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Complete Bach Cantatas Vol. 9
Johann Sebastian Bach

Ton Koopman / The Amsterdam Baroque Orchestra

Complete Bach Cantatas Vol. 9

Price: € 14.95
Format: CD
Label: Challenge Classics
UPC: 0608917220926
Catnr: CC 72209
Release date: 01 February 2005
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Label
Challenge Classics
UPC
0608917220926
Catalogue number
CC 72209
Release date
01 February 2005
Album
Artist(s)
Composer(s)
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NL
DE
FR

About the album

The ninth volume of this complete recording of Bach’s cantatas continues the series of cantatas from the first Leipzig cycle. Cantata 173a is the sole exception: a secular cantata composed by Bach at Cöthen, it was reworked as a church cantata (BWV 173) for the first Leipzig cycle and is included in Volume 7 (CD 3). BWV 66 is also based on an original work from Bach’s Cöthen period.
With the cantatas he composed during his first year at Leipzig, Bach not only created an astonishingly prolific and rich repertoire but also, by applying himself with such concentration to the cantata genre, provided himself with an unprecedented wealth of musical forms free of any schematic approach.

Most of Bach’s Leipzig cantatas are framed by a large-scale opening chorus on a biblical text (they rarely begin with a solo piece) and a simple, four-part closing chorale. The orchestra is considerably bigger than at Weimar. More use is made of brass instruments, especially trumpet and horn; the flute appears more and more frequently from the Spring of 1724 and is later supplemented by oboe da caccia and other instruments. The instrumental writing is noticeably more virtuoso, while the melismatic quality of the word setting is further developed.
Deel 9 uit de complete verzameling cantates van Bach opgenomen 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 waarschijnlijk tot stand in de jaren 1723-1725, in de tijd dat Bach in Leipzig cantor was van de Thomas- en Nikolaikerk.

Bach schreef de meeste cantates 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. Vaak beginnen de cantates met een uitgebreid openingskoor, gevolgd door enkele aria's en recitatieven (vertellende stukken, zonder tekstherhalingen).

Koopman heeft, zoals gezegd, alle bewaarde 202 cantates opgenomen. Zijn verzameling is onderverdeeld in 22 delen. Musicologen verdelen Bach's enorme cantateproductie over 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 9e deel van de complete opname van Bachs cantates vervolgt de serie Leipzig cantates van de eerste jaargang uit 1723-1724. Cantate 173a is hierop de enige uitzondering: dit is een wereldlijke cantate, die Bach in Cöthen componeerde. De cantate BWV 66 is gebaseerd op een origineel werk uit Bachs Cöthen periode.
Die 9. Folge der Kantaten-Gesamtaufnahme setzt die Serie der Kantaten fort, die allesamt dem 1. Leipziger Jahrgang entstammen. Eine Ausnahme bildet die Kantate 173a, die in Ergänzung der weltlichen Kantaten ein Werk der Köthener Zeit bietet, dessen geistliche Umarbeitung (BWV 173) dem 1. Leipziger Jahrgang angehört und die in der Folge 8 (CD 3) enthalten ist. BWV 66 geht ebenfalls auf ein Köthener Urbild zurück. Der 1. Jahrgang besteht zum größeren Teil aus Neukompositionen, zum kleineren aus der Integration bereits existierender Werke (wie z.B. BWV 66 und 70). Damit haftet dem Jahrgang eine gewisse heterogenität an, die sich jedoch auch auf die Konzeption der neukomponierten bezieht. Insbesondere zeichnen sich die neu entstandenen Werke durch eine Vielfalt textlicher Vorlagen aus. Bis auf wenige Kantaten bleibt die Frage der Textdichter noch weitgehend ungeklärt. Lediglich bei BWV 24 (E. Neumeister) und BWV 64, 69a und 77 (J.O. Knauer) sind die Verfasser der Kantatentexte bekannt. Die Verwendung von Knauers Jahrgang für die Gothaer Schloßkirche aus dem Jahre 1720 mit jeweils zwei Kantaten pro Sonntag (jeweils vor und nach der Predigt) deutet daraufhin, daß auch Bach – zumindest zeitweilig – mit dem ambitiösen Gedanken spielte, pro Sonntag zwei Kantaten oder aber ein zweiteiliges Werk aufzuführen, wie dies denn auch für eine größere Anzahl von Sonntagen zu belegen ist. Insbesondere die ersten Sonntage von Bachs Amtszeit sind entsprechend belegt (BWV 75, 76, 21, 24 + 185, 147 , 186 usw. ); BWV 70 in der vorliegenden Folge ist ebenfalls ein zweiteiliges Werk.
Bach hat sich mit den Kantaten des ersten Leipziger Amtsjahres nicht nur ein erstaunlich umfangreiches und dichtes Repertoire geschaffen, sondern mit der konzentrierten Hinwendung zur Gattung Kantate sich auch einen beispiellosen Formenvorrat ohne jeglichen Schematismus zugelegt. Es kristallisieren sich vor allem drei bevorzugte Formtypen heraus:
(1) Bibelwort-Rezitativ-Arie-Rezitativ-Arie-Choral;
(2) Bibelwort-Rezitativ-Choral-Arie-Rezitativ-Arie-Choral;
(3) Bibelwort-Arie-Choral-Rezitativ-Arie-Choral.
Konstant bleibt im wesentlichen die insgesamt für Bachs Leipziger Kantaten gültige Rahmenfunktion von einleitendem großangelegtem Chorsatz mit biblischem Dictum (nur selten findet sich eingangs ein Solostück) und schlichtem vierstimmigem Schlußchoral. Gegenüber Weimar wird der Orchesterapparat weitgehend verstärkt und erweitert. Die Blechbläser (vor allem Trompete und Horn) werden stärker exponiert, die Querflöte ab Frühjahr 1724 immer häufiger herangezogen, später auch Oboe da caccia und weitere Instrumente. Die Virtuosität des Instrumentalen erfährt eine deutliche Steigerung, aber auch die melismatische Qualität der vokalen Diktion wird weiter entwickelt.
Ce neuvième volume de l’intégrale des cantates poursuit la série des œuvres du premier cycle annuel signé à Leipzig. A une exception près la cantate BWV 173a, pièce profane composée a Köthen, dont le remaniement sacré - BWV 173 (volume 7, CD 3) - appartient lui-même à ce cycle. La cantate BWV 66 reprend elle aussi un modèle remontant à l’époque de Köthen. Ce premier cycle leipzigois, constitué en majeure partie de compositions nouvelles, compte en effet quelques versions remaniées d’œuvres préexistantes (BWV 66 et 70, par exemple). S’il en résulte une certaine hétérogénéité, on peut par ailleurs en dire autant de la conception des nouveaux ouvrages. Ceux-ci se distinguent notamment par la diversité de leurs livrets. On ignore la plupart du temps qui en sont les auteurs ; seuls les librettistes de BWV 24 (E. Neumeister) et de BWV 64, 69a et 77 (J.O. Knauer) nous sont connus. Bach ayant utilisé en 1720, pour la Schlosskirche de Gotha, le cycle de Knauer à raison de deux cantates par dimanche (l’une avant le prêche, l’autre après), il savait relever le défi de mettre sur pied - du moins à certains moments - deux cantates ou une œuvre bipartite par dimanche, comme on le constate dans un grand nombre de cas. Les premiers dimanches suivant son entrée en fonction l’attestent tout particulièrement (avec BWV 75, 76, 21, 24+185, 147,186, etc). Au sein du présent volume, la cantate BWV 70 est elle-même une œuvre bipartite. À travers les cantates de sa première année leipzigoise, Bach s’est constitué un répertoire d’une étendue et d’une densité étonnantes ; mais en cultivant ce genre avec autant d’assiduité, il a de surcroît puisé dans une réserve formelle dénuée de tout schématisme. Trois grands types de formes ont été privilégies : (1) citation biblique - récitatif - aria - récitatif - aria - choral ; (2) citation biblique - récitatif - choral - aria - récitatif - aria - choral ; (3) citation biblique - aria - choral - récitatif - aria - choral. Comme on l’observe dans l’ensemble des cantates que Bach a composées à Leipzig, deux éléments possèdent la fonction d’introduire et de conclure l’œuvre : un grand chœur d’entrée sur une citation biblique (il est rare que le premier mouvement soit une page soliste) et un simple choral final à quatre voix. L’effectif orchestral, comparé à celui de Weimar, a été sensiblement étendu et renforcé. Les cuivres (trompette et cor avant tout) ont davantage de présence, et la flûte traversière est de plus en plus sollicitée dès le début de l’année 1724, ainsi que plus tard le hautbois da caccia, entre autres instruments. Quant à la virtuosité des parties instrumentales, elle s’accentue nettement, tandis que le caractère mélismatique de la diction vocale se développe.

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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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.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Chorus: Ich elender Mensch
05:10
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Recitative (Alto): O Schmerz, o Elend
01:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Chorale: Solls ja so sein
00:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Aria (Alto): Ach lege das Sodom der sündlichen Glieder
02:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Recitative (Tenor): Hier aber tut des Heilands Hand
00:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Aria (Tenor): Vergibt mir Jesus meine Sünden
03:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
''Ich elender Mensch, wer wird mich erlösen'' BWV 48': Chorale: Herr Jesu Christ, einiger Trost
01:10
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
''Mein libster Jesus ist verloren'' BWV 154': Aria (Tenor): Mein liebster Jesus ist verloren
02:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
''Mein libster Jesus ist verloren'' BWV 154': Recitative (Tenor): Wo treff ich meinen Jesum an
00:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
''Mein libster Jesus ist verloren'' BWV 154': Chorale: Jesu, mein Hort und Erretter
00:57
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
''Mein libster Jesus ist verloren'' BWV 154': Aria (Alto): Jesu, laß dich finden
03:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
''Mein libster Jesus ist verloren'' BWV 154': Arioso (Bass): Wisset ihr nicht
01:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
''Mein libster Jesus ist verloren'' BWV 154': Recitative (Tenor): Dies ist die Stimme meines Freundes
01:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
''Mein libster Jesus ist verloren'' BWV 154': Aria (Duet: Alto, Tenor): Wohl mir, Jesus ist gefunden
03:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
''Mein libster Jesus ist verloren'' BWV 154': Chorale: Meinen Jesum laß ich nicht
00:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
''Warum betrübst du dich, mein Herz?'' BWV 138': Chorus and Recitative (Alto): Warum betrübst du dich, mein Herz?
04:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
''Warum betrübst du dich, mein Herz?'' BWV 138': Recitative (Bass, Soprano, Alto) and Chorale: Ich bin veracht
03:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
''Warum betrübst du dich, mein Herz?'' BWV 138': Recitative (Tenor): Ach süßer Trost!
01:01
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
''Warum betrübst du dich, mein Herz?'' BWV 138': Aria (Bass): Auf Gott steht meine Zuversicht
04:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
''Warum betrübst du dich, mein Herz?'' BWV 138': Recitative (Alto): Ei nun!
00:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
''Warum betrübst du dich, mein Herz?'' BWV 138': Chorale: Weil du mein Gott und Vater bist
02:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
''Durchlauchtster Leopold'' BWV 173a': Recitative (Soprano): Durchlauchtster Leopold
00:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
''Durchlauchtster Leopold'' BWV 173a': Aria (Soprano): Güldner Sonnen frohe Stunden
03:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
24.
''Durchlauchtster Leopold'' BWV 173a': Aria (Bass): Leopolds Vortrefflichkeiten
01:35
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
25.
''Durchlauchtster Leopold'' BWV 173a': Aria (Soprano, Bass): Unter seinem Purpursaum
03:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
26.
''Durchlauchtster Leopold'' BWV 173a': Recitative (Soprano, Bass): Durchlauchtigster, den Anhalt Vater nennt
01:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
27.
''Durchlauchtster Leopold'' BWV 173a': Aria (Soprano): So schau dies holden Tages Licht
03:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
28.
''Durchlauchtster Leopold'' BWV 173a': Aria (Bass): Dein Name gleich der Sonnen geh
02:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
29.
''Durchlauchtster Leopold'' BWV 173a': Chorus (duet: Soprano, Bass): Nimm auch, großer Fürst
02:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
''Wer da gläubet und getauft wird'' BWV 37': Chorus: Wer da gläubet und getauft wird
02:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
''Wer da gläubet und getauft wird'' BWV 37': Aria (Tenor): Der Glaube ist das Pfand der Liebe
05:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
''Wer da gläubet und getauft wird'' BWV 37': Chorale (Soprano, Alto): Herr Gott Vater, mein starker Held
02:28
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
''Wer da gläubet und getauft wird'' BWV 37': Recitative (Bass): Ihr Sterblichen
00:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
''Wer da gläubet und getauft wird'' BWV 37': Aria (Bass): Der Glaube schafft der Seele Flügel
02:24
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
''Wer da gläubet und getauft wird'' BWV 37': Chorale: Den Glauben mir verleihe
01:01
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Chorale: Schau, lieber Gott, wie meine Feind
00:59
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Recitative (Alto): Mein liebster Gott
00:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Arioso (Bass): Fürchte dich nicht, ich bin mit dir
01:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Recitative (Tenor): Du sprichst zwar, lieber Gott
01:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Chorale: Und ob gleich alle Teufel
00:55
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Aria (Tenor): Stürmt nur, stürmt, ihr Trübsalswetter
02:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Recitative (Bass): Getrost! mein Herz
01:26
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Aria (Alto): Soll ich meinen Lebenslauf
02:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
''Schau, lieber Gott, wie meine Feind'' BWV 153': Chorale: Drum will ich, weil ich lebe noch
01:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
''Wo gehest du hin?'' BWV 166': Aria (Bass): Wo gehest du hin?
01:35
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
''Wo gehest du hin?'' BWV 166': Aria (Tenor): Ich will an den Himmel denken
05:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
''Wo gehest du hin?'' BWV 166': Chorale (Soprano): Ich bitte dich, Herr Jesu Christ
02:24
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
''Wo gehest du hin?'' BWV 166': Recitative (Bass): Gleichwie die Regenwasser bald verfließen
00:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
''Wo gehest du hin?'' BWV 166': Aria (Alto): Man nehme sich in acht
03:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
''Wo gehest du hin?'' BWV 166': Chorale: Wer weiß, wie nahe mir mein Ende
01:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
''Wachet! betet! betet! wachet!'' BWV 86': Arioso (Bass): Wahrlich, wahrlich, ich sage euch
02:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
''Wachet! betet! betet! wachet!'' BWV 86': Aria (Alto): Ich will doch wohl Rosen brechen
05:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
24.
''Wachet! betet! betet! wachet!'' BWV 86': Chorale (Soprano): Und was der ewig gütig Gott
01:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
25.
''Wachet! betet! betet! wachet!'' BWV 86': Recitative (Tenor): Gott macht es nicht gleichwie die Welt
00:28
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
26.
''Wachet! betet! betet! wachet!'' BWV 86': Aria (Tenor): Gott hilft gewiß
02:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
27.
''Wachet! betet! betet! wachet!'' BWV 86': Chorale: Die Hoffnung wart der rechten Zeit
00:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
28.
''Wachet! betet! betet! wachet!'' BWV 70': Chorus: Wachet! betet! betet! wachet!
03:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
29.
''Wachet! betet! betet! wachet!'' BWV 70': Recitative (Bass): Erschrecket, ihr verstockten Sünder!
01:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
30.
''Wachet! betet! betet! wachet!'' BWV 70': Aria (Alto): Wenn kommt der Tag, an dem wir ziehen
03:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
31.
''Wachet! betet! betet! wachet!'' BWV 70': Recitative (Tenor): Auch bei dem himmlischen Verlangen
00:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
32.
''Wachet! betet! betet! wachet!'' BWV 70': Aria (Soprano): Laßt der Spötter Zungen schmähen
02:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
33.
''Wachet! betet! betet! wachet!'' BWV 70': Recitative (Tenor): Jedoch bei dem unartigen Geschlechte
00:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
34.
''Wachet! betet! betet! wachet!'' BWV 70': Chorale: “Freu dich sehr, o meine Seele
01:06
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
35.
''Wachet! betet! betet! wachet!'' BWV 70': Aria (Tenor): Hebt euer Haupt empor
03:05
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
36.
''Wachet! betet! betet! wachet!'' BWV 70': Recitative (Bass) and Chorale: “Ach, soll nicht dieser große Tag
01:48
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
37.
''Wachet! betet! betet! wachet!'' BWV 70': Aria (Bass): Seligster Erquickungstag
02:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
38.
''Wachet! betet! betet! wachet!'' BWV 70': Chorale: Nicht nach Welt, nach Himmel nicht
00:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
''Erfreut euch, ihr Herzen'' BWV 66': Chorus: Erfreut euch, ihr Herzen
09:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
''Erfreut euch, ihr Herzen'' BWV 66': Recitative (Bass): Es bricht das Grab
00:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
''Erfreut euch, ihr Herzen'' BWV 66': Aria (Bass): Lasset dem Höchsten ein Danklied erschallen
05:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
''Erfreut euch, ihr Herzen'' BWV 66': Recitative and Arioso (Alto, Tenor): Bei Jesu Leben freudig sein
03:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
''Erfreut euch, ihr Herzen'' BWV 66': Duetto (Alto, Tenor): Ich furchte zwar des Grabes Finsternissen
06:15
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
''Erfreut euch, ihr Herzen'' BWV 66': Chorale: Alleluja!
00:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
''Höchsterwunschtes Freudenfest'' BWV 194': Chorus: Höchsterwünschtes Freudenfest
04:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
''Höchsterwunschtes Freudenfest'' BWV 194': Recitative (Bass): Unendlich großer Gott
01:06
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
''Höchsterwunschtes Freudenfest'' BWV 194': Aria (Bass): Was des Höchsten Glanz erfüllt
03:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
''Höchsterwunschtes Freudenfest'' BWV 194': Recitative (Soprano): Wie könnte dir, du höchstes Angesicht
01:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
''Höchsterwunschtes Freudenfest'' BWV 194': Aria (Soprano): Hilf Gott, daß es uns gelingt
05:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
''Höchsterwunschtes Freudenfest'' BWV 194': Chorale: Heilger Geist ins Himmels Throne
02:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
''Höchsterwunschtes Freudenfest'' BWV 194': Recitative (Tenor): Ihr Heiligen, erfreuet euch
01:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
''Höchsterwunschtes Freudenfest'' BWV 194': Aria (Tenor): Des Höchsten Gegenwart allein
04:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
''Höchsterwunschtes Freudenfest'' BWV 194': Recitative (Bass, Soprano): Kann wohl ein Mensch zu Gott im Himmel steigen?
02:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
''Höchsterwunschtes Freudenfest'' BWV 194': Aria (Soprano, Bass): O wie wohl ist uns geschehn
09:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
''Höchsterwunschtes Freudenfest'' BWV 194': Recitative (Bass): Wohlan demnach, du heilige Ge meine
00:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
''Höchsterwunschtes Freudenfest'' BWV 194': Chorale: Sprich Ja zu meinen Taten
01:17
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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