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Funeral Cantatas

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Funeral Cantatas

Format: CD
Label: Challenge Classics
UPC: 0608917228625
Catnr: CC 72286
Release date: 27 June 2008
1 CD
 
Label
Challenge Classics
UPC
0608917228625
Catalogue number
CC 72286
Release date
27 June 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

The two cantatas selected for the present album represent particularly representative and distinguished works of mourning character from very different periods in Bach’s creative life. The cantata “Aus der Tiefen rufe ich, Herr, zu dir” BWV 131 originates from Mühlhausen and was written in 1707 or 1708 for an unknown occasion, most likely an penitential service and perhaps related to the big fire that had devastated large sections of the town of Mühlhausen shortly before Bach’s arrival there in 1707. An annotation by Bach in the original score indicates that that work was commissioned by the pastor of St. Mary’s Church in Mühlhausen, Dr. Georg Christian Eilmar. He apparently was also responsible for the compilation of the libretto.

The Funeral Ode “Laß, Fürstin, laß noch einen Strahl” BWV 198 on the other hand is a large-scale, two-part cantata composed twenty years later in Leipzig in commemoration of the death of the Electress of Saxony and Queen of Poland. It is based on a morning poem in strophic ode format by Johann Christoph Gottsched, at the time Leipzig’s most celebrated literary figure. The artful poem was commissioned by an aristocratic student, Hans Carl von Kirchbach, in the name of the “German Society” at the University and for the academic act of mourning for the death of the Electress of Saxony and Queen of Poland, Christiane Eberhardine, wife of Augustus the Strong. Kirchbach commissioned the music for the event from another Leipzig celebrity, Johann Sebastian Bach, and not from the music director of the University, Johann Gottlieb Görner. The latter complained, but accepted the fact that this was an unusually prominent occasion. The work of 1727 could not be performed again in this form because the text makes concrete references to the queen. However, in 1731 the composer reused major parts of the Funeral Ode for his St. Mark Passion, now lost.
Schitterende cantates uit twee verschillende periodes van Bachs leven
De twee cantates op dit album zijn bijzonder onderscheidende werken met een rouwkarakter die representatief zijn voor de verschillende periodes in Bachs creatieve leven.

De cantate Aus der Tiefen rufe ich, Herr, zu dir BWV 131 werd in 1707 of 1708 in Mühlhausen gecomponeerd voor een onbekende gelegenheid, waarschijnlijk een boetedienst die mogelijk verband hield met de brand die vlak voor de komst van Bach in 1707 grote delen van de stad verwoestte. De instrumentale bezetting was aan de bescheiden kant. Voor de meeste delen schreef Bach echter gedetailleerde en zeer gevarieerde zesstemmige vocaal-instrumentale texturen in concerto-stijl, met afwisselend polyfone en op akkoorden gebaseerde structuren.

De begrafenisode Laß, Fürstin, laß noch einen Strahl BWV 198 is aan de andere kant een grootschalige, tweedelige cantate die twintig jaar later in Leipzig werd gecomponeerd ter herdenking van het overlijden van de Keurvorstin van Saksen en de Koningin van Polen. Het werk is gebaseerd op een rouwgedicht van Johann Christoph Gottsched, die op dat moment de beroemdste literaire figuur in Leipzig was. Een adellijke student, Hans Carl van Kirchbach, gaf Gottsched namens de universiteit de opdracht om het gedicht te schrijven, en gaf Bach de opdracht om muziek voor de gebeurtenis te componeren. Omdat de tekst duidelijke verwijzingen naar de koningin bevat, kon het werk niet opnieuw in de oorspronkelijke vorm worden uitgevoerd. In 1731 werden belangrijke delen ervan echter opnieuw gebruikt in Bachs verloren gegane Marcuspassie.
Die beiden für diese CD ausgewählten Kantaten stellen besonders repräsentative und hervorragende Werke funeralen Charakters aus sehr unterschiedlichen Perioden von Bachs Schaffens dar. Inhalt: 'Laß, Fürstin, laß noch einen Strahl' BWV 198 & 'Aus der Tiefen rufe ich, Herr, zu dir' BWV 131

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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Klaus Mertens

Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.
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Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.

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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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Paul Agnew

The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.
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The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.

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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

Play album Play album
01.
Laß, Fürstin, laß noch einen Strahl BWV 198: Chorus: Laß, Fürstin, laß noch einen Strahl
07:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Jonathan Manson, Mieneke van der Velden, Wilbert Hazelzet, Amsterdam Baroque Orchestra
02.
Laß, Fürstin, laß noch einen Strahl BWV 198: Recitative (Soprano): Dein Sachsen, dein bestürztes Meissen
01:32
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
03.
Laß, Fürstin, laß noch einen Strahl BWV 198: Aria (Soprano): Verstummt, verstummt, ihr holden Saiten
03:54
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
04.
Laß, Fürstin, laß noch einen Strahl BWV 198: Recitative (Alto): Der Glocken bebendes Getön
00:45
(Johann Sebastian Bach ) Elisabeth von Magnus, Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
05.
Laß, Fürstin, laß noch einen Strahl BWV 198: Aria (Alto): Wie starb die Heldin so vergnügt!
07:42
(Johann Sebastian Bach ) Elisabeth von Magnus, Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
06.
Laß, Fürstin, laß noch einen Strahl BWV 198: Recitative (Tenor): Ihr Leben ließs die Kunst zu sterben
01:16
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
07.
Laß, Fürstin, laß noch einen Strahl BWV 198: Chorus: An dir, du Fürbild grosser Frauen
01:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
08.
Laß, Fürstin, laß noch einen Strahl BWV 198: Aria (Tenor): Die Ewigkeit saphirnes Haus
05:12
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
09.
Laß, Fürstin, laß noch einen Strahl BWV 198: Recitative (Bass): Was Wunder ist's?
02:34
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
10.
Laß, Fürstin, laß noch einen Strahl BWV 198: Chrous: Doch, Königin! du stirbest nicht
06:32
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Wilbert Hazelzet, Mieneke van der Velden, Jonathan Manson, Amsterdam Baroque Orchestra
11.
Aus der Tiefen rufe ich, Herr, zu dir BWV 131: Sinfonia and Chorus: Aus der Tiefen rufe ich, Herr, zu dir
04:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
12.
Aus der Tiefen rufe ich, Herr, zu dir BWV 131: Arioso with Chorale (Bass): So du willst, Herr, Sünde zurechnen
04:20
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
13.
Aus der Tiefen rufe ich, Herr, zu dir BWV 131: Chorus: Ich harre des Herrn
03:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
14.
Aus der Tiefen rufe ich, Herr, zu dir BWV 131: Aria with Chorale (Tenor): Meine Seele wartet auf den Herrn
06:04
(Johann Sebastian Bach ) Guy de Mey, Ton Koopman, Amsterdam Baroque Choir, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
15.
Aus der Tiefen rufe ich, Herr, zu dir BWV 131: Chorus: Israel, hoffe auf den Herrn
04:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
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