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2 LPs
- SKW 4/1-2 - (p) 1972
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2 CDs -
8.35030 ZL - (c) 1985 |
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DAS KANTATENWERK - Volume 4 |
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Johann Sebastian
BACH (1685-1750) |
Kantate
"Weinen, Klagen, Sorgen, Zagen", BWV
12
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23' 30" |
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Kantate
am Sonntag Jubilate (Dominica Jubilate)
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Text:
Salomo Franck 1714; F. Samuel Rodigast
1675 (1674)
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Solo: Alt, Tenor, Baß - Chor; Oboe,
Fagott; Tromba da tirarsi; Violino I/II,
Viola I/II; Continuo
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- 1.
Sinfonia |
2' 20" |
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A1 |
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- 2.
Coro: "Weinen, Klagen, Sorgen, Zagen" |
5' 58" |
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A2 |
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- 3.
Recitativo (Alto): "Wir müssen durch viel
Trübsal" |
0' 54" |
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A3 |
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- 4.
Aria (Alto): "Kreuz und Krine sind
verbunden" |
6' 22" |
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A4 |
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- 5.
Aria (Basso): "Ich folge Christo nach" |
2' 44" |
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A5 |
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- 6.
Aria (Tenore): "Sei getreu, alle Pein" |
4' 18" |
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A6 |
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- 7.
Choral (Coro): "Was Gott tut, das ist
wohlgetan" |
0' 54" |
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A7 |
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Kantate
"Meine Seufzer, meine Tränen", BWV
13 |
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20' 00"
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Kantate
am zweiten Sonntag nach Epiphanias
(Dominica 2 post Epiphanias) |
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Text:
Georg Christian Lehms 1711; 3. Johann
Heermann 1636; 7. Paul Fleming 1641 (1642) |
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Solo:
Sopran, Alt, Tenor, Baß - Chor; Flauto
I/II, Oboe da caccia; Streicher; Continuo
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- 1.
Aria (Tenore): "Meine Seufzer, meine
Tränen" |
7' 26" |
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B1 |
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- 2.
Recitativo (Alto): "Mein liebster Gott
läßt mich" |
1' 12" |
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B2 |
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- 3.
Choral (Alto): "Der Gott, der mir hat
versprochen" |
3' 07" |
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B3 |
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- 4.
Recitativo (Soprano): "Mein Kummer nimmet
zu" |
1' 20" |
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B4 |
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- 5.
Aria (Basso): "Ächzen und erbärmlich
weinen" |
9' 00" |
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B5 |
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- 6.
Choral (Coro): "So sei nun, Seele, deine"
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0' 46" |
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B6 |
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Kantate
"Wär Gott nicht mit uns diese Zeit",
BWV 14 |
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17' 29" |
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Kantate
am vierten Sonntag nach Epiphanias
(Dominica 4 post Epiphanias) |
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Text:
1. und 5. Martin Luther 1524 (nacj Psalm
124); 2.-4. Umdichtung eines unbekannten
Verfassers |
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Solo:
Sopran, Tenor, Baß - Chor; Corno da
caccia, Oboe I/II; Streicher; Continuo |
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- 1.
Coro: "Wär Gott nicht mit uns diese Zeit"
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6' 20" |
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C1 |
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- 2.
Aria (Soprano): "Unsre Stärke heißt zu
schwach" |
4' 44" |
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C2 |
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- 3.
Recitativo (Tenore): "Ja, hätt es Gott nur
zugegeben" |
0' 45" |
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C3 |
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- 4.
Aria (Basso): "Gott, bei deinem starken
Schützen" |
4' 40" |
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C4 |
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- 5.
Choral (Coro): "Gott Lob und Dank, der
nicht zugab" |
1' 00" |
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C5 |
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Kantate
"Herr Gott, dich loben wir", BWV 16 |
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17' 46" |
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Kantate
am Feste der Beschneidung Christi
(Neujahr) - (Festo Circumcisionis
Christi)
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Text:
Georg Christian Lehms 1711; 1. Martin
Luther 1535 (1529; Deutsches Tedeum); 6.
Paul Eber um 1580 (Helft mit Gott's Güte
Preisen) |
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Solo:
Alt, Tenor, Baß - Chor; Oboe I/II, Oboe da
caccia, Corno da caccia; Streicher;
Continuo |
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- 1.
Coro: "Herr Gott, dich loben wir" |
1' 37" |
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D1 |
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- 2.
Recitativo (Basso): "So stimmen wir bei
dieser frohen Zeit" |
1' 15" |
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D2 |
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- 3.
Aria (Basso) und Coro: "Laßt uns jauchzen,
laßt uns freuen" |
3' 48" |
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D3 |
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- 4.
Recitativo (Alto): "Ach treuer Hort" |
1' 23" |
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D4 |
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- 5.
Aria (Tenore): "Geliebter Jesu, du allein" |
8' 45" |
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D5 |
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- 6.
Choral (Coro): "All solch dein Güt wir
preisen" |
0' 58" |
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D6 |
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Walter
Gampert (Solist des Tölzer
Knabenchor), Sopran (BWV 13,4)
Peter
Hinterreiter (Solist des Tölzer Knabenchor),
Sopran (BWV 14,2)
Paul Esswood, Alt
Kurt Equiluz, Tenor (BWV 12,6;
13,1)
Marius van
Altena, Tenor
Max van Egmond, Baß
Tölzer Knabenchor | David
Willcocks, Leitung
Das verstärkte LEONHARDT-CONSORT mit
Originalinstrumenten
- Marie Leonhardt (Solo), Lucy van Dael,
Alda Stuurop, Antoinette van den Hombergh,
Janneke van der Meer, Violinen
- Wim ten Have, Wiel Peeters, Violen
- Anner Bylsma, Dijck Koster, Violoncelli
- Anthony Woodrow, Violone
- Hermann Baumann, Corno da caccia
- Jürg Schaeftlein (BWV 12,1; 12,4; 14,4),
Paul Hailperin (BWV 14,4), Ku Ebbinge,
Maarten Karres, Oboen
- Jürg Schaeftlein (BWV 13,1; 13,3, 16,5),
Ku Ebbinge (BWV 13,6), Oboe da caccia
- Milan Turkovic (BWV 12,4), Peter
Mauruschat, Fagotti
- Gustav Leonhardt, Bob van Asperen, Orgel
Gustav Leonhardt, Gesamtleitung
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Luogo
e data di registrazione |
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Amsterdam (Holland) -
Gennaio / Aprile 1971
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Registrazione: live
/ studio |
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studio |
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Producer |
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Wolf Erichson
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Prima Edizione LP |
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Telefunken "Das Alte
Werk" | SKW 4/1-2 | 2 LPs - durata
47' 06" - 35' 54" | (p) 1972 | ANA
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Edizione CD |
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Teldec Classics |
LC 6706 | 8.35030 ZL | 2 CDs -
durata 47' 06" - 35' 54" | (c)
1985 | ADD |
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Cover
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Johann Sebastian
Nach, einige Jahre vor seiner
Ernennung zum Kantor in Leipzig.
Gemälde con JJ. Ihle (1720) Bach
Museum Eisenach.
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Note |
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INTRODUCTION
by Alfred Dürr
“Weinen, Klagen, Sorgen,
Zagen” (“Weeping,
Lamenting, Worrying,
Fearing’’) (BWV 12)
was written for the Sunday
Jubilate, the third Sunday
after Easter, which was the
22nd April 1714. This was
the second cantata Bach
wrote after his appointment
as music director to the
Court of Weimar. The
libretto is without freely
written recitative and this
fact, together with the
three arias which follow
closely on one another,
shows it to be an
unmistakable transitional
form of the Weimar poet
Salomon Franck. Despite
missing proof of the fact we
can regard him as the
undoubted author of the
libretto. For the content of
his work Franck turned to
the Sunday Gospel according
to St. John (Chap. 16, v.
16-23), and its basic
thoughts “Sadness (about
Jesus’ farewell) - Joy (at
seeing Jesus again)” become
the governing theme of the
cantata.
In his composition Bach
interprets these basic
thoughts of the libretto
with those means which the
teaching of the “musica
poetica” of his time
provided. “Sadness” ist
portrayed by chromatiscism,
for example the falling bass
line of the opening chorus,
but “Joy” on the other hand
is illustrated by rising
diatonic harmony like that
which is to be found in the
recitative, in the second
aria and, too, in the final
chorale. There are further
musical techniques, such as
canonic passages and chorale
extracts in instrumental
form, which serve to clarify
and give point to the
libretto.
The solemn and separate
instrumental introduction -
in later cantatas this sort
of introduction becomes an
integral part of the opening
chorus - is followed by a
sedately constructed choral
section whose main part is a
chaconne built up over a
chromatically falling
bass-continuo. We know this
chaconne from its later
re-shaping into the
“Crucifixus” of the B minor
Mass. The middle section has
a faster tempo and its
construction and harmony are
less complicated.
The biblical text in the
third movement is presented
as recitative accompanied by
strings, the top
instrumental voice of which
(violin 1) plays a rising
scale of held notes. The
full meaning of this is made
clear to us when the alto
sings the words “in das
Reich Gottes eingehen” (“to
enter the kingdom of God”)
also to a rising scale.
The change from sadness to
joy is reflected in the
fluctuating character of the
three arias. In the fifth
movement we meet again the
rising scalic figure, this
time with numerous canonic
parts as symbol of the image
of Christ, and in the sixth
movement in place of an
obligato instrument the
trumpet plays the chorale
melody (without text) “Jesu,
meine Freude” (“Jesus, my
Joy”) which is to say: Jesus
turns sadness into joy.
The final chorale, which is
as usual simply constructed,
is extended into solemn,
five-part harmony by an
independent, high
instrumental voice.
"Meine Seufzer, meine
Tränen" ("My sighs, my
tears") (BWV 13)
belongs to Bach’s third
cantata year and was first
performed on 20th January
1726, the second Sunday
after Epiphany. It was only
recently ascertained that
the librettist was the court
librarian at Darmstadt,
Georg Christian Lehms. His
source was the Sunday Gospel
according to St. John (The
marriage in Cana, Chap. 2,
v. 1-11) and from this he
used the philosophy that the
Christian can still be sure
of God’s help, even when it
is not evident at the moment
(John, Chap. 2, v. 4: “Mine
hour is not yet come”). As
the turning point from
desperation to trust in God
the librettist chooses the
hymn verse of the third
movement, while the final
chorus, which is missing in
Lehm’s version, is an
addition of Bach’s.
Bach’s composition is
distinguished by its
specifically chamber music
character. There is no
important opening choral
section and the choir is
only used tutti in the final
chorus. The string ensemble,
too, which usually forms the
backbone of the orchestra,
only appears in the choral
sections while the
characteristic wood-wind
instrumentation of two
flutes and an oboe da caccia
gives the work an individual
colour. Although it is true
that the two movements in
recitative form have an
equally strong power of
expression, even while they
are set in secco style, it
is also true to say that the
main musical weight is to be
found in the arias both of
which express in their own
way the sighing of the
sinner after his deliverance
- the first aria by means of
alternating wood-wind
passages, and the second by
means of two recorders in
unison and a solo violin
which plays a lamenting
melody full of unusual
intervals. In this second
aria an opposing force takes
shape by means of a rising
scalic passage. This
opposing force governs in
particular the middle
section of the aria which
speaks of the consolation
that appears to the person
who “looks heavenwards”.
“War Gott nicht mit uns
diese Zeit” (“If God were
not with us at this time”)
(BWV 14) must be
regarded as a “late” cantata
since there are hardly any
preserved cantatas from
Bach’s last period. It was
first performed on 30th
January 1735, a few weeks
after the Christmas
Oratorio. As far as the
libretto is concerned, it
belongs to those choral
cantatas which make up the
core of Bach’s second
cantata year of 1724-1725
(on account of the early
Easter in 1725 the fourth
Sunday after Epiphany was
omitted). The beginning and
final verses of Martin
Luther’s three-verse
paraphrase of the 124th
Psalm are used literally
(first and fifth movements),
the middle verse (third
movement) returns again to
recitative with a
paraphrased free rendering
while the words of the two
arias are both free
developments of the main
philosophy of the Psalm. The
relationship to the Sunday
Gospel according to St.
Matthew (Chap. 8, v. 23-27,
Jesus calms the tempest) is
obvious: only God’s
protection can keep us from
harm; the relationship makes
itself clear, too, in the
special picture, already
imagined in the Psalm, of
the torrents of water from
which God saves us.
The usual formal design is
here made up of two arias,
one on each side of a
recitative section, and a
simple four-part final
chorus. However, the first
movement has a very striking
artistic form and this can
perhaps only be fully
appreciated after several
hearings: the unornamented
song-melody is solemnly
drawn out by the wind (horn
and two oboes in unison)
and, played line for line,
it is the crowning element
of a movement in motet form
in which the string parts
double those of the choir
which in its turn sings
every line as a
counter-fugue. Every entry
of the song-melody is
followed at the next entry
by its inversion. It is
certainly no coincidence
that such a movement, which
seems like a foretaste of
the late contrapuntal works,
is to be found in one of
Bach’s last church cantatas.
“Herr Gott, dich loben
alle wir” (“Lord God, we
praise You”) (BWV 16)
is, like Cantata No. 13, one
of the works which Bach
composed to George Christian
Lehms’ libretti at the end
of 1725 and beginning of
1726.
However, the final chorus is
once again a personal
addition of Bach’s. The work
was first performed in the
new year of 1726 and makes
hardly any reference to the
Gospel reading for New
Year’s Day (Christening of
Jesus) but rather thanks God
for proven works and prays
for future blessing.
Bach’s composition shows how
much he avoided using any
particular kind of scheme
but was still able to give
every work an individual
character. Although Lehms
had only intended the choir
to take part in the first
movement, Bach uses it not
only for the final chorus
but also gives it
considerable parts in the
aria as well. In fact the
shortness of the joining
secco recitative (second
movement) and the vocal
commencement of the third
movement without the usual
instrumental prelude produce
almost the effect that the
first three movements
represent a complete
one-unit work. The German
words of the Te Deum form
the basis of the commencing
choral movement in which the
soprano and horn parts in
chorale form are matched
against excitable vocal and
instrumental counterparts.
After a short recitative
this moves into an aria
whose many-layered
construction can be simply
described in the form
“choral-fugue-solo-choral-fugue”.
Only now after a further
secco recitative does the
only solo-aria of this
cantata follow and with it
comes the change from
jubilation to a personally
intimate act of prayer which
is underlined even more by
means of a solo obligato
instrument. This was an oboe
da caccia in 1726 but at a
later performance a
“violetta” was used (viola).
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