TELEFUNKEN
2 LPs - 6.35558 EX - (p) 1980
1 CD - 8.44281 ZK - (c) 1989

DAS KANTATENWERK - Volume 26






Johann Sebastian BACH (1685-1750) Kantate "Ihr werdet weinen und heulen", BWV 103

17' 46"

Kantate am Sonntag Jubilate (Dominica Jubilate)




Text: Ziegler I (mit Eingriffen Bachs); 1. Johannes 16,20; Paul Gerhardt 1653 (Barmherzger Vater, höchster Gott)




Solo: Alt, Tenor, Baß - Chor; Tromba (Naturaltrompete in D); Flauto piccolo, Oboe d'amore I, II; Streicher; B.c. (Violoncello, Violone, Organo)




- 1. Coro - Arioso (Basso): "Ihr werdet weinen und heulen" 6' 01"
A1

- 2. Recitativo (Tenore): "Wer sollte nicht in Klagen untergeh" 0' 33"
A2

- 3. Aria (Alto): "Kein Artz ist außer dir zu finden" 4' 44"
A3

- 4. Recitativo (Alto): "Du wirst mich nach der Angst auch wieder erquicken" 0' 33"
A4

- 5. Aria (Tenore): "Erholet euch, betrübte Sinnen" 3' 16"
A5

- 6. Choral: "Ich hab dich einen Augenblick" 1' 05"
A6






Kantate "Gottes Zeit ist die allerbeste Zeit", BWV 106 (Actus tragicus)

20' 12"

Trauerfeier



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



Solo: Sopran, Alt, Tenor, Baß - Chor; Blockflöte I, II; Viola da gamba I, II; B.c. (Violoncello, Violone, Organo)



- 1. Sonatina (Molto adagio) 2' 35"
D1

- 2.a) Chor: "Gottes Zeit ist die allerbeste Zeit" 8' 40"
D2

- 2.b) Arioso (Tenore): "Ach Herr, lehre uns bedenken"



- 2.c) Aria (Basso): "Bestelle dein Haus; denn du wurst sterben"



- 2.d).Terzetto (Coro) - arioso (Soprano) - Choral: "Es ist der alte Bund"



- 3.a) Aria (Alto): "In deine Hände befehl ich meinen Geist" 6' 05"
D3

- 3.b) Arioso (Basso, Alto): "Heute wirst du mit mir im Paradies sein"



- 4. Chor: "Glorie, Lob Ehr und Herrlichkeit" 2' 42"
D4





 
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
 






Luogo e data di registrazione
Doopsgezinde Kerk, Haarlem (Holland)
- Gennaio 1980 (BWV 103)
- Febbraio 1978 / Febbraio - Marzo 1979 / Gennaio 1980 (BWV 106)


Registrazione: live / studio
studio

Producer
Wolf Erichson


Prima Edizione LP
Telefunken "Das Alte Werk" | 6.35558 EX | 2 LPs - durata 34' 51" - 41' 05" | (p) 1980 | ANA


Edizione CD
Teldec Classics | LC 6706 | 8.44281 ZK | 1 CD - durata 76' 29" | (c) 1989 | 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 104 e BWV 105 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.














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
E flat
E flat / C minor
C minor
C minor / F minor
F minor
B flat minor / A flat / C minor
E flat

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.