Bach: Weimar Cantatas Early Music Chaconne

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JOHANN SEBASTIAN BACH

(1685-1750)

Early Cantatas, Volume 2 - Weimar

Weinen, Klagen, Sorgen, Zagen, BWV 12

24:06

Sinfonia

2:29

Weinen, Klagen, Sorgen, Zagen

7:31

Recitativo. Wir müssen durch viel Trübsal

0:36

Aria. Kreuz und Kronen sind verbunden

6:45

Aria. Ich folge Christo nach

2:12

Aria. Sei getreu, alle Pein

3:29

Choral. Was Gott tut, das ist wohlgetan

1:03

Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18

13:50

Sinfonia

3:01

Recitativo. Gleichwie der Regen und Schnee vom Himmel fällt

1:04

10.

Recitativo. Mein Gott, hier wird mein Herze sein.

5:41

Adagio - Allegro - Recitativo - Allegro - Recitativo - Allegro - Recitativo - Allegro

11.

Aria. Mein Seelenschatz ist Gottes Wort

2:50

12.

Choral. Ich bitt, o Herr, aus Herzens Grund

1:11

Nun komm, der Heiden Heiland, BWV 61

13:47

13.

Ouverture. Nun komm, der Heiden Heiland

2:41

14.

Recitativo. Der Heiland ist gekommen

1:21

15.

Aria. Komm, Jesu, komm zu deiner Kirche

4:10

16.

Recitativo. Siehe, ich stehe vo der Tür und klopfe an

1:02

17.

Aria. Öffne dich, mein ganzes Herze

3:33

18.

Amen! Komm, du schöne Freudenkrone

0:59

Komm, du süße Todesstunde, BWV 161

19:38

19.

Aria. Komm du süße Todesstunde

5:10

20.

Recitativo. Welt, deine Lust ist Last

1:46

21.

Aria. Mein Verlangen

5:08

22.

Recitativo. Der Schluß ist schon gemacht

2:28

23.

Coro. Wenn es meines Gottes Wille

3:20

24.

Corale. Der Leib zwar in der Erden

1:43

Total time: 71:21

Solo: Emma Kirkby soprano

Solo: Michael Chance counter-tenor

Solo: Charles Daniels tenor

Solo: Peter Harvey bass

16-18 October 2005

…a performance of great musical versatility.

Gramophone on CHAN 0715

The Purcell Quartet and guests are most welcome: even the most distinguished of period performers with larger ensembles can’t achieve the intimacy that the forces here have at their disposal.

International Record Review

The Purcell quartet – two violins, cello and continuo, augmented by two violas, recorders, oboe, bassoon, and trumpet – reflect the meagre forces available to Bach… All four singers approach their often testing lines with expressive freedom…With no designated ‘conductor’, this is chamber music, warmed by the acoustic environment of a London church. The resulting clarity is delightful.

BBC Music Magazine

For sheer brilliance of technique, the Purcell Quartet and friends take the biscuit.

International Record Review on CHAN 0715

The singers throw themselves into the drama, and each creates a strong character. Davies is a dry, pompous Kolenaty; Graham Clark’s Hauk-Sendorf goes just the right distance over the top; Elena Xanthoudakis makes a sweet young thing out of Kristina. Robert Brubaker brings ardour and some lyric freshness to Gregor. Cheryl Barker sinks her teeth into the central role of Emilia Marty, her tone full and rich when required, or hard and imperious.

American Record Guide

A disc of Bach Cantatas is like a Christmas stocking: you reach in expectantly and pull out delights. These four works from his early years in Weimar are performed in the modern historical manner, using the soloists as chorus, and the singers’ merits suffuse the ensembles without distorting them. The lamenting first chorus of Weinen, Klagen, Sorgen, Zagen has never sounded so cleanly heartbroken. The opening aria, beautifully taken by Chance, of Komm, du süße todesstunde paints death as a prelude to bliss, chirpy recorders and solemn organ symbolically juxtaposed.

The Sunday Times

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