BIS-CD-8OTSTEREO IDD DI Total playing time: 66'16 BACH,Johann Sebastian(1685-1750) Cantatas4: Cantatasfrom Weimar ll 'Mein Cantata No.l99, Herze schwimmt im Blut'. BWV 199 24',12 Am I l. Sonntasnue h Trinitatis El l. Recitativo Violini. Viole, Violoncelio.Vioione, Fagotro, Organo 2'05 E 2. Aria Oboe (Alfredo Bemardini). Violoncelb. Organo 8'37 E 3. Recitativo Violini, Viola. Violoncello, Violorle, Fagotto. Organo 1,07 El 4. Aria Violini, Viola. Violoncello, Violone. Fdgorro. Organo 7'28 E 5. Recitativo Vidonccllo, Organo 0'17 E 6. Choral Viola (Yoshiko Morira), Violoncello, Organo r'34 El 7. Recitativo Violini, Viola. Violoncello,Fagofio, Organo 0'44 E 8. Aria Oboe. Violini, Viola, Violoncello.Fagotro, Organo 2'11 'O CantataNo.165, heiligesGeist- und Wasserbad',BWV 165 L2',15 Am Trinitatislest tr l. Aria Sopmno. Violini. Viola, Violoncello, Violone, Fagofto. Organo 3'00 @ 2. Recitativo Basso, Vjoloncello. Organo l'15 E 3. Aria Alto. Violoncello.Organo 2126 @ 4. Recitativo Basso.Violini, Viola. Violoncello,Fagorro, Organo 2',26 tr 5. Aria Tenore, Violino. Violoncello. Organo 2',31 tr 6. Choral Violini, Viola. Violdrcello. Violone. Fagotro. O.gant) 0'35 'Barmherziges Cantata No.185, Herze der ewigenLiebe', BWV 185 14'12 Am.l. Sonntagnach Trinitatis tr 1. Aria (Duetto) Soprano.Tenore. C)boe. Violonccllo. Organo 3',t7 @ 2. Recitativo Alto, Violini, Viola. Violdrcello, Organo 2'04 EZ3. Aria Afto, Oboe. Violini, Viola, Violoncello.Violone. Fagoto, Or-qano 4',29 @ 4. Recitativo Basso, Violoncello. Organo. Fagotto 0'59 2'00 E 5. Aria Basso, violoncello. Organo. Fa8otro l'11 tr 6. Choral Oboe. Violini. Viola. Violoncello, Violone. Fagoto, Organo Cantata No. 163, 'Nur jedem das Seine', BWV 163 14'l5 Am 23.Sonntag nach Trinitatis E 1.Aria Ienore. Violini. Viola. Violoncello. Violone. Organo 3',32 @ 2. Recitativo Basso.Violoncello. Organo 1,29 tr 3. Aria Basso,Violoncelli, Violone. Organo 3'07 tr 4. Duett-Recitativo soprano.Alio, Violoncello orsano 2',26 tr 5. DUettO-Aria Soprano,Alto, Violini. Viola. violoncello. Violone. Organo 2',50 @ 6. Choral Violini, Viola, Violoncello. \'iobne. Orgatro 0'44 BachCollegium Japan directed by MasaakiSuzuki P$SH vocalsoloists: IiPAT\ Midori Suzuki, soprano[Bwv 199/185] Aki Yanagisawa,soprano IBWV 165/l63l Akira Tachikawa, alto[Bwv 165/18s/163] Makoto Sakurada, tenor[BwV 165/185/163] Stephan Schreckenberger,bass [Bwv I 65/ I 85/163] Orchestla: Violin: Natsumi Wakamatsu (leader): Mari Ono: Azumi Takada: Yuko Takeshima: Keiko watanabe; Amiko Watabe Viola: Yoshiko Moritai Ryoko Moro-oka Violoncello: Hidemi Suzuki (principal); Norizumi Moro oka Violonei Shigeru Sakurai f)rgan: Masaaki Suzukil Naoko Imai Oboe: Alfredo Bernardini JBWV 199/ l85l Bassoon: Kiyotrk{ Dohsaka [BWV 199/ 165/ 1851 The Bach Collegium Japan and this production are sponsored by NEC Specialthanks to KobeShoin Women's University. NEC TTlhe iour cJntatr\ on lhr. recording$ere $ ri[en Lluln! graphwas only discoveredby Danishmusicobgist C.A. Mar Bach. Weimdrperiod'l-0R I l-l7r Alrh,'ug61L;. tienssenin the Ro),al Librar! in Copenhagenin 19ll. An I period. $her Br.h he,d lhe fort ot couil orgdni\l 1,, edition of the cantata based on the manuscript was included Duke Wilheiot Emsr of SachsenWeimar. is known as rhe ii a 1913 publication of Bach s complete works, giving the Golden Age of organ ilusic. in March 171,1Bach was -qiven plece the appearance of haling been known to the world for the title of Kon.ertmeisrer. and this also marked the beginning much loDger.The text is based on rhe Gospel for the day of lhe flowering of rhe church cantata.From rhis poinr on- (Luke l8r 9-1.1),which relates Jesus s bifter parable told 'unto ward. he produced roughly one canfataa month, and these certain which trusted in themseh'es,that the! were works are influenced by lralian opera style. The works of this flghteous. and despised others . A Pharisee and a tax collecF time are not merely a preparation for the grand cantata works or prayed in lhe remple. The Pharisee prayed tbr himself in ot the Leipzig period, which began in 1723:indeed. many of pride lhat although he mighf nor be righreous,he was cer them were reperfomed in Leipzig and formed an imponanl tainl) better than a tax collec(n: the lax collector prayed 'Have part ol the cinlata repertor),.The special characteristics of rhe eanlestlyaDd with humilit): pitv on me, a sinner,.The Weimar cantatasare lyrical and intiilate arias and in par- one whoseprayer sas heardwas the tax collector,says Jesus. ticular duets lilled with the leaming for love. The four works This parable.togerher with lhe re examining of one s faith on this recording all open with and are driven by solo or duo which it was meant to provoke. contains a truth q'hich has not movemeirs! and if there js an) choral panicipation ar all (in faded with the passing years. BWV 199 rhere is nol), rhis is restrified to the closing The librertisr. Georg Christian Lehms 0ibrefio dated ,l chorale. The orchestration oo is sffuctured very simply. but lTll), purs the fbcus of the teI on rhe self as the in the we find there the yourhful sensibility and the spirit of ex- tax collector's pra)er. and in baroque rhetoric ir sings of the penmentalion on form which are panicular to the cantatas of acute Iremblinll and sonow of the sinful spirit. The alterna- this period. As lbr rhe contents, it is worthy of rorice that the tior of recitarive and aria gives a feeling ol monologue. libretti are closely based on Jesuss parablesfrom the which. when set Io Bach s beautiful music, becomes a direct Cospels. This is because.compdred to more purely cere- description of the iransligur{rion, the awakening tiom despair, monial texts, such parables deal u,ith many questions which and the joume! towards peace of mind which the innet selt' are not reslrictedto the considerationof any particular de- experiences.Lehns's hrics were also set Io music in l7l2 bv nomillalion. Considering all tbur cantatas logelher. the listen Chfl.rophCraufner. $h,' uJr.r candiddteJloDp silh Brcil er wili gain a clearerunderslandinS of the spirirual*orld of 1or the pos! of Kantor at the Thomasschule,and there are the young Bach in Weimar before he reached rhe age of those who point to the similarities berween this work and thny. Bach's \4y heart srvimsm blood... An unusual featureof this cantatais thdr ir begins direcrl).$ilh a reciralivo.This BWV 199: Mein Herze schwimmt im Blut deepl! emotionaLrccitaljve. s,hich is accompaniedby strings, (My hean swims in blood) draws the lisrener inro rhe spirit of suffering in this world. This frequently peftbmed work, a solo cantata for soprano. The aria uhich comes next Gtlagio. C minor) begins $irh a was lirst perlbrmed on the eieventh Sundav after Trinit) beautiful ritornello iDrroduction for oboe which governs rhe (27th AugusI) in 1713, accofding ro Yoshirake Kobayashis a/d .d/ro structure of the ntovement. The melodic line wiids new study. The aurographfrom rhis time is still extant but. arouid lnto a new direction.which, accordingto Dlirr. sym- from the parts for later pertbnnances in Cdthen in around bdiTes rhe despair of discovery rhat there is no say 10 llee. 1720 and in Leipzig on rhe appropriareSunday in 1723, we At lhe end of the middle secrion, rhe descending phrase on know that the cantata was revised af(er its lirsI perfornance. Mein Her: ist.jrt:t eul Trdneilhrunn, di? Augen hei{}e euellen Because of this, ir appears in rhree parailel columns (shou.ing (My heaf is a tbuntain of tears, my eves u,arm springs) is sel the differences between Ihe lersions) in the Bach Handbook. in recilative-likestyle. The tax collector's pra)er was heard Canrard No.199 ranks among the comparalively new becausehis hea( was pafient.His words. Lord, have mercv treasuresof Bach's composition. This ls Decausetne aulo- un me,.r \inner'. ate rnLorporJtedInlo lhe re,itull\e rr lh; 'the third movernent. whefe the soul lays down its burden and ing man to the kingdom ol God wearing of Christ' expressesdeep contrition and faith in God. Here the nusic (secondnrovement). Baptism is not a simple ceremony.but movesinto the major keys,and the strings livel) accompani- shouldbe fenewedfor'the cntire durationof life'(third ment to Ihe aria (fourlh movement. Ar.l.r/t.. E flal major) is movenenl). This is made possible through God's gface, as llmost Handelian in characler. This aria too takes the all aa4a) made nanifest in Christ's crucillxion {fourth movernent). 'death's fbnn and, immediately before the return !o Ihe heginninS. Thus rhe cantata prays to Jesus. death' (fitih move- thefe i\ an A./dgi) section. The soprano sings that her regrel ment). for lorgiveness and salvation. irnd ends wilh praise tbr ful heaf has heard words of comfbrt fiom abovc (recitalile. the sacra,nent ot' baptisrr. This cantata was revised fbr reper tilih movement).ard tlris leadsinto the ensuingchorale (sixIh tormance on Trinit)' Sunday of 172,1in Leipzig. The cantata movement.A,rddrla, F major). This choralehas as it-\tcx! lhc suniles in a cop) of lhe full score dating from this pcrtbrm third verse ol Johann Heermani s 1630 hvmn \lb \all ith ance.Ihe opening sopranoaria (G maior) has a ritomello in ilithen hinl (Whither shali I fl)?), in which the sinnef linds ligal fonn. and -eenerallykeeps to a polyphoric slructute. It the succourol grace in the Lord s u'ounds.The chorrle su!!c\rs the chamctcr ol dre pledge' ot' baptism. The fertile 'new melody sung by the sopranois ornarnentedb) a vioh obbli- \tfengih of this writing illustratesthe image of the life- gato.