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!$o) 5'37 und Rezitatiy rrenoL.srsr \4cin Gott.lricr u ird mein Herzeseiu... E 4. Arie tsopranl Viot!!. Bxssoconrhuo (violoncello, vnbne. orsd-r 3'16 Mein Seelenschatzist GottesWort... E 5. Choral Cho,r. violas. Brsso conrinuo(vioroncc|o. Violone. Eassoon.orruo) 1,07 Ich bitt, o Hen. ausHerzensgrund. .. Cantata No. 152, 'Tritt _ auf die Glaubensbahn', BWV 152 17,29 l-91 l. Sinfonia viohd rmo,.,vrclodrgarnbr.oboe,Recoder.\,saro J'16 E 2. Arie rnoty vioradasdmba.oboc.orsmo 2'JJ Tritt auf die Glaubensbahn... E 3. Rezitativ tg"nt !,oradasanrbr.oryano 1,,15 Der Heiland ist gesetzt... _ 19 4.Arietsop.ant Vntada,nore.VntrdxgrDrbi.Reco,dcr.ofgrno 4'14 Stein. der tiber alle Sch:itze... El 5. Rezitatiy (B^B) v(rr dasrn,bil. orsano I,21 Es rirgre sich die kluge Welt... _ Lll.l 6. Arie (Duett) isopmnrsilr vior^ d arno.e.obo.. Recordef.organo 3'5S Wie soll ich dich. Liebster der Seelen. umfassen']... CantataNo. 155, 'Mein Gott,wie lang, ach lange', BWV 155 12'58 El 1, Rezitativ (s.p-') viol,n,.v,orr. Blsso contmuo (vroroncerro. v,orone. orsano) l'57 Mein Gott, wie lang, ach lange?... @ 2. Arie (Duett) terrnenort Frsorro.B3\.oronrnuo(\,oloncelln. \',oloneo,cdror 5'06 Du muBt glauben,du muBt hoffen... @ 3, Rezitativ (B^B) Basoconrinuo (violoncello. violone. organo) 2'13 So sei,o Seele,sei rufriedenl.. E 4. Arie tsop.unl v;ol'ni. viola. Brsso continuo (violonc.llo. violone. organo) 2'39 Wirf, mein Herze,wirf dich noch... El 5. Ctroral viohnr.vrola. tsasso conr,nuo (v,oroncetto. ta.soilo. violone, orsano) 0'59 Ob sichsanlie8. als wollt er nicht... CantataNo.161, 'Komm, du siiBeTodesstunde', BWV 161 l9'L4 E l.Arie(mitChoral)1rrr1 RecordeA.Brs!)conrinuo(\'ioloncelb.organot 5'22 Komm. du sUfjeTodesrtunde. @ 2. Rezitativ trenorl Bassoconrnuor\doncelo.organo) 2'00 Welt. deineLust ist Last... @ 3. Arie tr."-t Violini. \'ioli. Bas$ conrtrruo(\hbncello. violoDc. orsano) 5'00 Mein Verlangenist, den Heiland zu umfangen... @ 4. RezitatiY (Alt) Recorden. violinr. \di. Br!!o conrilruo (v,oroncel1o, violone, organo) 2'27 Der Schlulj ist schongemacht. E 5. CtrOr RecordeF, violini. \'iold. tsrlso conrinuo (Violoncello, violone. Organo) Z'52 \\enn esmeiner Colles wille.. @ 6, Choral Recorders,violini. \'iola. Brlso.ontinuo (Violoncello.Violone. organol l'26 Der Leib zwar in der Erden... CantataNo.143, 'Lobe denHerrn, meineSeele', BWV 143 12'53 @ l.ChOr 3Comodacaccm,limpani.Violini,viola,rago(o,tsassocontinuo(Violoncello,violone,Orgmo) 1114 Lobe den Hem, meine Seele. @ 2.ChOraltSop'*i Violini,Bassocontinuo(Violoncello,Violone,Fagotto,Orgmo) f'53 Du Friedefiirst, Hen Jesu Christ... E 3. Rezitativ (r"no,) Bassocontrnuo (v,oronce11o. orgmo) 0'24 Wohl dem, des Hilfe der Gott Jakobs ist.. @ 4.ArieC**l vrohnsolo,violnj.vjola,Bassoconrinuo(Moloncello,v,olone,Orsano) 3'11 TausendfachesUngliick, Schrecken... E S.ArietSuSl lComodacaccia.Timpant,Fasorto,Bassoconrinuo(violoncello.organo) 1'41 _ Der Hen ist Kdnig ewiglich... Ell 6. Arie (mit Choral) Genor) Fasoto.violini, viola, Fasoiro, orsano (vox humana). Basso conrinuo (violoncello. orsano) 2'08 Jesu, Retter deiner Herde.. E T.ChOrUndChoral 3comodacaccia,Tinpani,violini.viola,Fago(o,tsassoconrinuo(viotoncelro.violone,organo)2rl3 Gedenk,Hen, jetzund an dein Amt... Bach Collegium Japan directedby Masaaki Suzuki Vocal Soloists: Midori Suzuki, soprano[BWV 18,152, 155] Ingrid Schmithiisen, soprano[BWV 143] Yoshikazu Mera, counter-tenorIBWV 155,16ll Makoto Sakurada, renor[BwV 18,155, 161, 143] Peter Kooij, bass[BWV 18,152, 155, 1431 fs?ft 3lT""J:ffiif,X"fii:1ilil$,*#:*','i:L?,1:"-soredbv*"'NEc TTthe li\e canlatd\on lhi. recordingu(r. $nlren Jurins in experimental spirit, and can be said to have about it a clear wermarperrod | 1708l7l7'. AlrhouFhthi' indi\ idualism. Its mosl notable aspect is that it encompassesa f Ba.h: I periotl.$heD Ba(h held the po.t ot cnurrnrl:rnr\r r', \\ide range ot' styles, including recitative beginning itr the Duke Wilhelm Ernst of SachsenWeinar, is kno\rn as lhe srrco slllc'(accompaniedonly on continuo)developed in the Golden Age ol organ music. in March 171,1B{ch \\'a\ given Ireld of Italian opera and finishing in the more aria-like the tille of Konzertmeister, and this also mxrked rhe be- dLranlpagnato style (with fuller instrumental accompani- ginning of the flowering of the church cantata. Fron lhis ment). For this reason,I have laken to calling this canlata point onward. he produced roughly one cantata a month. and Bach s recitativestud). theseworks are influencedby Italian opera st)le. The sorks Further. the third movement quotes from Luther's Litany of this tinle are not merely a preparation fbr the grand cantala for a cerernonialimage, making the work conspicuousfbr works of the Leipzig period. which began in 1723r indeed. having a trongly evocative Lutheran character. many of them were reperformed in Leipzig and tirrmecl an This cantata was writfen for the liturgy of Sexagesima imporlant part of the cantata repenory. Sunda) (si\r) days beforc Easter). which ialls in February. in The special characteristicsof the weimar caDtatasare the dead of winter. Bach found the libretto in a collection of lyrical and intinate arias and in particular duets 1illed with poetr) publishcd in 17ll for lhe Court of Eisenachby the the yearning for love. The five works on this recofding all Lutheran pastor Erdmann Neumeisler of Hamburg. N_eu_ open with and are driven by solo movements, and choral meis!er had great influence on Salomo Franck and other poets participation is very limited (indeed. in BwV 152 there is no of Bach s day; il was he who conceived ol making the use of chorus at all). The orchestr4tion too is sructurcd very simpl). the ltalian opera form of recitative and aria in Lutheran but a varicty ol instruments are used among ihe llve works. church cantatas. A famous story tells of the time when, per- and a sonorily which cannot be found among the nurnerous haps because he was unable or unwilling to pay a 4,000 mark cantatas of the Leipzig period is rel'lected in them. wilhin the donatior lo the church. Bach did not win a position in Ham- mechanicalform imposed on him, Bach was doubtlessen burgt on this occasion Neumeister is said to have exprcssed 'Even joying a new realm of experimentrlion at this time. his regret: if angelshad come dowl 10 dance on this Leaving aside for the moment BwV 18, the libretro oI eanh. he would not have become organist here.' which was written by Erdmann Neumeistet and BWV l:13. The theme of Neumeister's librelto, the parable of the the libfcno of rhich is anonymous! the femaining thrcc can so\er. comes from the Gospel rcadinS for Sexagesima,St. tatas are all based on librefii by Weimar coun poet Salomo Luke 8:.1 10. The seedirselt'represents the Holy Word; the Franck. Franck s poetry stands out even among Bach's can- reason some seeds wither while others flourish is lhe Sround tata libretti fbr the beaut)' of its strong emolional ima-qer.v:it upon which the seeds fall. The point of the parable is that one was very well-suited to the youthful sensibility of Bach ilust hear Holy Scripture with an open and welcoming hean. during his Weinrar tenure. One of these three libretri, K.)nn. [! follo*s fron this thar a c]ose examination of this Scripture du siilJt Todesstunde \Cone. thou sveet death s rorr). is a engenders love and respect fbr what it contarns. very emotional expression of longing for death; Bach s A Sinfbnia in A ninor begins the canlata. This inffo- periodic revisiting of this theme surely indicales that it was duclory movement, with descending rain and snow phrases, one which held panicular importance for him. conbines the styles ol old chaconne and conceilo-lorm ritomello; this evokes the feeling of longing for the bk)ssom- BwvlS: Gleichwie der Regen und Schneevom Himmel ing of Holy Scripture in the midsl of desolalion. The four felll (For as the rain aDd snow come down from heaven) violas dnd continuo (with fagote and cello patrs)fom an un BWV 18 is one of the earliest ol the \,\'eimar cantatas. most usual orchestration;1br iis second performance in 172'1{t iikel! sritlen in 1713or 1714,and by 1715at the latest.Ver! Leipzig. two recorder parts were added. (This recording is unusual in havirg been scorcdfbr tbur violas and confinuo. faithful lo the ori8inal weinar orchestralon.) the $ork displays as a result of this orchestration a subdued The chorus which usually follows a sinfbnia is absent; tonal quality.Musically speaking.however. it is cenainly rich lhe secondmovement is a bass solo which begins lhe nara tive wifh dignity. This tcxt. howeler. does nol come lion Sf. celebration oi the lncarnation to look fofward to the in- Luke s Cospel. but rather tiom the passagein the book of evitableconclusion of eventsirl the Passion.Salomo Franck's Isaiah tr which the Gospel pdssageref-ers (Movemenf 2. libretro lbr this catrtata makes usc oi the image of the stone. 'As Recitative): the rain and snow remain on the earth.givirlg In Jesus'sIncamation, sa!s lhe lext. God setsa Comer Stone sced and brc{d.