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Complete Bach Cantatas Vol. 17

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 17

Format: CD
Label: Challenge Classics
UPC: 0608917221725
Catnr: CC 72217
Release date: 01 December 2004
CD (3 items)
 
Label
Challenge Classics
UPC
0608917221725
Catalogue number
CC 72217
Release date
01 December 2004
Album
Artist(s)
Composer(s)
EN
NL

About the album

Volume 17 in the Bach cantata series contains exclusively works from the third yearly cycle of cantatas from Leipzig, which, unlike the previous two Leipzig cycles, extends over a longer period of time, from June 1725 until 1727. The cantatas in this volume can be divided into three chronologically distinct groups: December-January 1725-26 (BWV 57, 32), September-October 1726 (BWV 35, 17, 19, 169 and 56) and January-February 1727 (BWV 58 and 84).

Among the text forms used in the third cycle we frequently encounter dialogue poems, usually based on a dialogue between Jesus and the Soul. Typical examples of this type of dialogue cantata are BWV 57 and 58. Features of the third-cycle cantatas include the use of lavish instrumental movements, among which are those with obbligato organ (as in BWV 35 and 169), and the division of the work into two parts. (as in BWV 17 and 35).
Cantatas uit het derde Leipzig cantatejaargang van Bach
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. Dit 17e volume bevat uitsluitend werken uit de derde cantatejaargang gecomponeerd in Leipzig. Deze cyclus begint op de eerste zondag na pinksteren in 1725 (3 juni) en, in tegenstelling tot de eerdere twee cycli, strekte zich uit over drie jaar. Dit betekent echter niet dat deze cyclus drie keer zo lang is, Bach nam enkel meer tijd voor het componeren van deze reeks cantates. In deze tijd speelde Bach veel cantates die door zijn neef Johann Ludwig Bach gecomponeerd waren, die Kapellmeister was aan het hof van de hertog van Meiningen. Ondanks dat Bach minder snel componeerde, behoren een aantal van deze cantates tot de meest gewaardeerde werken van Bach, zoals cantates BWV 43, 39, 170 en 102. Op muzikaal vlak zijn deze cantates te onderscheiden van eerdere cantates doordat zij niet beginnen met grootschalige instrumentele passages of lange en uitgebreide openingsdelen.

De werken op dit volume kunnen onderverdeeld worden in drie groepen op chronologische basis: de cantates uit december 1725 tot januari 1726 (BWV 57 en 32), de cantates uit september 1726 tot oktober 1726 (BWV 35, 17, 19, 169 en 56) en de cantates gecomponeerd tussen januri 1727 en februari 1727. In dit derde jaargang bevat de tekst geregeld dialogen tussen Jezus en De Heilige Geest, bijvoorbeeld in cantate BWV 57 en 58.

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...
more
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...
more
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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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

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Disc #1
01.
Gott soll allein mein Herze haben BWV 169: Sinfonia
07:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Gott soll allein mein Herze haben BWV 169: Arioso: Gott soll allein mein Herze haben (Alto)
02:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Gott soll allein mein Herze haben BWV 169: Aria: Gott soll allein mein Herze haben (Alto)
06:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Gott soll allein mein Herze haben BWV 169: Recitativo: Was ist die Liebe Gottes (Alto)
00:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Gott soll allein mein Herze haben BWV 169: Aria: Stirb in mir Welt (Alto)
05:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Gott soll allein mein Herze haben BWV 169: Recitativo: Doch meint es auch dabei (Alto)
00:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Gott soll allein mein Herze haben BWV 169: Chorale: Du süsse Liebe, schenk uns deine Gunst
01:01
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Liebster Jesu, mein Verlange BWV 32: Aria: Liebster Jesu, mein Verlangen (Soprano)
05:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Liebster Jesu, mein Verlangen BWV 32: Recitative: Was ist's, dass du mich gesuchet? (Bass)
00:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Liebster Jesu, mein Verlangen BWV 32: Aria: Hier, in meines Vaters Statte (Bass)
06:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Liebster Jesu, mein Verlangen BWV 32: Recitative: Ach! heiliger und grosser Gott (Soprano, Bass)
02:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Liebster Jesu, mein Verlangen BWV 32: Aria: Nun verschwinden alle Plagen (Soprano, Bass)
05:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Liebster Jesu, mein Verlangen BWV 32: Chorale: Mein Gott, offne mir die Pforten (Chorus)
01:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Ach Gott, wie manches Herzeleid BWV 58: Duetto: Ach Gott, wie manches Herzeleid (Soprano, Bass)
04:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Ach Gott, wie manches Herzeleid BWV 58: Recitative: Verfolgt dich gleich (Basso)
01:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Ach Gott, wie manches Herzeleid BWV 58: Aria: Ich bin vergnügt in meinem Leiden (Soprano)
03:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Ach Gott, wie manches Herzeleid BWV 58: Recitative: Kann es die Welt nicht lassen (Soprano)
01:03
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Ach Gott, wie manches Herzeleid BWV 58: Duetto: Ich hab' für mir ein schwere Reis (Soprano, Basso)
02:26
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Ich bin vergnügt mit meinem Glücke BWV 84: Aria: Ich bin vergnügt mit meinem Glücke (soprano)
05:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Ich bin vergnügt mit meinem Glücke BWV 84: Recitative: Gott ist mir ja nichts schuldig (Soprano)
01:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Ich bin vergnügt mit meinem Glücke BWV 84: Aria: Ich esse mit Freuden mein weniges Brot (soprano)
04:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Ich bin vergnügt mit meinem Glücke BWV 84: Recitative: Im Schweiße meine Angesichts (soprano)
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
Ich bin vergnügt mit meinem Glücke BWV 84: Choral: Ich leb indes in dir vergnüget
00:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
Es erhub sich ein Streit BWV 19: Es erhub sich ein Streit (Chorus)
04:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Es erhub sich ein Streit BWV 19: Recitative: Gottlob! der Drache liegt (Bass)
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Es erhub sich ein Streit BWV 19: Aria: Gott schickt uns Mahanaim zu (Soprano)
03:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Es erhub sich ein Streit BWV 19: Recitative: Was ist der schnode Mensch, das Erdenkind? (Tenor)
00:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Es erhub sich ein Streit BWV 19: Aria with Chorale: Bleibt, ihr Engel, bleibt bei mir! (Tenor)
07:24
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Es erhub sich ein Streit BWV 19: Recitative: Lasst uns das Angesicht (Soprano)
00:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Es erhub sich ein Streit BWV 19: Chorale: Lass dein' Engel mit mir fahren (Chorus)
01:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Meine Seufzer, meine Tränen BWV 13: Aria: Meine Seufzer, meine Tränen (Tenor)
06:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Meine Seufzer, meine Tränen BWV 13: Recitative: Mein liebster Gott (Alto)
00:57
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Meine Seufzer, meine Tränen BWV 13: Choral: Der Gott, der mir hat versprochen
02:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Meine Seufzer, meine Tränen BWV 13: Recitative: Mein Kummer nimmet zu (Soprano)
01:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Meine Seufzer, meine Tränen BWV 13: Aria: Ächzen und erbärmlich weinen (Bass)
06:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Meine Seufzer, meine Tränen BWV 13: Choral: So sei nun, Seele
00:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Ich will den Kreuzstab gerne tragen BWV 56: Aria: Ich will den Kreuzstab gerne tragen (Bass)
06:46
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Ich will den Kreuzstab gerne tragen BWV 56: Recitative: Mein Wandel auf der Welt (Bass)
01:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Ich will den Kreuzstab gerne tragen BWV 56: Aria: Endlich, endlich wird mein Joch (Bass)
06:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Ich will den Kreuzstab gerne tragen BWV 56: Recitative: Ich stehe fertig und bereit (Bass)
01:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Ich will den Kreuzstab gerne tragen BWV 56: Choral: Komm, o Tod, du Schlafes Bruder (Bass)
01:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
Geist und Seele wird verwirret BWV 35: Concerto
05:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Geist und Seele wird verwirret BWV 35: Aria: Geist und Seele wird verwirret (Alto)
08:17
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Geist und Seele wird verwirret BWV 35: Recitative: Ich wundre mich (Alto)
01:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Geist und Seele wird verwirret BWV 35: Aria: Gott hat alles wohlgemacht (Alto)
03:10
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Geist und Seele wird verwirret BWV 35: Sinfonia
03:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Geist und Seele wird verwirret BWV 35: Recitative: Ach, starker Gott, lass mich (Alto)
01:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Geist und Seele wird verwirret BWV 35: Aria: Ich wunsche nur bei Gott zu leben (Alto)
02:46
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Wer Dank opfert, der preiset mich BWV 17: Chorus: Wer Dank opfert, der preiset mich
04:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Wer Dank opfert, der preiset mich BWV 17: Recitative: Es muss die ganze Welt ein stummer Zeuge werden (Alto)
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Wer Dank opfert, der preiset mich BWV 17: Arie: Herr, deine Güte reicht, so weit (Soprano)
02:55
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Wer Dank opfert, der preiset mich BWV 17: Recitative: Einer aber unter ihnen, da er sahe (Tenor)
00:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Wer Dank opfert, der preiset mich BWV 17: Aria: Welch Übermass der Güte schenkst du mir (Tenor)
03:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Wer Dank opfert, der preiset mich BWV 17: Recitative: Sieh meinen Willen an (Bass)
01:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Wer Dank opfert, der preiset mich BWV 17: Choral: Wie sich ein Vater erbarmet
01:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Selig ist der Mann BWV 57: Aria: Selig ist der Mann (Bass)
03:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Selig ist der Mann BWV 57: Recitative: Ach! dieser susse Trost (Soprano)
01:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Selig ist der Mann BWV 57: Aria: Ich wunschte mir den Tod (Soprano)
05:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Selig ist der Mann BWV 57: Recitative: Ich reiche dir die Hand (Bass, Soprano)
00:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Selig ist der Mann BWV 57: Aria: Ja, ja, ich kann die Feinde schlagen (Bass)
04:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Selig ist der Mann BWV 57: Recitative: In meiner Schoss liegt Ruh und Leben (Bass, Soprano)
01:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Selig ist der Mann BWV 57: Aria: Ich ende behende mein irdisches Leben (Soprano)
03:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Selig ist der Mann BWV 57: Chorale: Richte dich, Liebste, nach meinem Gefallen (Chorus)
00:46
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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Often bought together with..

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Complete Bach Cantatas Vol. 18
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Complete Bach Cantatas Vol. 16
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