Luogo e data di registrazione		Doopsgezinde Kerk, Haarlem (Holland) - Dicembre 1985
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Teldec "Das Alte Werk" | 6.35659 EX | 2 LPs - durata 38' 57" - 51' 41" | (p) 1987 | DIGITAL DMM
	Edizione CD		Teldec Classics | LC 6706 | 8.35659 ZL | 2 CDs - durata 38' 57" - 51' 41" | (p) 1987 | DDD
	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 171, BWV 173 e BWV 174 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Gerhard Schuhmacher "Vergnügte Ruh, beliebte Seelenlust" (BWV 170) was written for the Sixth Sunday after Trinity (July 28) 1726. We can assume that Bach performed the brief work together with a cantata by his Meiningen cousin Johann Ludwig Bach in the same church service, instead of a two-part cantata (before and after the sermon). Bach took the text from Georg Christian Lehms’s cantata yearbook for 1711: the subject is Christian righteousness and the fulfilment of the Pharisee’s laws. The pastoral title aria begins without an introductory movement: the oboe d’amore plays in unison with the first violin and forms a bridge to the timbre of the alto voice, radiating an atmosphere of great calm. In the fully composed da capo, the epilogue corresponds to the introduction. The contrast follows after the recitative (No. 2) in the aria "Wie jammern mich doch die verkehrten Herzen” with obbligato organ (two manuals without bass) and unison violins and viola with the alto. The basso continuo as the “end and origin of all music" is absent: Bach deliberately composed what he referred to in a famous comment as “an infernal whining and drawling." The figures at ”Rache" (rengeance) ”erfreun” (rejoice) and ”frech" (frendish) that seem wrong in combination and the trill on ”verlacht” make it clear that the attitude of the Pharisees is exposed here. The text turns to God in the accompagnato, then follows the triumphant aria of the soul turning away from the world. The rapid organ figures emphasize how distasteful the world has become ("mir ekelt..."). "Erschallet, ihr Lieder" (BWV 172) was probably composed rn Weimar for Whitsunday of 1714 (May 20). Bach performed the work at least three more times, making alterations on each occasion. A D major version of this cantata from the Leipzig period corresponds approximately to the pitch of the Weimar Chorton (C major). In this recording the work is heard in C major. The author of the text rs not named, nor is he known from the printed text: however, Bach researchers generally accept the authorship of Salomo Franck, since there are no freely written recitatives (the only recitative has a Biblical text). Timpani and trumpets symbolize God's kingship as the musical theme of the resplendent opening movement in da capo form. The bass recitative (Christ’s words) is followed by the aria ”Heiligste Dreieinigkeit" with the symbolic instrumentation (rare for Bach) of three trumpets, timpani and basso continuo accompanying the solo bass voice. The vocal figures are derived entirely from those of the heraldic trumpet part. After the weight of this aria, the tenor' aria "O Seelenparadies, das Gottes Geist durchwehet” with the calm flow of the unison strings seems to be unbound by the force of gravity. The pietistic itlea of the personification of the soul is hinted at, and becomes concr'ete in the duet (No. 5) with the ”Hirnmelswind” (Heaven mild; alto), which is obviously the poet’s attempt to get out of a predicament: the idea of bridal mysticism (the comforter as briedegroom of the soul) did not seem appropriate in connection with Whitsun and the Trinity, The chorale ”Von Gott kömmt mir einen Freudenschein” likewise suggests the symbolism, though. The duet is made especially elaborate by the figured chorale ”Kornrn, heiliger Geist” in the continuo.