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Complete Bach Cantatas Vol. 22
Johann Sebastian Bach, Wilhelm Friedemann Bach

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 22

Price: € 14.95 10.47
Format: CD
Label: Challenge Classics
UPC: 0608917222227
Catnr: CC 72222
Release date: 31 July 2006
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Label
Challenge Classics
UPC
0608917222227
Catalogue number
CC 72222
Release date
31 July 2006
Album
Artist(s)
Composer(s)
EN
NL

About the album

Between 1999 and 2004, Koopman, a conductor, musicologist, organist, and harpsichordist, recorded the complete cantatas by Johann Sebastian Bach with the Amsterdam Baroque Orchestra and Choir, which he founded in 1979.

This twenty-second and last volume of cantata recordings contains two of Bach's latest cantatas (BWV 30 and 80), including the secular model for BWV 30 and Wilhelm Friedemann Bach's arrangement of two movements from BWV 80 dating from after 1750. Also included are the four Kyrie-Gloria masses of the late 1730s; they are very closely associated with the cantata repertoire of the 1720s. These masses are based on selected movements of cantatas dating from the period 1723-6; after an interval of ten or so years Bach reworked them, in most cases very thoroughly. Renowned Bach specialist Ton Koopman (1944) was awarded the 2006 Bach Medal by the city of Leipzig 05 Jun 2006, the final day of this year's annual Leipzig Bach Festival.

The award honors the significant contribution of the 61-year-old Dutchman to Bach performance and scholarship. Koopman performed at the festival, which is run in conjunction with the Bach-Leipzig Archive, with the Amsterdam Baroque Orchestra.

He studied organ (Simon C. Jansen), harpsichord (Gustav Leonhardt) and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra (founded 1979) & Choir (1993) he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysees in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Sydney, Melbourne, Madrid, Rome, Salzburg, Tokyo and Osaka.

Ton Koopman edited the complete Handel Organ Concertos for Breitkopf & Härtel and will edit a number of Buxtehude works for Carus Verlag. He is president of the International Dieterich Buxtehude Society.

He recorded a.o. for Erato, Teldec, Sony, Philips and DGG. In 2003 he created Antoine Marchand, his own sub-label of Challenge Records. Here he publishes these Complete Bach Cantatas, as well as his other recent and future recordings.
Bach’s laatste cantates
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 is het laatste volume uit de verzameling. Hierop staan twee van Bach’s laatst gecomponeerde cantates, waaronder de seculiere versie van cantate BWV 30 en BWV 80. De oudste zoon van Johann Sebastian Bach, Wilhelm Friedemann, arrangeerde twee delen van BWV 80. Die versies zijn op dit album te horen.

Naast deze twee cantates zijn ook de vier Kyrie-Gloria missen uit de late jaren ’30 van de 18e eeuw te vinden. Deze missen worden doorgaans geassocieerd met het cantate-repertoire van de jaren ’20 uit de 18e eeuw, aangezien de latere cantates dezelfde muzikale thema’s en melodieën bevatten. Na een interval van tien jaar besloot Bach terug te keren naar deze oude missen en deze opnieuw te bewerken voor 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).

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.

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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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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Wilhelm Friedemann Bach

Wilhelm Friedemann Bach was a German keyboardist and composer. He was the oldest son of Johann Sebastian Bach and Maria Barbara Bach. He worked in Dresden, Halle, Braunschweig, and finally Berlin. He was regarded as one of the greatest organist of his time and is renowned for his organ improvisations.  In Halle, the Wilhelm-Friedemann-Bach-Haus is named after him; a museum dedicated to him and six other composers of his time, in a house where he used to live.  Wilhelm Friedemann's music shows the same 'architectual' proficiency known from his father, particular in his counter point. Moreover, he was looking for new ways of expression, with many mood swings and changes in rhythm, Wilhelm Friedemann was clearly an exponent of a new literal and...
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Wilhelm Friedemann Bach was a German keyboardist and composer. He was the oldest son of Johann Sebastian Bach and Maria Barbara Bach. He worked in Dresden, Halle, Braunschweig, and finally Berlin. He was regarded as one of the greatest organist of his time and is renowned for his organ improvisations. In Halle, the Wilhelm-Friedemann-Bach-Haus is named after him; a museum dedicated to him and six other composers of his time, in a house where he used to live. Wilhelm Friedemann's music shows the same 'architectual' proficiency known from his father, particular in his counter point. Moreover, he was looking for new ways of expression, with many mood swings and changes in rhythm, Wilhelm Friedemann was clearly an exponent of a new literal and musical movement of his time, the Sturm und Drang.
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Disc #1
01.
Ein Feste Burg ist unser Gott BWV 80: Chorus: “Ein feste Burg ist unser Gott”
04:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Ein Feste Burg ist unser Gott BWV 80: Aria and Chorale (Soprano, Bass): “Alles, was von Gott geboren/Mit unser Macht”
03:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Sandrine Piau, Klaus Mertens, Amsterdam Baroque Orchestra
03.
Ein Feste Burg ist unser Gott BWV 80: Recitative (Bass): “Erwäge doch, Kind Gottes”
01:44
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Ein Feste Burg ist unser Gott BWV 80: Aria (Soprano): “Komm in mein Herzenshaus”
02:45
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
05.
Ein Feste Burg ist unser Gott BWV 80: Chorale (T, B): “Und wenn die Welt voll Teufel wär”
03:17
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
06.
Ein Feste Burg ist unser Gott BWV 80: Recitative (Tenor): “So stehe dann bei Christi blutgefärbten Fahne
01:15
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
07.
Ein Feste Burg ist unser Gott BWV 80: Aria (Duet: Alto, Tenor): “Wie selig sind doch die, die Gott im Munde tragen”
03:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Nathalie Stutzmann, James Gilchrist, Amsterdam Baroque Orchestra
08.
Ein Feste Burg ist unser Gott BWV 80: Chorale: “Das Wort, sie sollen lassen stahn”
01:06
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Missa in G, BWV 236: Kyrie Chorus
02:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
10.
Missa in G, BWV 236: Gloria Chorus
04:59
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
11.
Missa in G, BWV 236: Gratias agimus tibi Bass
04:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
12.
Missa in G, BWV 236: Domine Deus Soprano, Alto
03:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
13.
Missa in G, BWV 236: Quoniam tu solus sanctus Tenor
04:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
14.
Missa in G, BWV 236: Cum Sancto Spiritu Chorus
03:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
15.
Freue dich, erlöste Schar BWV 30: Chorus: “Freue dich, erlöste Schar”
03:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
16.
Freue dich, erlöste Schar BWV 30: Recitative (Bass): “Wir haben Rast, und des Gesetzes Last”
00:45
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
17.
Freue dich, erlöste Schar BWV 30: Aria (Bass): “Gelobet sei Gott, gelobet sein Namen”
04:37
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
18.
Freue dich, erlöste Schar BWV 30: Recitative (Alto): “Der Herold kömmt und meldt den König an
00:33
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
19.
Freue dich, erlöste Schar BWV 30: Aria (Alto): “Kommt, ihr angefochtnen Sünder”
04:32
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
20.
Freue dich, erlöste Schar BWV 30: Chorale: “Eine Stimme läßt sich hören”
01:04
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
21.
Freue dich, erlöste Schar BWV 30: Recitative (Bass): “So bist du denn, mein Heil, bedacht”
00:56
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
22.
Freue dich, erlöste Schar BWV 30: Aria (Bass): “Ich will nun hassen und alles lassen”
05:26
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
23.
Freue dich, erlöste Schar BWV 30: Recitative (Soprano): “Und ob wohl sonst der Unbestand”
00:52
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
24.
Freue dich, erlöste Schar BWV 30: Aria (Soprano): “Eilt, ihr Stunden, kommt herbei”
04:07
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
25.
Freue dich, erlöste Schar BWV 30: Recitative (Tenor): “Geduld”
01:05
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
26.
Freue dich, erlöste Schar BWV 30: Chorus: “Freue dich, geheilgte Schar”
03:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra

Disc #2
01.
Missa in F, BWV 233: Kyrie Chorus
03:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
02.
Missa in F, BWV 233: Gloria Chorus
05:24
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
03.
Missa in F, BWV 233: Domine Deus Bass
03:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Missa in F, BWV 233: Qui tollis peccata mundi Soprano
05:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
05.
Missa in F, BWV 233: Quoniam tu solus sanctus Alto
03:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
06.
Missa in F, BWV 233: Cum Sancto Spiritu Chorus
02:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
07.
Missa in A, BWV 234: Kyrie Chorus
06:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
08.
Missa in A, BWV 234: Gloria Chorus
05:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
09.
Missa in A, BWV 234: Domine Deus Bass
05:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
10.
Missa in A, BWV 234: Qui tollis peccata mundi Soprano
06:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
11.
Missa in A, BWV 234: Quoniam tu solus sanctus Alto
03:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
12.
Missa in A, BWV 234: Cum Sancto Spiritu Chorus
03:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Johannette Zomer, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
13.
Gaudete omnes populi: Chorus: Gaudete omnes populi
05:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Gaudete omnes populi: Chorale: Manebit verbum Domini
03:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Chorus: “Angenehmes Wiederau, freue dich in deinen Auen”
03:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Bass, S, A, T): “So ziehen wir in diesem Hause”
00:55
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Bogna Bartosz, Christoph Prégardien, Klaus Mertens, Amsterdam Baroque Orchestra
03.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Bass): “Willkommen im Heil, willkommen in Freuden”
04:40
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Alto): “Da heute dir, gepriesner Hennikke”
00:35
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
05.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Alto): “Was die Seele kann ergötzen
04:28
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
06.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Bass): “Und wie ich jederzeit bedacht”
00:35
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
07.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Bass): “Ich will dich halten und mit dir walten”
05:28
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
08.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Soprano): “Und obwohl sonst der Unbestand”
00:50
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
09.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Soprano): “Eilt, ihr Stunden, wie ihr wollt”
04:04
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Amsterdam Baroque Orchestra
10.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Tenor): “So recht! Ihr seid mir werte Gäste”
00:41
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
11.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Tenor): “So wie ich die Tropfen zolle”
02:28
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
12.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (S, A, B): “Drum, angenehmes Wiederau”
01:06
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
13.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Chorus: “Angenehmes Wiederau, prange nun in deinen Auen!”
03:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Missa in g, BWV 235: Kyrie Chorus
06:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Jörg Dürmüller, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
15.
Missa in g, BWV 235: Gloria Chorus
03:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
16.
Missa in g, BWV 235: Gratias agimus tibi Bass
02:48
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
17.
Missa in g, BWV 235: Domine Fili unigenite Alto
05:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
18.
Missa in g, BWV 235: Qui tollis peccata mundi Tenor
03:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
19.
Missa in g, BWV 235: Cum Sancto Spiritu Chorus
04:31
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Jörg Dürmüller, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
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