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2 LP -
6.35607-EX - (p) 1983
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2 CD -
242 618-2 ZL - (c) 1989 |
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Johann Sebastian
Bach (1685-1750)
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Das Kantatenwerk - Vol.
33 |
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Kantate "Bereitet die
Wege, bereitet die Bahn" BWV 132 |
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18' 56" |
A |
Solo: Sopran, Alt, Tenor,
Baß - Chor |
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Oboe; Streicher; B.c.
(Fagotto, Violoncello, Violone, Organo) |
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- Aria (Soprano) "Bereitet
die Wege, bereitet die Bahn" |
7' 04" |
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- Recitativo (Tenore) "Willst
du dich Gottes Kind und Christi Bruder
nennen" |
2' 12" |
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- Aria (Basso) "Wer bist
du? Frage dein Gewissen" |
3' 10" |
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- Recitativo (Alto) "Ich
will, mein Gott, dir frei heraus
bekennen" |
1' 41" |
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- Aria (Alto) "Christi
Glieder, ach bedenket" |
3' 59" |
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- Choral "Ertöt uns
durch dein Güte" |
0' 50" |
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Kantate "Ich freue mich
in dir", BWV 133
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20' 47" |
B |
Solo: Sopran, Alt, Tenor,
Baß - Chor |
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Corno (Zink); Oboe d'amore
I, II; Streicher; Continuo (Violoncello,
Violone, Organo) |
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- Choralchorsatz "Ich
freue mich in dir" |
4' 18" |
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- Aria (Tenore) "Getrost!
es faßt ein heilger Leib" |
5' 28" |
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- Recitativo (Tenore) "Ein
Adam mag sich voller Schrecken" |
0' 56" |
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- Aria (Soprano) "Wie
lieblich klingt es in den Ohren" |
8' 15" |
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- Recitativo (Basso) "Wohlan,
des Todes Furcht und Scmerz" |
0' 55" |
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- Choral "Wohlan, so will
ich mich an dich" |
0' 55" |
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Kantate "Ein Herz, das
seinen Jesum lebend weiß", BWV 134 |
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26' 29" |
C |
Solo: Alt, Tenor - Chor |
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Oboe I, II; Streicher; B.c.
(Violoncello, Violone, Organo)
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- Recitativo (Alto, Tenore)
"Ein Herz, das seinen Jesum lebend
weiß" |
0' 40" |
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- Aria (Tenore) "Auf,
Gläubige, singet die lieblichen Lieder" |
5' 48" |
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- Recitativo (Dialogo)
(Alto, Tenore) "Wohl dir, Gott hat an
dich gedacht" |
2' 05" |
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- Aria (Duett) (Alto,
Tenore) "Wir danken und preisen dein
brünstiges Lieben" |
8' 31" |
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- Recitativo (Tenore, Alto)
"Doch wirke selbst den Dank in unserm
Munde" |
1' 47" |
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- Choralsatz "Erschallet,
ihr Himmel, erfreue dich, Erde" |
7' 38" |
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Kantate "Ach Herr,
mich armen Sünder", BWV 135 |
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13' 59" |
D |
Solo: Alt, Tenor, Baß - Chor |
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Trombona (Posaune); Oboe, I,
II, Streicher; Continuo (Violoncello,
Violone, Organo)
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- Choralchorsatz "Ach
Herr, mich armen Sünder" |
4' 47" |
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- Recitativo (Tenore) "Ach
beile mich, du arzt der Seelen" |
1' 07" |
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- Aria (Tenore) "Tröste
mir, Jesu, mein Gemüte" |
3' 21" |
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- Recitativo (Alto) "Ich
bin von Seufzen müde" |
0' 57" |
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- Aria (Basso) "Weicht,
all ihr Übeltäter" |
2' 59" |
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- Choral "Ehr sei ins
Himmels Throne" |
0' 58" |
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Kantaten 132 - 133 - 134 -
135
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Sebastian
Hennig (Knabenchores
Hannover), Soprano |
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René
Jacobs, Alto |
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Marius van
Altena,
Tenor |
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Max
van Egmond, Baß |
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Knabenchor
Hannover / Heinz
Hennig, Leitung |
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Collegium
Vocale, Gent / Philippe
Herreweghe, Leitung |
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LEONHARDT-CONSORT |
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Charles Toet, Trombona (Posaune) |
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Bruce Haynes, Oboe (132; 134;
135/1,3,6), Oboe d'amore (133/1,6)
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Ku Ebbinge, Oboe (134;
135/1,6), Oboe d'amore (133/1,6)
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Pieter Dhont, Oboe (135/3), Oboe
d'amore (133/2)
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Marie Leonhardt, Violine |
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Lucy van Dael, Violine (132/5;
133; 134; 135) |
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Alda Stuurop, Violine |
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Antoinette van den Hombergh,
Violine |
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Emilio Moreno, Violine |
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Staas Swierstra, Viola |
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Marinette Troost, Viola |
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Wouter Möller, Violoncello
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Rainer Zipperling, Violoncello
(132/1,4; 133/1,4,6; 134/2,4,6;
135/1,5,6) |
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Anthony Woodrow, Violone
(132/1,4; 135/5)
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Margret Urquhart, Violone |
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Danny Bond, Fagott |
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- Bob van Asperen,
Orgel (132/1,4;
133/1,4,6; 134/2,4,6; 135/1,5,6)
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- Gustav Leonhardt,
Orgel
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Gustav
Leonhardt, Gesamtleitung |
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Luogo e data
di registrazione
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Amsterdam (Olanda) - marzo
1983 |
Registrazione
live / studio
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studio |
Producer / Engineer
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Wolf Erichson |
Prima Edizione
CD
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Teldec "Das Alte Werk" - 242
618-2 ZL - (2 cd) - 40' 09" + 40' 54" -
(c) 1989 - ADD
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Prima
Edizione LP
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Telefunken "Das Alte Werk" -
6.35607 EX - (2 lp) - 40' 09" + 40' 54"
- (p) 1983
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Introduction
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Bereitet
die Wege, bereitet
die Bahn (BWV 132),
written in Weimar
for the Fourth Sunday of
Advent 1715, is based on
a text taken from Salomo
Frank's
collection of cantatas
entitled Evangelisches
Andachts-Opfer.
(In Leipzig no
cantatas were performed
between the Second and Fourth
Sunday in Advent because
this period was a time of
penitence, the
ecclesiastical year
beginning with the First
Sunday in Advent.) This
work,
conceived in chamber
music style with
four solo voices, two
oboes, strings and
continuo, reflects
Bach’s concern at that
time with italian
cantatas, which were
made up of two
recitatives and two
arias (in Bach’s case
Nos. 2 - 5).
An extended aria takes
the place of the
opening chorus; Franck
provided the text tor a
final chorale, but the
music has not been
preserved. Researchers
assume, since a chorus
was not otherwise
required, that this
chorale was written on
separate sheets of paper
which have heen lost.
Franck's text ”Ertöt
uns durch dein Güte,”
which features as a
simple fourpart
chorale at the end of
Cantata No. 164,
can be used in
transposition to
conclude Cantata No.
132. The long opening
aria is based on a
commanding figure
representing the sayings
and sermons of John
the Baptist and extended
runs on the word ”Bahn.”
The middle section is
calm and cleclamatory,
with clearly contrasting joyful
shouts of ”Messias
kömmt
an” (The way for the
Saviour). In addition a
concertante character is
imparted to the aria by
the ol “oboe and
strings. The following
secco recitative
contrast distinctly
arioso passages
providing a creative
extension of the italian
recitative
style: the imitation between
tenor
and continuo is a symbol
of succession (the Latin
word ”imitatio" having
thc theological
connotation of
"succession”) - The
bass aria ”Wer
bist du?" with an
obbligato cello, unusual
in Bach's works,
is based on
a questioning figure
developed from the text.
The singer represents
Christ who asks the
question of Man. The
accompaniment and
crossing of the voice
and cello parts produce
many daring harmonies. In
accordance with ltalian
practice, the second
recitative is
accompanied by the
strings; this in itself
achieves a special form
of expression, quite
distinct from the secco
recitative, enabling
Bach to dispense with
arioso interpolations. In
the alto aria with its
very demanding violin
obbligato the
predominant figure
symbolises the baptismal
water; the solo violin
represents Man.
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Ich
freue mich in dir (BWV
133) is a chorale
cantata written for the
Feast of St. John
the Evangelist (December
27, 1724). The modest
deployment of choral
forces, which may well
be connected with the
heavy demands upon the choir
of St. Thornas’s during
the Christmas season and
the open-air carol
singing which preceded
it, is compensated for
by the soloists and the
instrumentation. In the
large~scale opening
chorus the lines of
the chorale are woven
into the orchestral
writing rather in the
manner of a chorale
prelude; the substance
of the movement is a
motif related to the
line of text "Ach wie
ein süßer Ton” (Ah, word
of sweetest sound) and
is treated
contrapuntally. This
passage is the only one
in which the choral
writing contains
counterpoint. The first
violin almost functions
as a solo instrument,
for the second violin
and the viola are joined
by the two oboi d’amore.
These also carry over
the throbbing motion of
the opening chorus into
the alto aria ”Getrost,
es faßt ein heil’ger
Leib” musically,
symbolising Man and his
salvation. As in the
first and third
movements of Cantata No.
132, the motif ”Getrost”
(Take heart) is a
rhetorical figure;
likewise the phrase ”Wie
wohl ist mir geschehen”
(how happy I to see
Thee) is taken out of
the context of the
message as an expression
of personal experience
by the dynamic marking
piano. The secco
recitative (No. 3) is
followed by a soprano
aria with string
accompaniment whose
melody is developed from
the cantus firmus and
orchestral writing of
the opening chorus. The
first line of the text
”Wie lieblich klingt es
in den Ohren"
corresponds to the
obbligato violin of the
opening chorus, and
indeed the "delightful
sound” of this movement
is entirely in keeping
with the "sweet sound”
of the opening; the
passage "dies Wort”
matches the ”Getrost” in
the alto aria. The first
and fourth stanzas of
the hymn text were
retained in the cantata,
the second and third
stanzas being
extensively re-written
for the rccitatives and
arias although various
elements, such as the
rhymes in the recitative
preceding the final chorale,
were accommodated in the
paraphrase of the text.
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Ein
Herz, das seinen Jesum
lebend weiß (BWV 134),
written for Tuesday in
Easter week 1724, was
originally an adaptation
of the secular Cantata
No. 134a Die Zeit,
die Tag und Jahre
macht composed for
New Year’s Day 1719,
when Bach was at the
court of Cöthen.
In
1724 he prepared a
straightforward "parody"
by
merely fitting new
words, in places quite
mechanically to the
music without even
writing out a new score.
The final version, in
which the work is now
performed, was not
prepared until after
1731. Bach made
substantial changes not
merely in the
recitatives, though the
duet character,
to which he adhered, can
be traced back to the
allegorical figures in
the New Year’s cantata
and correspond in the
first recitative to a dichotomy
between the tenor, the
narraton and the alto, a
symbolic figure who in
some Passions of that
period was called the
"faithful soul.” He also
made some purposeful
changes in the arias and
the final chorus, as
vvell as writing out the
score. One is
nonetheless struck by
the total absence of chorale
or Bible text, the
libretto consisting of a
freely devised poem
relating to the events
of Eastertide. Thus its
relevance is superficial
by comparison with other
cantatas.
The tenor aria "Auf, Gläubige”
(Ye Faithful
Ones) derives its
impulse from the "Auf,
auf" phrase; there is
figure work to the words
"Lieder" and "scheinet,"
but not to "Licht" or
"der lebende Heiland.”
Even so, the aria is
impressive for its
tuneful orchestral
writing, with the
intermingling of oboes
and violins. This also
applies to the
large-scale duet ”Wir
danken, wir preisen",
where the first violin
plays a solo part, alto
and tenor sing
predominantly in
parallel, and the
continuo is skilfully
linked with the vocal
parts. Both text and
music of the expansive
final chorus are a reply
to the opening aria.
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Ach
Herr mich armen Sünder
(BWV 135) is a
chorale written for the
Third Sunday after
Trinity 1724 (June
25); the text
is by an unknown author
who retained the first
and sixth stanzas of the
hymn on which the cantata
is based. In the opening
chorus, once again laid
out in the manner of the
great chorale
preludes or chorale
fantasias, the cantus
firmus is in the bass,
producing a brooding,
heavy timbre.
This is enhanced by
striking chromaticism on
appropriate words ("mein
Sünd"
- my sin), but is also
brightened by
contrasting figures
("ewig leben" -
dwell forever with
Thee). The climax of the
succeeding recitative,
which is full of tonal
symbolism on "schnellen"
(rapid) and "Wangen abwärts
rollen” (My cheeks are
stained with weeping),
is the word "Schrecken"
(terror), with an
awe-inspiring rest in
the middle of the
word. In the
following lamentation
aria "Tröste
mich” in C, two oboes
represent Man in
relation to the
Divine. The voice part
contains a remarkable
number of leaps of a
seventh or augmented fourth
(”Tod" - death), which
are replaced in the
second part by very
deliberate
consonances. After a
simple secco
recitative there is a
bass aria with a
passionate but not
concertante violin
olobligato "Weicht,
all ihr Übeltäter”
in which the
significant words are
set to extensive
figuration. A simple chorale
movement with mobile
inner voices and bass
concludes this
magnificent work.
Gerhard
Schuhmacher
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Nikolaus
Harnoncourt (1929-2016)
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