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M. Suzuki & Bach Collegium Japan (BIS BIS-CD-901STEREO lDD 6l Totatptaying tirne: 64'06 BACH,Johann Sebastianr16s5-1750) Cantatas8: Leipzig1723 (I) 'Jesus _ Cantata No.22, nahm zu sich die Zw0lt'e',BWV 22 16'17 lll l. Arioso-Chorus (Tenor,Bass) Oboc.Violini, Viola, Violoncello, Violone. Fasotro. Orsano 4'37 Jesusnahm zu sich die Zwcilfe El 2. Aria (atro) oboe.Violoncello, Organo 4,41 Mein Jertr.ziehc mich nuchdir . .. E 3. Recitative (Bass) Vrotrni.Viola. Violonccllo Violone, (Jrsano 2,02 Mein Jesu,ziehe mich, so werd ich laufen... El 4. Aria (Tenor) Violini.Viola. Violoncello. Viotone, Fagorro. Organo 2'4g Mein in _ alles allem, mein ewigesGut... lll 5, Chorus Oboe.Violini, Viota, \'ioloncelk). Violone. Faqor(). Orsano 2,02 Erttit uns durch dein Giite... CantataNo.23, 'Du wahrer _ Gott und DavidsSohn', BWV 23 lS'54 l-!.1 l. Duet (Sopmno,Alro) Oboe d arnore.Viotoncello. Orlano. Cembalo 7'01 Du wahrcr Gott und Davids Sohn... E 2. Recitative (Tenor) Oboi, Violini. Viola. Violoncello.Vrolone, (Jrsano 1,23 Achl gehe nicht vortiber... E 3. Chorus Oboi. viotini. viola. violoncello,Violone. Fagoro. organo. Cembalo 3'12 Aller Augen warten, Herr.. E 4. Chorate Oboj. Violini. Viola, Violoncello.vioknre. Fagollo.Comero, Trombone. ;l't3 Christe, du Lantm Gottes... Organo.Cembalo CantataNo.75,'Die Elendensollen essen', BWV75 30'34 ErsterTeil / Part I 18'08 @ l. Chorus Oboi, Violini. Viola. Violoncello. Violone, Fagotro. Organo ,l'30 Die Elendensollen essen... E 2. Recitative (Bass) Violini. Viola, Viokncello, Viokrne,Or-qano 0'51 Washilft desI'urpur. Maje'rlr.. tr 3. Aria (Tenor) Oboe. Violini. Viola. Violoncello. Violone, Fagotto, Orgmo 4'17 Mein Jesussoll mein allessein.. tr 4. Recitative (Tetror) Violoncello.organo 0'37 Gon stiirzetund erhiihet... ts 5. Aria (Soprano) oboed amore.Violoncello, Orguo 5'29 Ich nehmemein Leiden mit Freudenauf mich... E 6. Recitative lSoprano) Violonceilo, Organo 0'39 Indesschenkt Gott ein gut Gewissen... @ 7, Chorale Oboi,Violini, Viola. Violoncello. Violone, Fagotto' Organo l'41 Was Gott tut, dasist wohlgetan... zweiter Teil / Part II 12'18 tr 8. Sinfonia Tromba(choral). violini, viola' violoncello'violon€' Fagotto' organo 2'14 @ 9. Recitative (Aho) Violini. Viola.Violoncetto' Violone. Organo 0'46 Nur eineskrankt ein christlichesGemtite... @ 10. Aria (Alto) Violini, Violoncello, Violone, Fagotto, Organo 2'28 Jesusmacht mich geistlichreich. .. tr 11. Recitative (sass) Violoncello. Organo 0'33 Wer nur in Jesu bleibt. E 12. Aria (Bass) Tromba. Violini. viola, Violoncello, Violone, Fagotto, Orgmo 3',49 Mein Herzeglaubt und liebt... @ 13. RecitatiYe (Tenor) Violoncello.orSano 0'42 O Amut, der kein Reichtumgleicht!.. @ 14. Chorale Oboi. Violini. Viola. Violoncello, Violone, Fagotto, Organo l'42 Was Gott tut, das ist wohlgetan Bach Collegium Japan directedby Masaaki Suzuki VocalSoloists: Midori Suzuki, soprmo;Yoshikazu Mera, counter-tenor; Gerd Tiirk, tenor;Peter Kooij, bass f,ffift TheBach Collegium Japan is sponsoredby NEC. NE|C Specialthanks to KobeShoin \4'omen's University' ln 1723 Bach was 38. Thar year, he resigned the position as a composer. Compared with the solemn BWV 23, of Kapellmeister ar rhe Calvinist court in C6then, and which sounds like a shon Passion, BWV 22 incorpomtes headed for his new post as a church musician in the great dance rhythms, and is wrifien with a modem elegance. Lutheran centre of Leipzig. At the same time as Bach's How the audience on that day received such contrast is activities as a musician underwent a great change, his an area of great interest. move brought about a very significant change in the The Gospel (Luke 18: 3l-43) fbr Quinquagesima composition of his cantatas. The reason is that Bach's Sunday, known as Estomihi Sunday, recounts the two new responsibilities included the production of cantatas episodes of Jesus's telling rhe disciples of his coming ibr the chief services of Sundays and feasrdays; from Passion and Resurrection and the healing of the blind this point onward the cmtatas were rcquired every week, man of Jericho. From this text. BWV 22 focuses on the 'the making this a very busy time in Bach's career At this fbmer theme, in particulil twelve understood none point, in 1723, he stood at the beginning of the period of of these things' (v. 34). The disciples' lack of under- abundantly productive church music activity that would standing is likened to rhe difficulties of the individual lead to the first perfomance ol the St. Mafthe|| Passion believer, moving towards conversion to Jesus. in 1721. The first movement. which illustrates the crucial 'Arioso The three cantatas on this recording by the Bach point of the Gospel, is wdtten as an and Chorus' Collegium Japan commemorate this tuming point. Both (G minor), and is divided into two sections. The arioso BWV 22 and 23 were perfomed in the same year on 7th conveys Jesus's words, and in accordance with tradition February. Quinquagesima Sunday fthe fiftieth day before the tenor has the nanation. while the bass takes the r61e Easter) as examination pieces for the position of Kantor of Jesus. The ever-ascending ritornello for oboe and at the Thomasschule. BWV 75, for the First Sunday after strings evokes the image of the road of suffering em- 'going Trinity, was the first piece Bach produced as part of his bodied by up to Jerusalem'. The srate of rhe new responsibilities ar that instirution. All rhree are disciples, who werc unable to understand the straight- superior works, not merely suitable to the occasions of forward meming of the words, is illustrated in the choral thef composition, but a]so indicarive of the high stmdard lugue tAllepo) in lhe second \ection. developed by Bach in his six years in Cdthen. Then I' speak in the C minor alto aria (No.2), in which the singer pleads that he be brought by Jesus into BWV 22: Jesus nahm zu sich die Zwailfe Jerusalem so that he may share in the Passion. In the (Jesus called to Himself the Twelve) music, a'drawing upward'motion is dominant. The On 7th February 1723, Bach, then newly-anived from rhythm is a dance in 9/8, and the obe has an emotional- Ccithen, perfomed a pair of cantatas (BWV 22 and 23) ly charged obbligato. The bass recitative which follows before an audience comprised of the city councillors. Of has a string accompaniment, and is full of descriptions of the two pieces, BWV 23 was brought from Cdthen in physical gestures. He interprets the failure of the Iargely completed form, whereas it can be seen from the disciples to understand as sin deriving from their flesh- manuscript thar BWV 22 was composed after Bach's and-blood nature, and prays for worldly desires to be anival in Leipzig. (Not only is the paper on which ir is crucified so that he can go joyfully up to Jerusalem. written of Leipzig manufacture, but there are copies of At this point a lively tenor aria with passepied pafrs in the hands of srudents from the Thomasschule.) rhythm is introduced (No.4, B flat major). It seems ro By inserting as much contrasting material as possible describe a tansfomation from the flesh to the sDirir. The into pieces, both Bach displays the breadth of his scope characler of rhis aria cenainly recollecrs thi 'ecular cantatas of Cdthen. The prayerful closing chorale (No. 5, David, have mercy on me'. The people who went before B flat major), which implores new life. features a four- Jesus rebuked the blind man, but lesus had him brought 'Thy pan chorus with rich expression in the instruments and forward, healed his sight, and said to him, faith an elegantly flowing obbligato for oboe and first violin. hath saved thee (King James version). This is one ofthe In this movement, Bach may be thought to be writing in instances of Jesus actively going among the sick and the intentional imitation of the style of his predecessor. handicapped, social outcasts in the religious society of Johann Kuhnau. that time, and healing them. The cantata opens with the identihcation of the failhful blind man's cry with that of BWV23: Du wahrer Gott und Davids Sohn the suffering believer. The arangement of this as a (Thou true God and David's Son) soprano and alto duet is probably an allusion to the trcat- Along with BWV 22, this cmtata was perfomed on 7th ment of the same incident in Manhew's Gospel, in which February 1723 as a test piece for Bach's application to he refers to'two blind men' (Matthew 20: 29-33). The the post of Kantor at the Thomasschule. Examining the nrovement is a B minor Molto adagio. Two oboes play- flow of the Gospel text as it relates to the two pieces. it is inB in triplets interweave in sincerity, and the alto and thought that BWV 22 was petfomed before the semlon: soprano go back and forth, now one leading and now the BWV 23 after it. As might be guessed from the Passion other, in their appeal for pity. The main stucture in this material in its closing chorale, this cantata conve)s a piece is a modification of the exclamatio figure Bach great sincerity and solemnity. For this reason. it ha: liked so much. received much of the attention afforded BWV 22 since In the recitative in the second movement, the chor- the 19th century, and has become an increasingly valued ale melody fiom the final movement flows in the instlu- 'This and liequently perfomed work. work, because ot mental parts. Above this, the tenor, evoking the essence its depth of expression, eclipses all of the cantatas that of the cry of the blind man by the wayside, pleads to came before it.' (M.
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