Ton Koopman / Amsterdam Baroque Orchestra & Choir

Wedding Cantatas

Format: CD
Label: Challenge Classics
UPC: 0608917228427
Catnr: CC 72284
Release date: 01 February 2008
1 CD
Challenge Classics
Catalogue number
CC 72284
Release date
01 February 2008

About the album

Bach composed his church cantatas not only for the regular Sundays and feast days of the liturgical year but also for specific occasions. Among the most important of those were weddings of usually well-to-do couples who ordered a particularly elaborate ceremony or, in terms of Leipzig practice and terminology during Bach’s time, a Full Wedding Mass instead of the more frequent and less expensive Half or Quarter Wedding Masses.

The larger Leipzig pieces for Full Wedding Masses were ordinarily performed in two parts, before and after the sermon, as can be seen in BWV 195 and 197. The cantata “Dem Gerechten muß das Licht“ BWV 195 survives in several versions. Its origins date from before 1730, a second version from about 1742, and a final one follows in 1748-49.

“Der Herr denket an uns“ BWV 196 was in all likelihood composed at Mühlhausen around 1707-08, that is around the time of Bach himself getting married to his distant cousin Maria Barbara on October 17,1707. The cantata “Gott ist unsre Zuversicht“ BWV 197 dates from about 1736-37 and must have been written for a prominent Leipzig wedding ceremony.

“Weichet nur, betrübte Schatten“ BWV 202 is a cantata for soprano solo and, as the text clearly suggests, written for a wedding. However, no further details are known.
Huwelijkscantates van Bach uitgevoerd door Koopman en zijn toonaangevende ensemble
Bach componeerde zijn kerkcantates niet slechts voor de Zondagen en de feestdagen van het liturgische jaar, maar ook voor bijzondere gelegenheden zoals wereldlijke feestenf of begravenissen. Onder de belangrijkste gebeurtenissen waren de bruiloften van gewoonlijk welgestelde koppels die een bijzonder uitgebreide ceremonie bestelden. In het Leipzig van Bachs tijd werd dit ook werl een "volledige huwelijksmis" genoemd, in plaats van de gebruikelijke, en goedkopere, "halve" of "kwart" huwelijksmis.

De huwelijksfestiviteiten bestonden niet alleen uit kerkdiensten maar ook uit huiselijke ceremonies, waarvoor wereldlijke muziek werd gecomponeerd. Bach componeerde zowel geestelijke als wereldlijke huwelijkscantates, die qua vorm en bezetting niet verschilden van hun gebruikelijke tegenhangers, afgezien van specifieke verwijzingen naar de gebeurtenis in de tekst. De grotere werken uit Leipzig die gecomponeerd werden voor de volledige huwelijksmissen werden gewoonlijk in twee delen uitgevoerd, voor en na de preek, wat blijkt uit Dem Gerechten muß das Licht BWV 195 en Gott ist unsre Zuversicht BWV 197. De wereldlijke werken houden zich niet aan een bepaald type, maar weerspiegelen kamermuziekeigenschappen, zoals blijkt uit het verfijnde evenwicht in Weichet nur, betrübte Schatten BWV 202 voor sopraan, hobo en strijkers.
Bach komponierte seine Kirchenkantaten nicht nur für die gewöhnlichen Sonntage und Feiertage des geistlichen Jahres, sondern auch für besondere Gelegenheiten wie z.B. Hochzeiten von üblicherweise gut situierten Paaren, die eine besonders aufwändige Zeremonie bestellt hatten. Inhalt: Dem Gerechten muß das Licht BWV 195 / Der Herr denket an uns BWV 196 / Gott ist unsre Zuversicht BWV 197 / Weichet nur, betrübte Schatten BWV 202


Ton Koopman was born in Zwolle in 1944. After a classical education he studied organ, harpsichord and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. From the beginning of his musical studies he was fascinated by authentic instruments and a performance style based on sound scholarship and in 1969, at the age of 25, he created his first Baroque orchestra. In 1979 he founded the Amsterdam Baroque Orchestra followed by the Amsterdam Baroque Choir in 1992.

Koopman's extensive and impressive activities as a soloist, accompanist and conductor have been recorded on a large number of LPs and CDs for labels like Erato, Teldec, Sony, Philips and DG, besides his own record label “Antoine Marchand”, distributed by Challenge Records.

Over the course of a forty-five-year career Ton Koopman has appeared in the most important concert halls and festivals of the five continents. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of the Amsterdam Baroque Orchestra & Choir he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Théatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center and Carnegie Hall in New York and leading concert halls in Vienna, London, Berlin, Brussels, Madrid, Rome, Salzburg, Tokyo and Osaka.

Between 1994 and 2004 Ton Koopman has been engaged in a unique project, conducting and recording all the existing Cantatas by Johann Sebastian Bach, a massive undertaking for which he has been awarded the Deutsche Schallplattenpreis "Echo Klassik", the BBC Award 2008, the Prix Hector Berlioz, has been nominated for the Grammy Award (USA) and the Gramophone Award (UK). In 2000 Ton Koopman has received an Honorary Degree from the Utrecht University for his academic work on the Bach Cantatas and Passions and has been awarded both the prestigious Silver Phonograph Prize and the VSCD Classical Music Award. In 2006 he has received the « Bach-Medaille » from the City of Leipzig.

Recently Ton Koopman has embarked on another main project: the recording of the whole works by Dietrich Buxtehude, one of the great inspirer of the young J.S. Bach. The recording will be accomplished in 2010 with the release of 30 CDs. Ton Koopman is President of the “International Dieterich Buxtehude Society”.

Ton Koopman is very active as a guest conductor and he has collaborated with many prominent orchestras in Europe, USA and Japan. He has been Principal Conductor of the Netherland Radio Chamber Orchestra and has collaborated with the Royal Concertgebouw Amsterdam, DSO Berlin, Tonhalle Orchestra Zurich, Orchester des Bayerischen Rundfunks in Munich, Boston Symphony, Chicago Symphony, Orchestre Philharmonique de Radio France, Cleveland Orchestra, Santa Cecilia in Rome, Deutsche Kammerphilharmonie and Wiener Symphoniker. In the following season he will work on new programmes with the New York Philharmonic, DSO Berlin, Orchestra RAI in Turin, Stockholm Philharmonic, Tonhalle in Zurich. After the great success of his tour at the beginning of 2008, Ton Koopman has been nominated Artist in Residence at the Cleveland Orchestra for three consecutive years starting in 2011.

Ton Koopman publishes regularly and for a number of years he has been engaged in editing the complete Händel Organ Concertos for Breitkopf & Härtel. Recently he has published Händel’s Messiah and Buxtehude‘s Das Jüngeste Gericht for Carus. Ton Koopman leads the class of harpsichord at the Royal Conservatory in The Hague, is Professor at the University of Leiden and is a Honorary Member of the Royal Academy of Music in London.

Ton Koopman is artistic director of the French Festival “Itinéraire Baroque”.

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 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.



Play album
“Dem Gerechten muß das Licht” BWV 195 : Chorus: Dem Gerechten muß das Licht
“Dem Gerechten muß das Licht” BWV 195 : Recitative (Bass): Dem Freudenlicht gerechter Frommen
“Dem Gerechten muß das Licht” BWV 195 : Aria (Bass): Rühmet Gottes Güt und Treu
“Dem Gerechten muß das Licht” BWV 195 : Recitative (Soprano): Wohlan, so knüpfet denn ein Band
“Dem Gerechten muß das Licht” BWV 195 : Chorus (Soli S, A, T, B and Choir): Wir kommen deine Heiligkeit
“Dem Gerechten muß das Licht” BWV 195 : Chorale: Nun danket all und bringet Ehr
“Der Herr denket an uns” BWV 196: Sinfonia
“Der Herr denket an uns” BWV 196: Coro: Der Herr denket an uns
“Der Herr denket an uns” BWV 196: Aria (Soprano): Er segnet, die den Herrn fürchten
“Der Herr denket an uns” BWV 196: Duetto (Tenore, Basso): Der Herr segne euch
“Der Herr denket an uns” BWV 196: Coro: Ihr seid die Gesegneten des Herrn
“Gott ist unsre Zuversicht” BWV 197: Chorus: Gott ist unsre Zuversicht
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Gott ist und bleibt der beste Sorger
“Gott ist unsre Zuversicht” BWV 197: Aria (Alto): Schläfert allen Sorgenkummer
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Drum folget Gott und seinem Triebe
“Gott ist unsre Zuversicht” BWV 197: Chorale: Du süße Lieb, schenk uns deine Gunst
“Gott ist unsre Zuversicht” BWV 197: Aria (Bass):O du angenehmes Paar
“Gott ist unsre Zuversicht” BWV 197: Recitative (Soprano): So wie es Gott mit dir getreu
“Gott ist unsre Zuversicht” BWV 197: Aria (Soprano): Vergnügen und Lust, Gedeihen und Heil
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Und dieser frohe Lebenslauf
“Gott ist unsre Zuversicht” BWV 197: Chorale: So wandelt froh auf Gottes Wegen
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Weichet nur, betrubte Schatten
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Die Welt wird wieder neu
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Phoebus eilt mit schnellen Pferden
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Drum sucht auch Amor sein Vergnügen
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Wenn die Frühlingslüfte streichen
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Und dieses ist das Glücke
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Sich üben im Lieben
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): So sei das Bund der keuschen Liebe
“Weichet nur, betrübte Schatten” BWV 202: Gavotte: Sehet in Zufriedenheit
show all tracks

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