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Complete Bach Cantatas Vol. 18
Johann Sebastian Bach

Ton Koopman / The Amsterdam Baroque Orchestra

Complete Bach Cantatas Vol. 18

Price: € 14.95 10.47
Format: CD
Label: Challenge Classics
UPC: 0608917221824
Catnr: CC 72218
Release date: 09 May 2005
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Label
Challenge Classics
UPC
0608917221824
Catalogue number
CC 72218
Release date
09 May 2005
Album
Artist(s)
Composer(s)
EN
NL

About the album

The 18th set of Bach's cantatas contains exclusively works of the third yearly cycle from Leipzig. Unlike the first two Leipzig yearly cycles, this one extends over a longer period: from June 1725 until 1727. The works in this set belong essentially to the years 1725-26 and are in some cases chronologically contiguous (BWV 187 and 45; BWV 98, 55, 52), with the result that the original sequence can be easily grasped.

An especially marked characteristic of the third yearly cycle is the incorporation of lavish instrumental movements. A typical example can be seen in BWV 52, which incorporates the opening movement of Brandenburg Concerto No. 1. A concertante organ part is also used often, though in this set it appears only as an obbligato instrument in the aria from BWV 47. With the new instrumental brilliance and lavishness that predominates in the third cycle, Bach broke new ground in his composition of cantatas and once again demonstrated his ambitions as a Kapellmeister.
Bach’s Cantates van 1725 tot 1727
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.

De volledige set bevat alle 202 cantates onderverdeeld 22 volumes. Dit 18e volume uit de reeks omvat de “3e jaarlijkse cyclus” van cantates gecomponeerd in Leipzig. 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. In tegenstelling tot de twee eerdere cycli spant deze 3e cycles een verzameling cantates over een langere periode, namelijk van juni 1725 tot 1727.

Kenmerkend aan deze cyclus is het gebruik van uitgebreide instrumentele passages. Een goed voorbeeld hiervan is te vinden in BWV 52, waarin het volledige openingsdeel van zijn 1e Brandenburg Concert is te horen. Met de nieuwe nadruk op instrumentele passages slaat Bach een vernieuwende weg in met zijn cantates.

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).

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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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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Disc #1
01.
'Ich armer Mensch, ich Sündenknecht BWV 55': Aria (Tenor): “Ich armer Mensch, ich Sündenknecht”
05:44
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
02.
'Ich armer Mensch, ich Sündenknecht BWV 55': Recitative (Tenor): “Ich habe wider Gott gehandelt”
01:11
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
03.
'Ich armer Mensch, ich Sündenknecht BWV 55': Aria (Tenor): “Erbarme dich! Laß die Tränen dich erweichen”
03:31
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
04.
'Ich armer Mensch, ich Sündenknecht BWV 55': Recitative (Tenor): “Erbarme dich! Jedoch nun tröst ich mich”
01:28
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
05.
'Ich armer Mensch, ich Sündenknecht BWV 55': Chorale: “Bin ich gleich von dir gewichen”
01:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
'Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Chorus: “Wer sich selbst erhöhet”
05:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
'Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Aria (Soprano): “Wer ein wahrer Christ will heißen”
08:04
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
08.
'Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Recitative (Bass): “Der Mensch ist Kot, Staub, Asch und Erde”
01:44
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
09.
'Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Aria (Bass): “Jesu, beuge doch mein Herze”
03:31
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
10.
'Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Chorale: “Der zeitlichen Ehrn will ich gern entbehrn”
00:46
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
'Ich lasse dich nicht, du segnest mich denn BWV 157': Aria (Duet: Tenor, Bass):
03:58
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
12.
'Ich lasse dich nicht, du segnest mich denn BWV 157': Aria (Tenor): “Ich halte meinen Jesum feste”
05:06
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
13.
'Ich lasse dich nicht, du segnest mich denn BWV 157': Recitative (Tenor): “Mein lieber Jesu du”
01:25
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
14.
'Ich lasse dich nicht, du segnest mich denn BWV 157': Aria and Recitative (Bass): “Ja, ja, ich halte Jesum feste”
05:23
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
15.
'Ich lasse dich nicht, du segnest mich denn BWV 157': Chorale: “Meinen Jesum laß ich nicht”
00:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
'Es ist dir gesagt, Mensch was gut ist BWV 45: Erster Teil': Chorus: “Es ist dir gesagt, Mensch, was gut ist”
05:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
'Es ist dir gesagt, Mensch was gut ist BWV 45: Erster Teil': Recitative (Tenor): “Der Höchste läßt mich seinen Willen wissen”
00:46
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
18.
'Es ist dir gesagt, Mensch was gut ist BWV 45: Erster Teil': Aria (Tenor): “Weiß ich Gottes Rechte”
04:04
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
19.
'Es ist dir gesagt, Mensch, was gut ist BWV 45: Zweiter Teil': Arioso (Bass): “Es werden viele zu mir sagen”
02:43
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
20.
'Es ist dir gesagt, Mensch, was gut ist BWV 45: Zweiter Teil': Aria (Alto): “Wer Gott bekennt aus wahrem Herzensgrund”
03:02
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
21.
'Es ist dir gesagt, Mensch, was gut ist BWV 45: Zweiter Teil': Recitative (Alto): “So wird denn Herz und Mund”
00:48
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
22.
'Es ist dir gesagt, Mensch, was gut ist BWV 45: Zweiter Teil': Chorale: “Gib, daß ich tu mit Fleiß”
00:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
'Appendix: Wer sich selbst erhöhet, der soll erniedriget werden BWV 47': Aria (Soprano): “Wer ein wahrer Christ will heißen”
08:29
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Sandrine Piau, Sibylla Rubens, Amsterdam Baroque Orchestra

Disc #2
01.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Sinfonia
04:03
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
02.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Recitative (Soprano): “Falsche Welt, dir trau ich nicht”
00:51
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
03.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Aria (Soprano): “Immerhin, wenn ich gleich verstoßen bin”
03:13
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
04.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Recitative (Soprano): “Gott ist getreu!”
01:09
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
05.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Aria (Soprano): “Ich halt es mit dem lieben Gott”
03:37
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
06.
'''Falsche Welt, dir trau ich nicht'' BWV 52': Chorale: “In dich hab ich gehoffet, Herr”
00:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
'''Es wartet alles auf dich'' BWV 187': Chorus: “Es wartet alles auf dich”
05:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
'''Es wartet alles auf dich'' BWV 187': Recitative (Bass): “Was Kreaturen hält das große Rund der Welt!”
01:01
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
09.
'''Es wartet alles auf dich'' BWV 187': Aria (Alto): “Du Herr, du krönst allein das Jahr mit deinem Gut”
03:49
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
10.
'''Es wartet alles auf dich'' BWV 187': Aria (Bass): “Darum sollt ihr nicht sorgen”
02:12
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
11.
'''Es wartet alles auf dich'' BWV 187': Aria (Soprano): “Gott versorget alles Leben”
03:32
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
12.
'''Es wartet alles auf dich'' BWV 187': Recitative (Soprano): “Halt ich nur fest an ihm”
01:18
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
13.
'''Es wartet alles auf dich'' BWV 187': Chorale: “Gott hat die Erde zugericht”
01:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
'Süßer Trost, mein Jesus kömmt' BWV 151': Aria (Soprano): “Süßer Trost, mein Jesus kömmt”
07:59
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
15.
'Süßer Trost, mein Jesus kömmt' BWV 151': Recitative (Bass): “Erfreue dich, mein Herz”
01:05
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
16.
'Süßer Trost, mein Jesus kömmt' BWV 151': Aria (Alto): “In Jesu Demut kann ich Trost”
04:49
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
17.
'Süßer Trost, mein Jesus kömmt' BWV 151': Recitative (Tenor): “Du teurer Gottessohn”
00:49
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
18.
'Süßer Trost, mein Jesus kömmt' BWV 151': Chorale: “Heut’ schleußt er wieder auf die Tür”
00:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
'''Was Gott tut, das ist wohlgetan'' BWV 98': Chorus: “Was Gott tut, das ist wohlgetan”
03:57
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
'''Was Gott tut, das ist wohlgetan'' BWV 98': Recitative (Tenor): “Ach Gott! Wenn wirst du mich einmal”
01:05
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
21.
'''Was Gott tut, das ist wohlgetan'' BWV 98': Aria (Soprano): “Hört, ihr Augen, auf zu weinen”
03:29
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
22.
'''Was Gott tut, das ist wohlgetan'' BWV 98': Recitative (Alto): “Gott hat ein Herz, das des Erbarmens Überfluß”
01:00
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
23.
'''Was Gott tut, das ist wohlgetan'' BWV 98': Aria (Bass): “Meinen Jesum laß ich nicht”
03:56
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra

Disc #3
01.
''Lobe den Herren, den mächtigen König der Ehren' BWV 137': Chorus: “Lobe den Herren, den mächtigen König der Ehren”
03:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
'Lobe den Herren, den mächtigen König der Ehren' BWV 137': Aria (Alto): “Lobe den Herren, der alles so herrlich regieret”
03:04
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
03.
'Lobe den Herren, den mächtigen König der Ehren' BWV 137': Aria (Duet: Soprano, Bass): “Lobe den Herren, der künstlich und fein”
02:52
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Klaus Mertens, Amsterdam Baroque Orchestra
04.
'Lobe den Herren, den mächtigen König der Ehren' BWV 137': Aria (Tenor): “Lobe den Herren, der deinen Stand sichtbar gesegnet”
02:33
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
05.
'Lobe den Herren, den mächtigen König der Ehren' BWV 137': Chorale: “Lobe den Herren, was in mir ist, lobe den Namen”
00:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Aria (Tenor): “Ihr, die ihr euch von Christo nennet”
04:25
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
07.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Recitative (Bass): “Wir hören zwar, was selbst die Liebe spricht”
01:40
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
08.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Aria (Alto): “Nur durch Lieb und durch Erbarmen”
03:21
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
09.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Recitative (Tenor): “Ach, schmelze doch durch deinen Liebesstrahl”
01:20
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
10.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Aria (Duet: Soprano, Bass): “Händen, die sich nicht verschließen”
03:47
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
11.
'''Ihr, die ihr euch von Christo nennet'' BWV 164': Chorale: “Ertöt uns durch dein Güte”
00:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
'''Schwingt freudig euch empor'' BWV 36': Chorus: “Schwingt freudig euch empor”
04:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
'''Schwingt freudig euch empor'' BWV 36': Chorale (Soprano, Alto): “Nun komm, der Heiden Heiland”
03:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Sandrine Piau, Bogna Bartosz, Amsterdam Baroque Orchestra
14.
'''Schwingt freudig euch empor'' BWV 36': Aria (Tenor): “Die Liebe zieht mit sanften Schritten”
05:28
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
15.
'''Schwingt freudig euch empor'' BWV 36': Chorale: “Zwingt die Saiten in Cythara”
01:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
'''Schwingt freudig euch empor'' BWV 36': Aria (Bass): “Wilkommen werter Schatz”
03:35
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
17.
'''Schwingt freudig euch empor'' BWV 36': Chorale (Tenor): “Der du bist dem Vater gleich”
01:43
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
18.
'''Schwingt freudig euch empor'' BWV 36': Aria (Soprano): “Auch mit gedämpften, schwachen Stimmen”
06:55
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
19.
'''Schwingt freudig euch empor'' BWV 36': Chorale: “Lob sei Gott dem Vater, ton”
00:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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