2 LP - 6.35607-EX - (p) 1983

2 CD - 242 618-2 ZL - (c) 1989

Johann Sebastian Bach (1685-1750)







Das Kantatenwerk - Vol. 33






Kantate "Bereitet die Wege, bereitet die Bahn" BWV 132
18' 56" A
Solo: Sopran, Alt, Tenor, Baß - Chor


Oboe; Streicher; B.c. (Fagotto, Violoncello, Violone, Organo)


- Aria (Soprano) "Bereitet die Wege, bereitet die Bahn" 7' 04"

- Recitativo (Tenore) "Willst du dich Gottes Kind und Christi Bruder nennen" 2' 12"

- Aria (Basso) "Wer bist du? Frage dein Gewissen" 3' 10"

- Recitativo (Alto) "Ich will, mein Gott, dir frei heraus bekennen" 1' 41"

- Aria (Alto) "Christi Glieder, ach bedenket" 3' 59"

- Choral "Ertöt uns durch dein Güte" 0' 50"





Kantate "Ich freue mich in dir", BWV 133

20' 47" B
Solo: Sopran, Alt, Tenor, Baß - Chor


Corno (Zink); Oboe d'amore I, II; Streicher; Continuo (Violoncello, Violone, Organo)


- Choralchorsatz "Ich freue mich in dir" 4' 18"

- Aria (Tenore) "Getrost! es faßt ein heilger Leib" 5' 28"

- Recitativo (Tenore) "Ein Adam mag sich voller Schrecken" 0' 56"

- Aria (Soprano) "Wie lieblich klingt es in den Ohren" 8' 15"

- Recitativo (Basso) "Wohlan, des Todes Furcht und Scmerz" 0' 55"

- Choral "Wohlan, so will ich mich an dich" 0' 55"





Kantate "Ein Herz, das seinen Jesum lebend weiß", BWV 134
26' 29" C
Solo: Alt, Tenor - Chor


Oboe I, II; Streicher; B.c. (Violoncello, Violone, Organo)



- Recitativo (Alto, Tenore) "Ein Herz, das seinen Jesum lebend weiß" 0' 40"

- Aria (Tenore) "Auf, Gläubige, singet die lieblichen Lieder" 5' 48"

- Recitativo (Dialogo) (Alto, Tenore) "Wohl dir, Gott hat an dich gedacht" 2' 05"

- Aria (Duett) (Alto, Tenore) "Wir danken und preisen dein brünstiges Lieben" 8' 31"

- Recitativo (Tenore, Alto) "Doch wirke selbst den Dank in unserm Munde" 1' 47"

- Choralsatz "Erschallet, ihr Himmel, erfreue dich, Erde" 7' 38"





Kantate "Ach Herr, mich armen Sünder", BWV 135
13' 59" D
Solo: Alt, Tenor, Baß - Chor


Trombona (Posaune); Oboe, I, II, Streicher; Continuo (Violoncello, Violone, Organo)



- Choralchorsatz "Ach Herr, mich armen Sünder" 4' 47"

- Recitativo (Tenore) "Ach beile mich, du arzt der Seelen" 1' 07"

- Aria (Tenore) "Tröste mir, Jesu, mein Gemüte" 3' 21"

- Recitativo (Alto) "Ich bin von Seufzen müde" 0' 57"

- Aria (Basso) "Weicht, all ihr Übeltäter" 2' 59"

- Choral "Ehr sei ins Himmels Throne" 0' 58"





 
Kantaten 132 - 133 - 134 - 135



Sebastian Hennig (Knabenchores Hannover), Soprano
René Jacobs, Alto
Marius van Altena, Tenor
Max van Egmond, Baß


Knabenchor Hannover / Heinz Hennig, Leitung
Collegium Vocale, Gent / Philippe Herreweghe, Leitung


LEONHARDT-CONSORT
- Charles Toet, Trombona (Posaune)
- Bruce Haynes, Oboe (132; 134; 135/1,3,6), Oboe d'amore (133/1,6)

- Ku Ebbinge, Oboe (134; 135/1,6), Oboe d'amore (133/1,6)

- Pieter Dhont, Oboe (135/3), Oboe d'amore (133/2)

- Marie Leonhardt, Violine
- Lucy van Dael, Violine (132/5; 133; 134; 135)
- Alda Stuurop, Violine
- Antoinette van den Hombergh, Violine
- Emilio Moreno, Violine
- Staas Swierstra, Viola
- Marinette Troost, Viola
- Wouter Möller, Violoncello

- Rainer Zipperling, Violoncello (132/1,4; 133/1,4,6; 134/2,4,6; 135/1,5,6)
- Anthony Woodrow, Violone (132/1,4; 135/5)

- Margret Urquhart, Violone
- Danny Bond, Fagott
- Bob van Asperen, Orgel (132/1,4; 133/1,4,6; 134/2,4,6; 135/1,5,6)

- Gustav Leonhardt, Orgel



Gustav Leonhardt, Gesamtleitung
 
Luogo e data di registrazione
Amsterdam (Olanda) - marzo 1983
Registrazione live / studio
studio
Producer / Engineer
Wolf Erichson
Prima Edizione CD
Teldec "Das Alte Werk" - 242 618-2 ZL - (2 cd) - 40' 09" + 40' 54" - (c) 1989 - ADD
Prima Edizione LP
Telefunken "Das Alte Werk" - 6.35607 EX - (2 lp) - 40' 09" + 40' 54" - (p) 1983

Introduction
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

Nikolaus Harnoncourt (1929-2016)
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