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Geistliche Lieder
Johann Sebastian Bach

Ton Koopman | Klaus Mertens

Geistliche Lieder

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917296723
Catnr: CC 72967
Release date: 20 October 2023
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Label
Challenge Classics
UPC
0608917296723
Catalogue number
CC 72967
Release date
20 October 2023

"Koopman infuses them with flexibility and variety without ever overdoing it or pulling the rug out for himself. His interpretation of the organ pieces attests to the same temperance. No excessive exuberance in the Gigue of the Pastorale BVW 590, no ornamental excess in the Canzona BWV 588: the musician has adapted to the character of the instrument: modest but warm."

Diapason, 31-3-2024
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Artist(s)
Composer(s)
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About the album

Only from the mid-1730s does Bach seem to be concerned with composing songs to contemporary lyrics. We find such a small series especially in the second piano booklet for Anna Magdalena Bach. He and his wife composed some "new songs" that certainly enriched everyday life in the family, such as making music together in the evening or prayers at home with their children. Among these six songs, there are especially those whose lyrics provide comfort.

The songs of the musical hymnbook have been given their title "Schemelli-Lieder" after the editor Georg Christian Schemelli (around 1680–1762). Schemelli is certainly responsible for the main selection of 954 songs and thus also for the selection of Bach settings to music.

The publication was titled Musicalisches Gesang-Buch (Musical Hymnbook) and contains 954 "witty, both old and new songs and arias, with well-set melodies, in discant and bass". In the preface of April 24 , 1736, the Naumburg superintendent Friedrich Schulze wrote the following:

The melodies contained in this Musicalisches Gesang-Buch are by Johann Sebastian Bach, Master of the Chapel Choir and Choir Conductor. Musicians in Leipzig, partly composed completely new, partly also improved by him in the basso continuo.

Of 69 songs with (mostly) figured bass, 21 are hymnologically detectable for the first time in this printing. Exactly these 21 songs were therefore taken as the basis for the selection here from the Musicalisches Gesang-Buch in addition to the mentioned small selection from the second book of sheet music of Anna Magdalena Bach.

The order of the 21 selected songs for the present production was based on musical aspects, e.g., related key combinations between songs. The performers also made a subjective selection from the multitude of printed verses.

Opnieuw een wonderschoon album van de gerenommeerde oude muziek pionier Ton Koopman. Samen met vriend en bas-bariton Klaus Mertens brengt hij een selectie uit van Geistliche Lieder van Johann Sebastian Bach. Klavecinist en organist Koopman begeleidt Mertens op het Teschemacherorgel van de Michaëlskerk in Oosterland, Noord-Holland.

Pas vanaf het midden van de jaren 1730 lijkt Bach zich bezig te houden met het componeren van liederen op eigentijdse teksten. Zo komt een aantal van de liederen op dit album uit het tweede pianoboekje voor Anna Magdalena Bach, zijn tweede vrouw. Samen componeerden ze enkele ‘nieuwe liedjes’, waarvan de tekst troost biedt en die het dagelijks leven in het gezin beslist ten goede kwamen. Zo maakten ze 's avonds samen muziek of gingen ze thuis met de kinderen bidden.

Een deel van de liederen van het album Geistlich Lieder is ontleend aan dat pianoboekje voor Anna Magdalena. De andere liederen komen voornamelijk uit het zogenaamde ‘Schemelli Boekje’. Georg Christian Schemelli (rond 1680-1762) was een Duits cantor en uitgever van het liedboek Musicalisches Gesang-Buch, en daarmee voor het merendeel verantwoordelijk voor de keuze van de 954 liederen die het boek bevat. Dus ook voor de selectie van de melodieën van Bach.

Het liedboek bevat 954 ‘geestige, zowel oude als nieuwe liederen en aria's, met goed gezette melodieën, in discant en bas’. In het voorwoord van het boek van 24 april 1736 schreef de Naumburgse superintendent Friedrich Schulze: “De melodieën in het Musicalisches Gesang-Buch zijn door de weledele heer Johann Sebastian Bach, kapelmeester en koordirigent in Leipzig, deels volledig nieuw gecomponeerd en deels ook door hem verbeterd in het basso continuo.

Van de 69 liederen zijn er 21 voor het eerst in druk verschenen. Daarom zijn juist deze 21 liederen geselecteerd uit het Musicalisches Gesang-Buch als basis voor dit nieuwe album, naast de genoemde kleine selectie uit het boekje van Anna Magdalena Bach. De volgorde van de 21 nummers is gebaseerd op muzikale aspecten, als verwante toetscombinaties tussen de liederen. De makers van het album maakten ook een subjectieve keuze uit de veelheid aan gedrukte verzen.
Erst ab Mitte der 1730er Jahre scheint sich Bach mit der Komposition von Liedern zu zeitgenössischen Texten beschäftigt zu haben. Eine solche kleine Reihe finden wir vor allem im zweiten Klavierbüchlein für Anna Magdalena Bach. Er und seine Frau komponierten einige "neue Lieder", die sicherlich den Familienalltag bereicherten, etwa das gemeinsame Musizieren am Abend oder das Gebet zu Hause mit den Kindern. Unter diesen sechs Liedern befinden sich vor allem solche, deren Texte Trost spenden.

Die Lieder des musikalischen Gesangbuchs haben ihren Titel "Schemelli-Lieder" nach dem Herausgeber Georg Christian Schemelli (um 1680-1762) erhalten. Schemelli ist sicherlich für die Hauptauswahl der 954 Lieder und damit auch für die Auswahl der Bach-Vertonungen verantwortlich.

Die Publikation trug den Titel Musicalisches Gesang-Buch und enthält 954 "geistreiche, sowohl alte als neue Lieder und Arien, mit wohlgesetzten Melodien, in Discant und Bass". In der Vorrede vom 24. April 1736 schrieb der Naumburger Superintendent Friedrich Schulze folgendes:

Die in diesem Musicalischen Gesang-Buch enthaltenen Melodien sind von Johann Sebastian Bach, Meister des Kapellenchores und Chordirigent. Musikern in Leipzig, teils ganz neu komponiert, teils auch von ihm im Basso continuo verbessert.

Von 69 Liedern mit (meist) beziffertem Bass sind 21 in diesem Druck erstmals hymnologisch nachweisbar. Genau diese 21 Lieder wurden daher der hier vorliegenden Auswahl aus dem Musicalischen Gesang-Buch zugrunde gelegt, zusätzlich zu der erwähnten kleinen Auswahl aus dem zweiten Notenbuch von Anna Magdalena Bach.

Die Reihenfolge der 21 ausgewählten Lieder für die vorliegende Produktion erfolgte nach musikalischen Gesichtspunkten, z.B. nach verwandten Tonartenkombinationen zwischen den Liedern. Die Interpreten trafen auch eine subjektive Auswahl aus der Vielzahl der gedruckten Strophen.

Artist(s)

Ton Koopman (pipe organ)

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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Klaus Mertens (bass-baritone)

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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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

Koopman infuses them with flexibility and variety without ever overdoing it or pulling the rug out for himself. His interpretation of the organ pieces attests to the same temperance. No excessive exuberance in the Gigue of the Pastorale BVW 590, no ornamental excess in the Canzona BWV 588: the musician has adapted to the character of the instrument: modest but warm.
Diapason, 31-3-2024

This album shows Bach’s life-long commitment to chorales and sacred texts at home as well as church and shines light on Bach’s more intimate smaller-scale music. The chorale preludes supply a good contrast to the groups of songs that all are pretty much of the same low-key style. The performances are first-rate, and this album will reward attentive listening.
American Record Guide, 01-3-2024

These pieces, composed undoubtedly to complete evenings, become somewhat dense when listened to one after another, despite the six pieces interspersed on the Oosterland organ and the excellence of Mertens and Koopman.
Scherzo, 01-3-2024

Mertens shows that careful use of the vocal cords can lead to wonderful results even in old age and Koopman once again proves that he is a master in finding catchy harmonizations and ornaments. The Teschemacher organ from 1762 turns out to be the ideal instrument and producer Tini Mathot, with technical help from Adriaan Verstijnen, created an atmospheric recording. A moving tribute to a unique collaboration.
Opus Klassiek, 01-3-2024

Mertens proves that careful use of the vocal cords can lead to wonderful results even in old age and Koopman once again shows that he is a master in finding the right harmonizations and embellishments. (...) A moving tribute to a unique collaboration.
Luister, 01-12-2023

Here one hears Bach in a closeness of rare intimacy, and it is precisely the supposed simplicity of the Schemelli songs that allows the artists to discover the great in the small: The songs reflect Bach’s deep assurance of faith. And this does not require timpani and trumpets, but only a small organ and a moving voice.
Pizzicato, 30-10-2023

Play album Play album
01.
Herr Gott, nun schleuß den Himmel auf BWV 1092
02:23
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
02.
Jesu, Jesu, du bist mein BWV 470
03:04
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
03.
Kommt, Seelen, dieser Tag BWV 479
01:13
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
04.
Ach, daß nicht die letzte Stunde BWV 439
01:53
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
05.
Dich bet ich an, mein höchster Gott BWV 449
01:48
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
06.
O Lamm Gottes unschuldig BWV 1095
01:24
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
07.
Beschränkt, ihr Weisen dieser Welt BWV 443
02:30
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
08.
Jesu, deine Liebeswunden BWV 471
01:20
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
09.
Kommt wieder aus der finstern Gruft BWV 480
01:36
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
10.
O liebe Seele, zieh die Sinnen BWV 494
01:37
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
11.
Schaff’s mit mit Gott nach deinem Willen BWV 514
01:31
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
12.
Gigue - from Pastorale BWV 590
02:55
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
13.
Ich liebe Jesum alle Stund BWV 468
02:17
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
14.
Eins ist not! Ach Herr, dies Eine BWV 453
01:48
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
15.
Ich halte treulich still BWV 466
02:05
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
16.
O finstre Nacht, wann wirst du doch vergehen BWV 492
02:15
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
17.
Gib dich zufrieden und sei stille BWV 511
01:40
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
18.
Vater Unser im Himmelreich in d minor BWV 683
01:18
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
19.
Gott, wie groß ist deine Güte BWV 462
02:07
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
20.
Liebster Herr Jesu, wo bleibst du so lange BWV 484
02:05
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
21.
Mein Jesu! was vor Seelenweh BWV 487
02:39
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
22.
Dir, dir, Jehova, will ich singen BWV 452
01:32
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
23.
Auf, auf! Die rechte Zeit ist hier BWV 440
01:43
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
24.
Wenn nur den lieben Gott läßt walten BWV 691
01:56
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
25.
So wünsch ich mir zu guter Letzt BWV 502
02:28
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
26.
Vergiß mein nicht BWV 505
01:39
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
27.
Selig, wer an Jesum denkt BWV 498
01:12
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
28.
Komm, süßer Tod BWV 478
02:57
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
29.
Ich steh an deiner Krippen hier BWV 469
00:48
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
30.
Canzona in D minor BWV 588
05:10
(Johann Sebastian Bach) Klaus Mertens, Ton Koopman
show all tracks

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