account
basket
Challenge Records Int. logo
Solo Cantatas for Alto and Tenor

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Solo Cantatas for Alto and Tenor

Format: CD
Label: Challenge Classics
UPC: 0608917228229
Catnr: CC 72282
Release date: 01 February 2008
1 CD
 
Label
Challenge Classics
UPC
0608917228229
Catalogue number
CC 72282
Release date
01 February 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Most of Johann Sebastian Bach’s cantatas, from the earliest to the latest, require the participation of a choir that consists of soprano, alto, tenor, and bass voices. However, most of the movements of these cantatas – that is, all recitatives and arias – are assigned to solo singers usually representing three or four different voices.

In Weimar and in Leipzig Bach had a few professional singers he could make use of for particularly challenging vocal roles. A small contingent of stipends was provided by the Leipzig city council for Bach to hire a few key singers. Bach’s alto soloists were male and one of them was Bach’s student Carl Gotthelf Gerlach, who served as music director at Leipzig’s Neue Kirche from 1729 to 1761. He definitely served Bach as alto soloist in 1728 and 1729, most likely also earlier, so that he may well have been the singer who first performed cantatas BWV 169 and 170.

The alto solo cantata “Vergnügte Ruh, beliebte Seelenlust” BWV 170 was written for the 6th Sunday after Trinity and first performed on 28 July 1726.

The alto solo cantata “Gott soll allein mein Herze haben” BWV 169 was premiered on the 18th Sunday after Trinity, 20 October 1726.

The cantata “Widerstehe doch der Sünde” BWV 54, written for Oculi Sunday, the 3rd Sunday in Lent, was performed in Weimar on 4 March 1714, but probably originated in 1713 or earlier.

The tenor solo cantata “Ich armer Mensch, ich Sündenknecht” BWV 55 for the 22nd Sunday after Trinity was first performed on 17 November 1726.

The alto aria “Bekennen will ich seinen Namen” BWV 200 represents a fragment from a cantata whose other movements are completely unknown.
Solocantates van Bach uitgevoerd door Koopman en zijn toonaangevende ensemble
De meeste cantates van Johann Sebastian Bach vereisen de deelname van een koor bestaande uit sopranen, alten, tenoren en bassen. De meeste delen van de cantates, de recitatieven en aria’s, worden echter toegewezen aan solisten, die gewoonlijk drie tot vier verschillende stemgroepen vertegenwoordigen.

Slechts af en toe componeerde Bach een cantate voor een enkele solist. Of hij een beslissing in deze richting zou maken hing af van de aard van de tekst, de beschikbaarheid van solisten en de eventuele opdrachten van specifieke zangers.

In Weimar en Leipzig had Bach enkele professionele zangers tot zijn beschikking die hij kon inzetten voor bijzondere uitdagende vocale partijen. Hij ontving een gering salaris van de stadsraad van Leipzig, waarmee hij een aantal belangrijke zangers kon huren. Bachs altsolisten waren mannen, en een van hen was zijn student Carl Gotthelf Gerlach, die zeker in 1728 en 1729 ter beschikking stond van de componist, en waarschijnlijk al eerder. Het zou goed kunnen dat hij degene was die de cantates Gott soll allein mein Herze haben BWV 169 en Vergnügte Ruh, beliebte Seelenlust BWV 170, voor het eerst uitvoerde, de twee werken op dit album met solocantates voor alt en tenor.
Bachs Alt-Solisten waren Männer, und einer von ihnen war Bachs Schüler Carl Gotthelf Gerlach. Dieser besuchte bis zum Jahre 1723 die Thomasschule und stellte sich Bach 1728 und 1729 als Alt-Solist zur Verfügung. Daher war er vielleicht der Sänger, der die Kantaten BWV 169 und 170 zuerst aufführte. Inhalt: Vergnügte Ruh, beliebte Seelenlust BWV 170 / Gott soll allein mein Herze habe BWV 169 / Widerstehe doch der Sünde BWV 54 / Ich armer Mensch, ich Sündenknecht BWV 55 / Bekennen will ich seinen Namen BWV 200

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.

less

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.
less

Christoph Prégardien

Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class. Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky. Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his...
more
Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class.
Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky.
Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his concert tours throughout Italy, Japan and North America.
A longstanding collaboration unites him with his favourite piano partners Michael Gees and Andreas Staier. Soloist of choice for renowned orchestras, he performed with the Berlin and Vienna Philharmonic, Bavarian Radio Symphony, Royal Concertgebouw Orchestra Amsterdam, Gewand-hausorchester Leipzig, London Philharmonia, Staatskapelle Dresden, Philharmonie de Radio France, the Montreal, Boston, St. Louis and San Francisco Symphony Orchestras.
An important part of his repertory has been recorded by labels such as BMG, EMI, Deutsche Grammophon, Philips, Sony, Erato, Challenge Classics and Teldec. He is represented on more than a hundred and twenty titles, including nearly all of his active repertoire. His recordings of German Romantic Lied repertory have been highly acclaimed by the public and press and have received international awards including the prestigious Orphée d’Or of the Académie du Disque Lyrique-Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award and Diapason d’Or.
As an opera singer, Christoph Prégardien has made stage appearences in major European houses, performing leading roles as Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Almaviva (Il Barbiere di Seviglia), Fenton (Falstaff) and Monteverdi’s Ulisse. In Spring 2005, Christoph Prégardien sang the leading part in Mozart’s “La Clemenza di Tito” at the Paris National Opera conducted by Sylvain Cambreling.
An important aspect in the musical life of Christoph Prégardien is his intensive and varied educational work. From 2000 to 2005 Christoph Prégardien was in charge of a vocal class at the Hochschule für Musik und Theater in Zurich. Since the autumn of 2004, he is a professor at the Musikhochschule Köln. In a new combination of DVD and book, released in the serie “Schott Master Class”, he presents for the first time questions of singing technique and interpretation in word and picture. Film examples accompagny him during his lessons with masterclass students.
Christoph Prégardien now has a long-term cooperation with Challenge Classics. The first production on our label, released in February 2008, was Schubert’s “Die schöne Müllerin” with pianist Michael Gees. In the fall of 2008 “Schwanengesang” with pianist Andreas Staier followed and “Die schöne Müllerin” was awarded the Midem ‘Record of the Year’ 2009 at MIDEM, the world’s largest music industry trade fair. The duo Christoph Prégardien/Michael Gees also received the MIDEM ‘Vocal Recitals’ Award 2009. Throughout 2008 the recording received critical acclaim from many national and international magazines (Gramophone, Editor’s Choice & „Best of 2008“ among others).

less

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)...
more
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.

less

Alfredo Bernardini

Born in Rome, Alfredo Bernardini moved to Holland at the age of twenty to specialize in the baroque oboe and Early Music at the Royal Conservatory at the Hague, studying with Bruce Haynes and Ku Ebbinge, among others. Today Bernardini is recognized as one of the foremost baroque oboe specialists in the world. The leading Early Music groups with which he has performed include Hesperion XX, Le Concert Des Nations, La Petite Bande, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, and The Amsterdam Baroque Orchestra.   In 1989, together with the brothers Paolo and Alberto Grazzi, he founded the ensemble ZEFIRO, which has gained international acclaim. Bernardini’s numerous recordings have received important prizes, including the Cannes Classical Awards in 1995...
more
Born in Rome, Alfredo Bernardini moved to Holland at the age of twenty to specialize in the baroque oboe and Early Music at the Royal Conservatory at the Hague, studying with Bruce Haynes and Ku Ebbinge, among others. Today Bernardini is recognized as one of the foremost baroque oboe specialists in the world. The leading Early Music groups with which he has performed include Hesperion XX, Le Concert Des Nations, La Petite Bande, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, and The Amsterdam Baroque Orchestra.
In 1989, together with the brothers Paolo and Alberto Grazzi, he founded the ensemble ZEFIRO, which has gained international acclaim. Bernardini’s numerous recordings have received important prizes, including the Cannes Classical Awards in 1995 for Vivaldi’s Concertos for Oboe on the Astrèe Naìve label. He has performed regularly as guest leader of baroque ensembles in Europe, Canada, Australia, Cuba, and Israel, and with the European Union Baroque Orchestra. In January 2013 he led the first baroque orchestra in the internationally renowned project El Sistema de Musica in Venezuela. In addition to his performance career, Bernardini researches the history of wind instruments and makes copies of historical oboes, and as of 2014 he is professor of baroque oboe at the Mozarteum in Salzburg.
Since 2009 he has been a much beloved guest leader for Barokkanerne, and he can also be heard on two of our earlier releases, “Empfindsamkeit!” (LAWO, 2013) and “TotallyTelemann” (LAWO, 2015).

less

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.  
more

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.


less

Press

Play album Play album
01.
“Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Vergnügte ruh, beliebte Seelenlust”
06:33
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Alfredo Bernardini, Amsterdam Baroque Orchestra
02.
“Vergnügte Ruh, beliebte Seelenlust” BWV 170: Recitative: “Die Welt, das Sündenhaus”
01:10
(Johann Sebastian Bach ) Alfredo Bernardini, Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
03.
“Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Wie jammern mich doch die verkehrten Herzen”
07:12
(Johann Sebastian Bach ) Alfredo Bernardini, Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
04.
“Vergnügte Ruh, beliebte Seelenlust” BWV 170: recitative: “Wer sollte sich demnach”
01:02
(Johann Sebastian Bach ) Alfredo Bernardini, Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
05.
“Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Mir ekelt mehr zu leben”
05:40
(Johann Sebastian Bach ) Alfredo Bernardini, Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
06.
“Gott soll allein mein Herze haben” BWV 169: Sinfonia
07:21
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
07.
“Gott soll allein mein Herze haben” BWV 169: Arioso: “Gott soll allein mein Herze haben”
02:27
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
08.
“Gott soll allein mein Herze haben” BWV 169: Aria: “Gott soll allein mein Herze haben”
06:31
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
09.
“Gott soll allein mein Herze haben” BWV 169: Recitative: “Was ist die liebe Gottes?”
00:44
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
10.
“Gott soll allein mein Herze haben” BWV 169: Aria: “Stirb in mir, Welt”
05:29
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
11.
“Gott soll allein mein Herze haben” BWV 169: Recitative: “Doch meint es auch dabei”
00:22
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
12.
“Gott soll allein mein Herze haben” BWV 169: Choral: “Du süße Liebe, schenk uns deine Gunst”
01:01
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
13.
“Widerstehe doch der Sünde” BWV 54: Aria: “Widerstehe doch der Sünde”
06:51
(Johann Sebastian Bach ) Ton Koopman, Andreas Scholl, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
14.
“Widerstehe doch der Sünde” BWV 54: Recitative: “Die Art verruchter Sünden”
01:05
(Johann Sebastian Bach ) Ton Koopman, Andreas Scholl, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
15.
“Widerstehe doch der Sünde” BWV 54: Aria: “Wer Sünde tut, der ist vom Teufel”
02:58
(Johann Sebastian Bach ) Ton Koopman, Andreas Scholl, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
16.
“Ich armer Mensch, ich Sündenknecht” BWV 55: Aria: “Ich armer Mensch, ich Sündenknecht”
05:44
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
17.
“Ich armer Mensch, ich Sündenknecht” BWV 55: Recitative: “Ich habe wider Gott gehandelt”
01:11
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
18.
“Ich armer Mensch, ich Sündenknecht” BWV 55: Aria: “Erbarme dich, laß die Tränen dich erweichen”
03:31
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
19.
“Ich armer Mensch, ich Sündenknecht” BWV 55: Recitative: “Erbarme dich! Jedoch nun tröst ich mich”
01:28
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
20.
“Ich armer Mensch, ich Sündenknecht” BWV 55: Chorale: “Bin ich gleich von dir gewichen”
01:00
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Wilbert Hazelzet, Jonathan Manson, Amsterdam Baroque Orchestra
21.
“Bekennen will ich seinen Namen” BWV 200: Aria: “Bekennen will ich seinen Namen”
04:20
(Johann Sebastian Bach ) Margaret Faultless, Ton Koopman, Bogna Bartosz, Wilbert Hazelzet, Jonathan Manson, Alida Schat, Amsterdam Baroque Orchestra
show all tracks

Often bought together with..

Johann Sebastian Bach
Whitsun Cantatas
Ton Koopman / Amsterdam Baroque Orchestra & Choir
Johann Sebastian Bach
Dialogue Cantatas I
Ton Koopman / Amsterdam Baroque Orchestra & Choir
Johann Sebastian Bach
Ascension Cantatas
Ton Koopman / Amsterdam Baroque Orchestra & Choir
Johann Sebastian Bach
Cantatas For Marian Feasts
Ton Koopman / Amsterdam Baroque Orchestra & Choir
Johann Sebastian Bach
Solo Cantatas for Bass
Ton Koopman / Amsterdam Baroque Orchestra & Choir

You might also like..

Johann Sebastian Bach
Geistliche Lieder
Ton Koopman | Klaus Mertens
Georg Friedrich Händel
Five Great Suites for Harpsichord (London, 1720)
Ton Koopman
Johann Sebastian Bach
Famous Cantatas Vol. 1
Ton Koopman / The Amsterdam Baroque Orchestra & Choir
Dieterich Buxtehude
Complete Chamber Music
Ton Koopman
Franz Schubert
Song Cycles - Die schöne Müllerin / Schwanengesang / Winterreise
Christoph Prégardien / Andreas Staier / Michael Gees
Various composers
Father & Son (reissue)
Christoph & Julian Prégardien
Dieterich Buxtehude
Opera Omnia - Buxtehude Collector's Box (30cd's & 1DVD)
Ton Koopman
Johann Sebastian Bach
Complete Bach Cantatas Vol. 1-22 (box set)
Ton Koopman & Amsterdam Baroque Orchestra & Choir