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2 LPs
- 6.35558 EX - (p) 1980
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1 CD -
8.44281 ZK - (c) 1989 |
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DAS KANTATENWERK - Volume 26 |
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Johann Sebastian
BACH (1685-1750) |
Kantate
"Ihr werdet weinen und heulen", BWV
103
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17' 46" |
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Kantate
am Sonntag Jubilate (Dominica Jubilate)
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Text:
Ziegler I (mit Eingriffen Bachs); 1.
Johannes 16,20; Paul Gerhardt 1653
(Barmherzger Vater, höchster Gott)
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Solo:
Alt, Tenor, Baß - Chor; Tromba
(Naturaltrompete in D); Flauto piccolo,
Oboe d'amore I, II; Streicher; B.c.
(Violoncello, Violone, Organo)
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- 1.
Coro - Arioso (Basso): "Ihr werdet weinen
und heulen" |
6' 01" |
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A1 |
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- 2.
Recitativo (Tenore): "Wer sollte nicht in
Klagen untergeh" |
0' 33" |
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A2 |
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- 3.
Aria (Alto): "Kein Artz ist außer dir zu
finden" |
4' 44" |
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A3 |
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- 4.
Recitativo (Alto): "Du wirst mich nach der
Angst auch wieder erquicken" |
0' 33" |
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A4 |
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- 5.
Aria (Tenore): "Erholet euch, betrübte
Sinnen" |
3' 16" |
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A5 |
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- 6.
Choral: "Ich hab dich einen Augenblick" |
1' 05" |
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A6 |
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Kantate
"Gottes Zeit ist die allerbeste Zeit",
BWV 106 (Actus tragicus)
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20' 12" |
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Trauerfeier |
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Text:
2.a Apostelgeschichte 17,28; 2.b Psalm
90,12; 2.c Jesaja 38,1; 2.d Jesus Sirach
14, 18 und Offenbarung 22,20; 3.a Psalm
31,6; 3.b Lukas 23,43 - Martin Luther
1524; 4. adam Reusner 1533 |
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Solo:
Sopran, Alt, Tenor, Baß - Chor; Blockflöte
I, II; Viola da gamba I, II; B.c.
(Violoncello, Violone, Organo) |
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- 1.
Sonatina (Molto adagio) |
2' 35" |
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D1 |
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2.a) Chor: "Gottes Zeit ist die allerbeste
Zeit" |
8' 40" |
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D2 |
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2.b) Arioso (Tenore): "Ach Herr, lehre uns
bedenken" |
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2.c) Aria (Basso): "Bestelle dein Haus;
denn du wurst sterben" |
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2.d).Terzetto (Coro) - arioso (Soprano) -
Choral: "Es ist der alte Bund" |
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3.a) Aria (Alto): "In deine Hände befehl
ich meinen Geist" |
6' 05" |
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D3 |
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3.b) Arioso (Basso, Alto): "Heute wirst du
mit mir im Paradies sein" |
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- 4.
Chor: "Glorie, Lob Ehr und Herrlichkeit" |
2' 42" |
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D4 |
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Marcus
Klein (Solist des Knabenchores
Hannover), Sopran (BWV 106)
Raphael Harten (Solist des Knabenchores
Hannover), Alt (BWV 106)
Paul Esswood, Alt
Kurt Equiluz, Tenor
Marius van
Altena, Tenor
(BWV 106)
Max van Egmond, Baß
Knabenchor Hannover |
Heinz Hennig, Leitung
Collegium Vocale Gent | Philippe
Herreweghe, Leitung
Das verstärkte LEONHARDT-CONSORT mit
Originalinstrumenten
- Don Smithers, Tromba
- Frans Brüggen, Flauto piccolo
- Frans Brüggen, Walter van Hauwe, Blockflöten
- Ku Ebbinge, Bruce Haynes, Oboen
d'amore
- Marie Leonhardt, Lucy van Dael, Alda
Stuurop, Ruth Hesseling (BWV 103,5), Janneke
van der Meer, Antoinette van den Hombergh, Violinen
- Staas Swiestra, Ruth Hesseling, Wiel
Peeters (BWV 103,5), Violen
- Anner Bylsma, Richte van der Meer, Violoncelli
- Jaasp ter Linden, Adelheid Glatt, Gamben
- Anthony Woodrow, Violone
- Gustav Leonhardt, Bob van Asperen (BWV
103,1,5,6; 106,2,3,4), Orgel
Gustav Leonhardt, Gesamtleitung
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Luogo
e data di registrazione |
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Doopsgezinde Kerk,
Haarlem (Holland)
- Gennaio 1980 (BWV 103)
- Febbraio 1978 / Febbraio - Marzo
1979 / Gennaio 1980 (BWV 106)
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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" | 6.35558 EX | 2 LPs -
durata 34' 51" - 41' 05" | (p)
1980 | ANA
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Edizione CD |
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Teldec Classics |
LC 6706 | 8.44281 ZK | 1 CD -
durata 76' 29" | (c) 1989 | 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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In questo volume sono
presenti anche La Cantate BWV 104
e BWV 105 a cura del Concentus
Musicus Wien diretto da Nikolaus
Harnoncourt.
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INTRODUCTION
by Ludwig Finscher
»Ihr werdet weinen und
heulen« (BWV 103),
written for the third Sunday
after Easter (Jubilate
Sunday), 22nd April 1725, is
the first of the nine
cantatas on texts from
Mariane von Ziegler’s
»Versuch in Gebundener
Schreib-Art« published in
1728, that is to say, after
the music had been composed.
They mark Bach’s return,
after the mighty group of
chorale cantatas of the
second Leipzig annual cycle
(1724/25), to the »madrigal«
form in which only the
introductory bible text and
the concluding chorale
stanza relate directly to
the Gospel for the
particular Sunday; he did,
however, alter the texts of
the Leipzig poetess quite
substantially, mainly by
shortening them.
The Gospel for Jubilate
Sunday consists of Jesus’
words of Farewell pee 16,
vv. 16-23); the contrasting
emotions of sadness and joy
which characterise the whole
may they do in the other
Jubilate cantatas, »Weinen,
Klagen« and »Wir müssen
durch viel Trübsal«, afford
the composer ample
opportunity to paint both
emotions in vivid colours:
sadness by chromatic steps,
indicative of suffering, and
by altered intervals; joy by
dancing rhythms, coloratura
and brilliant orchestration.
Even the highly complex
opening chorus is built upon
this contrast: the two
recitatives and arias extend
it still further. The
concluding chorale is in
simple four-part harmony.
BWV 103 is certainly the
most intimate of all Bach’s
Jubilate cantatas: it lacks
both the high pathos of
»Weinen, Klagen« and the
spaciousness of »Wir müssen
durch viel Trübsal«. By way
of compensation, the very
intimacy and elegance,
redolent of chamber music,
achieve a more inward and
subjective effect; the
unusual scoring - a descant
recorder in the opening
chorus, which was changed to
a solo violin or flute in
1731 - contributes to this
result.
»Gottes Zeit ist die
allerbeste Zeit« (BWV 106)
is a mourning cantata (hence
the title Actus tragicus)
without any connection with
the ecclesiastical year. It
is one of Bach’s most famous
cantatas, not least because
the interpretation of the
text is clothed in that
highly pictorial musical
language typical of Bach’s
early cantatas (the work
probably dates from 1707,
when he was at Mühlhausen).
It is a »pre-madrigal« work,
almost entirely constructed
from bible texts and hymn
stanzas; the inspiration
which Bach drew from this
potent language enabled him
to produce, as Alfred Dürr
puts it, a work of genius
such as even great masters
do not often achieve, and
which enabled him, when he
was only 22 years old, at
one stroke to leave his
contemporaries far behind.
The development of the text,
the idea of death under the
old and the new covenant,
according to the Law and the
Gospel, is designed
symmetrically, with the
change from the Old to the
New Testament providing the
fulcrum:
Sonatina |
Chorus |
Solo |
Solo |
Chorus |
Duet |
Chorus
and Fugue
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E
flat
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E
flat / C minor
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C
minor
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C
minor / F minor
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F
minor
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B
flat minor / A flat
/ C minor
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E
flat
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The chorus in F minor is the
formal and spiritual centre
of the work; it is also its
most complex movement. In a
fugato which makes use of
archaic ideas (Old
Testament) an effective,
indeed sensitive Soprano
line (»Even so, come, Lord
Jesus« - Revelations 20, v.
20) and a chorale melody
(»Ich hab’mein’ Sach’ Gott
heimgestellt« - I have put
myself in God’s hand) played
on the flute are joined
together in a unique
intellectual and musical
combination, which fades
away into the second part of
the cantata dealing with
salvation through Christ.
The outer movements are more
direct and simple, and the
gentle orchestration
(recordets and viole da
gamba) is appropriate to its
function as a funeral
cantata.
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