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Complete Bach Cantatas Vol. 14
Johann Sebastian Bach

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 14

Price: € 14.95 10.47
Format: CD
Label: Challenge Classics
UPC: 0608917221428
Catnr: CC 72214
Release date: 01 November 2003
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Label
Challenge Classics
UPC
0608917221428
Catalogue number
CC 72214
Release date
01 November 2003
Album
Artist(s)
Composer(s)
EN
NL

About the album

The cantatas in this fourteenth series fall into four unequal groups: BWV 26, 123,125 and 178 form part of the second yearly cycle of Leipzig church cantatas, which was abruptly broken off in March 1725.The chorale cantatas - based on strophes of church Lieder or church Lieder paraphrased into recitatives and arias - lent the cycle its distinct character. We do not know any tangible reason for the abrupt break-off, but we may assume that it is connected to the death of the author of Bach's texts, Andreas Stübel, deputy headmaster of the Thomasschule, who is presumed to have died on 31 January 1725.For evidently the composer had at his disposal only texts up to the Marian Feast of the Annunciation, 25 March 1725 (BWV 1).While the texts for BWV 6 and 42 are the work of an unknown poet, in Cantatas BWV 74,68 and 103 Bach set texts by the Leipzig poet Mariane von Ziegler, who evidently filled the gap left by the poet of the chorale cantatas. Finally, BWV 1045 is a sinfonia of a cantata dating from the mid-1740s, the other movements of which have not survived.
Het 14e deel uit de Complete Bach Cantatas door Ton Koopman
Tussen 1994 en 2004 nam dirigent Ton Koopman de enorme taak op zich om alle cantates gecomponeerd door Johann Sebastian Bach op te nemen met zijn Amsterdam Baroque Orchestra & Choir. Tijdens zijn leven schreef Bach vermoedelijk 295 cantates, waarvan er 202 bewaard zijn gebleven. Het overgrote deel van deze cantates kwam volgens biograaf Christoph Wolff, met wie Ton Koopman samenwerkte aan dit project, tot stand in de jaren 1723-25 toen Bach in Leipzig verbleef.

Bachs enorme cantateproductie delen de musicologen op in 5 cantatejaargangen. Een cantatejaargang of cantate-jaarcyclus bestaat uit een groep van bij elkaar horende cantates geschreven voor de kerkdiensten van één kerkelijk jaar.

Het merendeel van cantates werd door Bach geschreven als muzikale omlijsting van de zondagse kerkdienst. De cantates sloten inhoudelijk aan bij de lezingen en de preek van die zondag of kerkelijke feestdag. Het was dus functionele gebruiksmuziek, maar van een hoog muzikaal niveau. De meeste van Bachs cantates beginnen met een uitgebreid openingskoor. Deze opening werd gevolgd door enkele aria's en recitatieven(vertellende stukken, zonder tekstherhalingen).

De volledige set bevat alle 202 cantates onderverdeeld in 22 volumes. De cantates op dit 14e volume zijn onder te verdelen in vier ongelijke groepen. Vier cantates (BWV 26, 123, 125 en 178) zijn onderdeel van de tweede cantatejaargang die Bach in Leipzig heeft gecomponeerd. Deze cyclus werd abrupt afgebroken in maart 1725. Ondanks dat de reden voor dit abrupte einde van de cyclus onbekend is, kan men aannemen dat de dood van de schrijver van de teksten van Bach’s cantates, Andreas Stübel, hier mee te maken had. De cantates uit de overige drie groepen zijn allen gecomponeerd op tekst van andere schrijvers. De teksten van BWV 6 en 42 zijn van een onbekende auteur. Cantate BWV 74, 68 en 103 zijn geschreven bij de dichter Mariane von Ziegler uit Leipzig, die het gat vulde dat was achtergelaten door de vorige auteur. BWV 1045 is een geheel ander werk. Dit is het eerste deel van een cantate uit het midden van jaren ’40 van de achttiende eeuw, de andere delen zijn door de tijd verloren gegaan.

Artist(s)

Ton Koopman (conductor)

Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time...
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Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time to teaching. Ton Koopman is president of the International Dieterich Buxtehude Society and, since 2019, president of the Leipzig Bach Archiv.

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Amsterdam Baroque Orchestra & Choir

Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality. The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare...
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Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality.
The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare combination of textural clarity and interpretative flexibility, the Amsterdam Baroque Choir is considered among today’s most outstanding choirs. In 1994 Ton Koopman and the Amsterdam Baroque Orchestra & Choir embarked upon the most ambitious recording project of the last decades: the integral recording of Bach’s secular and sacred cantatas. For this extraordinary project Koopman and his ensemble received the Deutsche Schallplatten-Preis Echo Klassik. Next to the CD recordings three books have been edited and published by Ton Koopman and the musicologist Christoph Wolff and a series of six documentaries was produced and broadcasted by various TV stations.
Alongside Bach’s music the Amsterdam Baroque Orchestra & Choir has recorded all major baroque and classical works. Major recognitions include the Gramophone Award, Diapason d'Or, 10-Repertoire, Stern des Monats-Fono Forum, the Prix Hector Berlioz and two Edison Awards. In 2008 the ensemble and Ton Koopman have been honoured with the prestigious BBC Award. Since March 2003 “Antoine Marchand”, a new sub-label of Challenge Classics, took over the release of Koopman’s new recordings and among many others has published 22 CD boxes of the Bach Cantatas, a new recording of the St. Matthew Passion (on CD and DVD) and St. Markus Passion of J.S. Bach (DVD), live recorded in Milan, as well as the first seven volumes of the Buxtehude Opera-Omnia Edition. Ton Koopman and the ABO & ABC are regular guests at the major concert halls of Europe, the USA and Japan. In the 2008/09 season they will tour extensively in Europe (Amsterdam, Paris, Madrid, Vienna, Milan, Cologne, Dresden, Düsseldorf etc) and in Far East with concerts in Hong Kong, Seoul and Tokyo.
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Lisa Larsson

Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the...
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Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the Royal Danish Opera, the Opéra de Monte-Carlo, the Leipzig Opera, the Grand Théâtre de Genève, the Royal Swedish Opera and the Theater Basel as well as at the Salzburg Festival, the Lucerne Festival, the Glyndebourne Festival and the Festival d'Aix-en-Provence.
Lisa Larsson is also a remarkably versatile concert singer of international renown. In recent years she has constantly expanded her broad repertoire with works by Mahler, Richard Strauss, Brahms, Berlioz, Britten and Stravinsky, and has performed in a number of world premieres of contemporary works. Conductors she has worked with include Claudio Abbado, Sir Colin Davis, Daniel Harding, Adam Fischer, Mikhail Pletnev, David Zinman, Antonello Manacorda, Lawrence Renes, Massimo Zanetti, Louis Langrée, Douglas Boyd, Juanjo Mena, Christian Arming, Andrew Manze, Stefan Solyom, Vassily Sinaisky and Edo de Waart. Lisa Larsson has performed with leading orchestras including the Berlin Philharmonic, the Zurich Tonhalle Orchestra, the Frankfurt Radio Symphony Orchestra, the Munich Philharmonic, the Vienna Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Netherlands Philharmonic, the Royal Stockholm Philharmonic Orchestra, the Hong Kong Philharmonic, the Orquestra Sinfônica do Estado de São Paulo, the NHK Symphony Orchestra and the New Japan Philharmonic.
In the field of baroque music, she has often worked with leading conductors and their orchestras, including Sir John Eliot Gardiner, Sir Roger Norrington, Christopher Hogwood, Frans Brüggen, Andrea Marcon, Emmanuelle Haïm, Ton Koopman, Nathalie Stutzmann, Nicholas McGegan, Paul Goodwin, Martin Haselböck, Gottfried von der Goltz, Trevor Pinnock, Richard Egarr, Fabio Bonizzoni, Jan Willem de Vriend and David Stern.
Highlights of her 2014 | 2015 season include two world premieres of works dedicated to her by Swedish composer Rolf Martinsson: “Ich denke Dein…” for soprano and orchestra, commissioned by the Zurich Tonhalle Orchestra, and “Garden of Devotion” for soprano and string orchestra, commissioned by the Swedish ensemble Musica Vitae.
“Ich denke Dein…” will be first performed by the Zurich Tonhalle Orchestra and conducted by John Storgårds who will also lead the Finnish premiere with the Helsinki Philharmonic Orchestra. The Dutch premiere will be with the Netherlands Philharmonic Orchestra under its chief conductor Marc Albrecht in Amsterdam’s Concertgebouw. More performances are planned for future seasons with the Philharmonia Orchestra, Gothenburg Symphony Orchestra, Orchestra Sinfonica di Milano Giuseppe Verdi, Iceland Symphony Orchestra, Malmö Symphony Orchestra and Helsingborg Symphony Orchestra.
"Garden of Devotion" will be first performed on tour in Sweden by Musica Vitae and conducted by Nathalie Stutzmann. Further performances are scheduled with the Scottish Chamber Orchestra under Olari Elts as well as the Helsingborg Symphony Orchestra under Stefan Solyom. More performances in future seasons are planned with the Swedish Chamber Orchestra, Stuttgart Chamber Orchestra, Staatskapelle Weimar and the Norrköping Symphony Orchestra.
Lisa Larsson will continue her many years of collaboration with Antonello Manacorda in performances of Beethoven’s 9th symphony in the Netherlands as well as Alban Berg’s “Seven Early Songs” and Mahler’s 4th symphony with the BBC Philharmonic. She will also sing the Berg cycle with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra at the Prague Spring Festival and in Liverpool. Performances of Mahler’s 2nd symphony, conducted by Stefan Asbury, are planned for a tour in Holland. Other projects she is looking forward to are two new recital programmes with concerts in Italy together with Andrea Lucchesini and in Switzerland with Roland Pöntinen.
Recent additions to her substantial discography are two Challenge Classics releases: A Haydn album with the Combattimento Consort Amsterdam under the direction of Jan Willem de Vriend as well as Berlioz programme with the Arnhem Philharmonic Orchestra conducted by Antonello Manacorda who is also the conductor of her next CD to be released on the same label in the autumn of 2014 and featuring Mahler’s 4th symphony combined with a selection of “Wunderhorn” songs by Mahler. In spring 2015 she will record Rolf Martinsson’s “Orchestral Songs on Poems by Emily Dickens” with the Royal Stockholm Philharmonic Orchestra under Andrew Manze for BIS Records. Her other recordings include Strauss‘ ›Four Last Songs‹ under Douglas Boyd, Mahler’s 8th symphony under David Zinman, the Mozart operas ›Don Giovanni‹ under Daniel Harding, ›Mitridate‹ under Adam Fischer, ›Il sogno di Scipione‹ under Gottfried von der Goltz, Händel‘s ›Jephta‹ under David Stern as well as numerous Bach Cantatas under Sir John Eliot Gardiner and Ton Koopman. With the latter she also recorded Bach’s Christmas and Easter Oratorio as well as the Magnificat.

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Paul Agnew

The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.
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The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.

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Jörg Dürmüller

The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey. Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin...
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The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey.
Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin in the role of Fernando in Così fan tutte produced by Harry Kupfer, and at the National Theatre of Braunschweig as Andres in Wozzeck by Alban Berg. In 2002 and 2003 he sang the role of Bajazete in George Frideric Handel’s Tamerlano also at the Opera Comique Berlin directed by David Alden.

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Bogna Bartosz

The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig. Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra)...
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The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig.
Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra) and leading conductors (including Horia Andrescu, Moche Atzmon, Marcus Creed, Philippe Entremont, Jörg Faerber, Enoch zu Guttenberg, Philippe Herreweghe, Marek Janowski, Ton Koopman, Krzysztof Penderecki, Helmuth Rilling, Jeffrey Tate, Marcello Viotti, Lothar Zagrosek, Udo Zimmermann), in all the major concert halls in Germany (such as Berliner Philharmonie, Berliner Konzerthaus, Leipziger Gewandhaus, Alte Oper Frankfurt, Kölner Philharmonie, Tonhalle Düsseldorf, Glocke Bremen, Hamburger Musikhalle, Liederhalle Stuttgart), as well as in Europe, the USA and Israel, and at numerous major festivals.

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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Press

Play album Play album
Disc #1
01.
“Also hat Gott die Welt geliebt” BWV 68: Chor: Also hat Gott die Welt geliebt
05:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
“Also hat Gott die Welt geliebt” BWV 68: Arie und Ritornello: Mein gläubiges Herze
03:08
(Johann Sebastian Bach ) Ton Koopman, Deborah York, Amsterdam Baroque Orchestra
03.
“Also hat Gott die Welt geliebt” BWV 68: Rezitativ: Ich bin mit Petro nicht vermessen
00:46
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
04.
“Also hat Gott die Welt geliebt” BWV 68: Arie: Du bist geboren mir zugute
03:20
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
“Also hat Gott die Welt geliebt” BWV 68: Chor: Wer an ihn gläubet
02:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
“Bleib bei uns, denn es will Abend werden” BWV 6: Chor: Bleib bei uns, denn es will Abend werden
06:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
“Bleib bei uns, denn es will Abend werden” BWV 6: Arie: Hochgelobter Gottessohn
03:09
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
08.
“Bleib bei uns, denn es will Abend werden” BWV 6: Choral: Ach bleib bei uns, Herr Jesu Christ
03:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
“Bleib bei uns, denn es will Abend werden” BWV 6: Rezitativ: Es hat die Dunkelheit
00:42
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
10.
“Bleib bei uns, denn es will Abend werden” BWV 6: Arie: Jesu, lass uns auf dich sehen
03:16
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
11.
“Bleib bei uns, denn es will Abend werden” BWV 6: Choral: Beweis dein Macht, Herr Jesu Christ
00:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Chor: Wer mich liebet, der wird mein Wort halten
02:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Arie: Komm, komm, mein Herze steht dir offen
02:48
(Johann Sebastian Bach ) Ton Koopman, Deborah York, Amsterdam Baroque Orchestra
14.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Rezitativ: Die Wohnung ist bereit
00:31
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
15.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Arie: Ich gehe hin und komme wieder zu euch
02:35
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
16.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Arie: Kommt, eilet, stimmet Sait und Lieder
04:32
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
17.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Rezitativ: Es ist nichts Verdammliches an denen
00:27
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
18.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Arie: Nichts kann mich erretten
04:51
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
19.
“Wer mich liebet, der wird mein Wort halten” BWV 74: Choral: Kein Menschenkind hier auf der Erd
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Choral: Erhalt uns Herr, bei deinem Wort
02:35
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Arie: Sende deine Macht von oben
04:00
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew, Amsterdam Baroque Orchestra
22.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Rezitativ und Choral: Der Menschen Gunst und Macht
01:57
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Franziska Gottwald, Paul Agnew, Amsterdam Baroque Orchestra
23.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Arie: Stürze zu Boden schwülstige Stolze!
04:54
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
24.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Rezitativ: So wird dein Wort und Wahrheit offenbar
00:52
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew, Amsterdam Baroque Orchestra
25.
“Erhalt uns Herr, bei deinem Wort” BWV 126: Choral: Verleih uns Frieden gnädiglich
01:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Choral: Ach wie flüchtig, ach wie nichtig
02:32
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Arie: So schnell ein rauschend Wasser schießt
06:06
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
03.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Rezitativ: Die Freude wird zur Traurigkeit
00:49
(Johann Sebastian Bach ) Ton Koopman, Annette Markert, Amsterdam Baroque Orchestra
04.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Arie: An irdische Schätze das Herze zu hängen
03:50
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Rezitativ: Die höchste Herrlichkeit und Pracht
00:45
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
06.
“Ach wie flüchtig, ach wie nichtig” BWV 26: Choral: Ach wie flüchtig, ach wie nichtig
00:47
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Mit Fried und Freud ich fahr dahin” BWV 125: Choral: Mit Fried und Freud fahr ich dahin
05:59
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Mit Fried und Freud ich fahr dahin” BWV 125: Arie: Ich will auch mit gebrochnen Augen
10:12
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
09.
Mit Fried und Freud ich fahr dahin” BWV 125: Rezitativ und Choral: O Wunder, dass ein Herz
02:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
10.
Mit Fried und Freud ich fahr dahin” BWV 125: Arie: Ein unbegreiflich Licht erfüllt
04:46
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
11.
Mit Fried und Freud ich fahr dahin” BWV 125: Rezitativ: O unerschöpfter Schatz der Güte
00:44
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
12.
Mit Fried und Freud ich fahr dahin” BWV 125: Choral: Er ist das Heil und Selig Licht
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Choral: Wo Gott der Herr nicht bei uns hält
04:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Rezitativ und Choral: Was Menschenkraft und -witz anfährt
02:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Annette Markert, Amsterdam Baroque Orchestra
15.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Arie: Gleichwie die wilden Meereswellen
03:25
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
16.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Choral: Sie stellen uns wie Ketzern nach
02:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Choral und Rezitativ: Auf sperren sie den Rachen weit
01:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Deborah York, Lisa Larsson, Annette Markert, Christoph Prégardien, Klaus Mertens, Amsterdam Baroque Orchestra
18.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Arie: Schweig, schweig nur, taumelnde Vernunft!
03:43
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
19.
“Wo Gott der Herr nicht bei uns hält” BWV 178: Choral: Die Feind sind all in deiner Hand
01:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Konzertsatz in D BWV 1045: Sinfonia
06:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra

Disc #3
01.
“Ihr werdet weinen und heulen” BWV 103: Chor: Ihr werdet weinen und heulen
05:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
“Ihr werdet weinen und heulen” BWV 103: Rezitativ: Wer sollte nicht in Klagen untergehn
00:36
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
03.
“Ihr werdet weinen und heulen” BWV 103: Arie: Kein Arzt ist außer dir zu finden
03:42
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
04.
“Ihr werdet weinen und heulen” BWV 103: Arie: Du wirst mich nach der Angst
00:34
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
05.
“Ihr werdet weinen und heulen” BWV 103: Arie: Erholet euch, betrübte Sinnen
02:39
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
06.
“Ihr werdet weinen und heulen” BWV 103: Choral: Ich hab dich einen Augenblick
01:05
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
“Am Abend aber desselbigen Sabbats” BWV 42: Sinfonia
06:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
08.
“Am Abend aber desselbigen Sabbats” BWV 42: Rezitativ: Am Abend aber desselbigen Sabbats
00:35
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
09.
“Am Abend aber desselbigen Sabbats” BWV 42: Arie: Wo zwei oder drei versammelt sind
09:52
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
10.
“Am Abend aber desselbigen Sabbats” BWV 42: Choral: Verzage nicht, o Häuflein klein
03:03
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
“Am Abend aber desselbigen Sabbats” BWV 42: Rezitativ: Mann kann hiervon ein schön Exempel sehen
00:47
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
12.
“Am Abend aber desselbigen Sabbats” BWV 42: Arie: Jesus ist ein Schild der Steinen
03:17
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
13.
“Am Abend aber desselbigen Sabbats” BWV 42: Choral: Verleih uns Frieden gnädiglich
01:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Chor: Liebster Immanuel, Herzog der Frommen
04:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Rezitativ: Die Himmelssüßigkeit, der Auserwählten Lust
00:43
(Johann Sebastian Bach ) Ton Koopman, Franziska Gottwald, Amsterdam Baroque Orchestra
16.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Arie: Auch die harte Kreuzesreise
05:35
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew, Amsterdam Baroque Orchestra
17.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Rezitativ: Kein Höllenfeind kann mich verschlingen
00:40
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
18.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Arie: Laß, o Welt, mich aus Verachtung
05:10
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
19.
“Liebster Immanuel, Herzog der Frommen” BWV 123: Choral: Drumfahrt nur immer hin, ihr Eitelkeiten
01:25
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
“Ihr werdet weinen und heulen” BWV 103 (Appendix): Chor: Ihr werdet weinen und heulen
05:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
“Ihr werdet weinen und heulen” BWV 103 (Appendix): Rezitativ: Wer sollte nicht in Klagen untergehn
00:35
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Franziska Gottwald, Annette Markert, Amsterdam Baroque Orchestra
22.
“Ihr werdet weinen und heulen” BWV 103 (Appendix): Arie: Kein Arzt ist außer dir zu finden
03:48
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Christoph Prégardien, Paul Agnew, Amsterdam Baroque Orchestra
23.
“Am Abend aber desselbigen Sabbats” BWV 42 (Appendix): Am Abend aber desselbigen Sabbats BWV 42 (Kantate) (Appendix): Verzage nicht, o Häuflein klein
03:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Deborah York, Lisa Larsson, Jörg Dürmüller, Christoph Prégardien, Paul Agnew, Amsterdam Baroque Orchestra
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