 It end the linal chorale, which suggeststhal the cantata was Trinity (5th September I 723). a Bach \ experiments in iniermingling fbmed through re!ision of an cstablished work. No mat- marks the nrsi of drias and ariosos to a erials. houcver. exist to assist in eslablishing the nature chorale verses with recitntives. reason this composition of the original work. Asrde tiom rerses frolr the Gospel variety of modern texls. For this precursor to the whole group of chotale can- text for the day ( Mrtrhew 7. \'\'. I 5-23). the libretto quotes sen-es as years. The chorale on u'hich the piece is fiom and makes rel'erence to Old Testanlerlt sources such tatas of later W'qrun ben ilbst du dit h' as the Psalms in numerous places. lbcusing on lhe cleans- basecl is the irnonynrous chorale (1561). has selected the initial ing of sins through Christ s blood. The whole work is nein Her:l The librettist chorale. natching governecl by the miDor. but lhe opening chorus is in A three verses from the original l4-verse a text with siSnificant major and has a pastoral character. so that thls cantata them with fiee verse to create suffering of mankind, ieaves a much brighter impression than BWv 105 and inner drama: the text states the with worldl.Y treasure' 46. which follow in subsequent liturgical weeks. which cannot tum from concern goes without saying thai thls Tbe opening movement (A major. l2l8) sings ot amplifying the chorale. It the Gospel reading fot moving with a good grace to$ard examination before presupposition is also found in .Take this dav (\latthes 6. vv.2.1 3,1. no rhou_ehl of Gospel of St. Luke. rells rhe stor) of rhc raisin-s oi the clothine or tbod: seek ye iirst the kingdom of Goci. and u iclou s son. anclthe group ol works associated$,ith this his righteousness'). With rvonderful chan-gcs and con_ text (comprising BWV 161, ll and 27 as weil as the pre_ trasts. Bach's music describes iron depentlencc on Gocl senf *orkl are a treasurc-\tore of Bach's rlusical treat brings reliei frorl sut'lcring. nrent of the subject ol death. Bells of mouming ring in Movcment I is a chorale and recitalive tB nrinor. .,li ut rheill. Bul B\\Vq5 re\eal. r unique (nn(ellion. .1/.1).The choral settin-eof the lirst verse ol the chorale is Here lbur { !) diff'erent chorales are used: qith each one hlls a inter$o\en alto and tenor recitative. fhc B minor differenr rOle and has a differenl firm. (The fbur chorales music uscs nrany dissonancesand ir de\ccncling chromal all deal $ilh the concept of dearh. and .anrien. al that riDe ftcy ic line in rhe bass (bass ldnk\no) b reflcct the Nere all recomrnended tbr use in services on that Sun_ oi rhi. uurld. rnd the nbou d rrrnorei. r(li\c $i[) .t prc da).1 Tno ol them are Ihrown into lhe openin€r piece, sentation of the previoLLschorale rlelocil.and chamcter and rhis handling scems ro be a iiftle distant: it is |ot islic nlotiti. impossible to iook upon this as a criticisnt bv Bach of \lovement 2 begins with a bass reciratire. Thi, llrctc\1. In tlil.,cn\(. Ihi, i. J uorl rhrt,hould rur be \\'orld's dail)' lare of sighs and tears is describeci rirrouch o\erlooked. il ue consider ancu Bach,s conpositional the hrfrnr'il\ ot h.rr.lr dr..onailte, At tlti, 1,oi.rtrlrc melhod and rcligious perspective. cnorale Ieappears (B minor.,+/,1).Enr*ined \rith lh.- The opcning nlovement is an unusual linkecl series chorale rhat sings ot God s bicssing tilling heaven rncl ol tu o chorales bracketing a tenor rccitative (and arioso). earth ls a recitatile (soprano, alto) on the subject of the it tresins u'ith a ,1 'sell'. G major. 3/ ritornello dialogue be- rmpoverished and lonell Ver) similar .life in colcepr t$een oboe and strings. This rhythnic morilgov_ to No. l. it is still rnore ccncise. In thc second hail.. titc crn! the firlt chor|le: on the olhcr hand, it irlso appears to chorus !lrcngthens the poll,phonic acr[,nv. be a plain clescriptionof cleath'. A\ u( enl(r Ilrelhiro mu\ernenl rr. rl:ril\c,. lt;nor As the chorale prcsentation end!, the teuor entcrs faith in God con\erts an\iet! to confort. jol.ful 'Mi1 A C Nith an encoura-sing Freuden'. His dealh sorg is dejor is established. and le.ids into rhe fblloNins rrir. ferd\. and the words are powerfuL. but the setting seems I ni. h.., JriJ , \n. -1.D In.ljur. r J7 r. irr ntirrrrer.ur|. \onc$'hal lbrcecl. Then rhe horn (see Masaaki SLrzuki,s and puncluared with lhe jol molif' (Schu,eitzer). The notes) leads into a lunercai ritornello *ilh I shift to (rlll.llr. uhi.h .tililedin dcep \orrou. nou ,lilt\r\ ..1 Alle4nt. )12 time. introducing the second chorale (the briglttest conviction.
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