Luogo e data di registrazione		Amsterdam (Holland) - Aprile 1972 / Febbraio 1974
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SKW 9/1-2 | 2 LPs - durata 44' 53" - 39' 50" | (p) 1974 | ANA
	Edizione CD		Teldec Classics | LC 6706 | 8.35035 ZL | 2 CDs - durata 44' 53" - 39' 50" | (c) 1986 | ADD
	Cover		Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.
	Note		In questo volume sono presenti anche La Cantate BWV 31 e BWV 34 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Alfred Dürr “Liebster Jesu, mein Verlangen” (BWV 32), based on a text by Georg Christian Lehms, belongs to the third Leipzig cantata cycle by Bach and was composed on 13th January, 1726. The text is linked up with reading of the gospels by the 12-year-old Jesus in the temple and features the form, popular since the 17th century, of a dialogue between Jesus and the soul. It draws its inner tension from the conditions of god-forsakenness and consolation in God, which are understood as the basic situations of human existence. The introductory aria, arranged on the pattern of a slow concerto movement, is of exceptional beauty: Superimposed on short string chords, the oboe and soprano produce in concertante form widely-spanning, richly-ornamented arcs of melody. Whereas the centre (bass) aria with its almost virtuoso violin part is still pervaded with deep gravity (note the harmonic gloominess on “betrübter Geist” = troubled souls), the final duet strikes up notes of unclouded, almost exuberant joy. The final chorale, the 12th verse of the hymn “Weg, mein Herz, mit den Gedanken” = Away, my heart, with such thoughts, by Paul Gerhardt (melody: Freu dich sehr, o meine Seele = Rejoice greatly, O my soul), was not provided for in the text, but was added by Bach. “Allein zu dir, Herr Jesu Christ” (BWV 33) is a chorale cantata of the second Leipzig cycle, composed for 3rd September, 1724. It is based on the three-verse song by Konrad Hubert of 1540, with the additional verse from the same year. The first and last verses from this were taken over unchanged textually and with their own chorale melody, while the two inner verses were transposed by an unknown text arranger into a recitative-aria pair each. The reason for the choice of this hymn - the gospel reading for the Sunday tells the parable of the good Samaritan - is probably in the main the phrase from verse 3 “vor allen Dingen lieben dich und meinen Nächsten als mich” = above all lovethee and my neighbours as myself, which has appeared in cantata section 5; on the whole, however, thethematic connection is only rather loose. From the abundance of musical ideas just a few are mentioned here. The introductory chorus accords with the type used by Bach in most cases; the chorale is inserted line by line into a concertante orchestral movement with its own thematic style; the song melody lies in the soprano part, supported by the other singing voices in part chordal and part imitative setting. Of particular charm is the text-engendered theme of the alto aria (section 3), the clarity of which is perfectly revealed. Contrasting with this is the second aria (section 5), a duet for tenor and bass with two obbligato oboes, with its warm tone entirely attuned to vocal rendition: instrumental and vocal melodies fuse with one another.