Recitativo. Siehe, ich stehe vo der Tür und klopfe an
1:02
17.
5
Aria. Öffne dich, mein ganzes Herze
3:33
18.
6
Amen! Komm, du schöne Freudenkrone
0:59
Komm, du süße Todesstunde, BWV 161
19:38
19.
1
Aria. Komm du süße Todesstunde
5:10
20.
2
Recitativo. Welt, deine Lust ist Last
1:46
21.
3
Aria. Mein Verlangen
5:08
22.
4
Recitativo. Der Schluß ist schon gemacht
2:28
23.
5
Coro. Wenn es meines Gottes Wille
3:20
24.
6
Corale. Der Leib zwar in der Erden
1:43
71:21
Solo:Emma Kirkby soprano
Solo: Michael Chance counter-tenor
Solo: Charles Daniels tenor
Solo: Peter Harvey bass
Chamber: Purcell Quartet
16-18 October 2005
Notes
BACH: WEIMAR CANTATAS This is Volume 2 in our survey of Bach's Early Cantatas and the first devoted to cantatas written whilst Bach was employed at the court of Weimar (1708 - 17). The cantatas recorded here were written around 1714 / 15 and were performed with one voice to a part, no chorus being available. The Purcell Quartet and friends - including a stellar cast of soloists; Emma Kirkby, Charles Daniels, Michael Chance and Peter Harvey - recreate these original performing conditions which offer the advantage of clear vocal and instrumental lines. The third volume in this series was recently recorded, only days after a fine concert at the Wigmore Hall.
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Reviews
…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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