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Complete Bach Cantatas Vol. 5

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 5

Format: CD
Label: Challenge Classics
UPC: 0608917220520
Catnr: CC 72205
Release date: 10 December 2003
CD (3 items)
 
Label
Challenge Classics
UPC
0608917220520
Catalogue number
CC 72205
Release date
10 December 2003
Album
Artist(s)
Composer(s)
EN
NL

About the album

Bach’s secular cantatas from the Leipzig period (II)
CHRISTOPH WOLFF

The fifth volume of our complete recording of Bach’s cantatas completes the series of secular cantatas from the composer’s years in Leipzig. Seven works are involved here, spanning a period from 1725 to 1742, the year of Bach’s final secular cantata, BWV 212. Of Bach’s occasional compositions, some fifty secular pieces have survived, yet these represent no more than a fraction of what must once have existed. Indeed, there is no other group of works by the composer that has suffered such great –
and regrettable – losses. In the case of more than half of the works that are known to have existed, only the words, but not the music, survived. Quite how many pieces may have disappeared without leaving any trace whatsoever is impossible to say. As with so many of Bach’s missing works, the dispersal of his estate in 1750 is largely to blame for this state of affairs, but an additional factor here is the fact that, even less than with Bach’s sacred compositions, later owners of such secular pieces could have found few practical opportunities to reuse them. It is difficult to say with any degree of certainty how many secular works there may once have been, since far too few original sources and documents have survived. Important pointers are provided by printed editions of texts that name Bach as composer, but since it was by no means a matter of course for a composer’s name to be mentioned when a libretto appeared in print, we must reckon on the fact that Bach was behind relatively large number of other settings of congratulatory and celebratory texts and the like. (Here one thinks, for example, of the collections of poems by Christian Friedrich Henrici, otherwise known as Picander.)
Bach’s secular cantatas cover a period of almost exactly three decades. The first surviving evidence of such a work dates back to February 1713, when Bach visited Weißenfels as part of the official celebrations to mark the duke’s birthday: his Hunting Cantata Was mir behagt, ist nur die muntre Jagd BWV 208 is believed to have been written for this occasion. Conversely, the latest record of Bach’s creative activities in this particular field is afforded by his cantate burlesque, the Peasant Cantata BWV 212, of August 1742, although his dramma per musica, Der Streit zwischen Phoebus und Pan BWV 201, is known to have been revived as late as 1749, in other words, the year before his death. For Bach, the composition and performance of such works was in part an important source of often considerable extra income: for the funeral music for Prince Leopold of Cöthen, for example, he received 230 thalers by way of a fee and expenses, whereas his basic annual salary as Thomaskantor in Leipzig was no more than 100 thalers. The titles of these works often indicate the piece’s function or poetical structure. Whereas the term “cantata” is taxonomically non-committal, a “serenata” was designed to be performed in the evening (longer pieces were sometimes also described as Abend- Music, while Tafel-Music was music written to be played at the prince’s table. A dramma per musica treated of a concrete – generally mythological – subject and was close to an operatic scena in charakter (it is no accident that the same term was used as a standard designation for Italian operas of the time). As such, it constituted a particular attraction for Leipzig audiences, since the city’s opera house had been forced to close for financial reasons in 1720.

“Weichet nur, betrübte Schatten” BWV 202 is a cantata for soprano solo. Its text suggests that it was written for a wedding, but no further details are known. The librettist, too, is unknown, as is the name of the couple that commissioned the piece – the libretto contains no direct reference that would allow us to establish their identity. At the same time, the fact that no names occur in the text meant that it was easier for Bach to revive the work, and although there is no evidence that he did so, it is a possibility that cannot be ruled out. No original musical sources have survived, making it difficult to date the work with any accuracy. The oldest copy - which is headed “Cantata a voce Sola” – dates from 1730, giving us at least a terminus ad quem. The fact that the work contains no courtly allusions suggests that it was written for a burgher couple in Leipzig before 1730. It begins with a highly expressive ombra scene of a kind often found in Baroque operas. The second aria is accompanied by continuo alone, the third introduces a solo violin and the fourth includes a solo oboe, while the fifth (a gavotte) draws – like the first – on the full orchestra.

“Zerreißet, zersprenget, zertrümmert die Gruft” BWV 205 is a dramma per musica based on a text by the poet and cantata librettist Christian Friedrich Henrici (better known by his pen-name, Picander) that was published in the first volume of his Ernst-schertzhaffte und satyrische Gedichte (1727), where it appears under the title “Der zufriedengestellte Aeolus” (Aeolus Satisfied). From this same source we also learn the circumstances in which the work was written, namely, for the name-day of Dr August Friedrich Müller, a philosophy lecturer at the University of Leipzig. No details are known concerning the first performance of the piece on 3 August 1725, although it was evidently organised by members of the university and took place out of doors, perhaps in front of Müller’s house in the Katharinenstraße. The performers presumably comprised members of Leipzig’s Collegium Musicum, of which Bach himself was to become director barely four years later in 1729. The mythological drama, in which Aeolus gains control of the winds, incorporates references to Müller directly into the action (“your Müller, your August”).
The four vocal soloists are all cast as mythological figures: Pallas (soprano), Pomona (alto), Zephyr (tenor) and Aeolus (bass). The chorus of winds appears only in the first and last movements. The work is lavishly scored for three trumpets and timpani, two flutes, two oboes, two horns and the usual complement of strings with an additional solo viola d’amore and viola da gamba. The autograph score is generally regarded as the most authoritative source of the work, the ninth movement of which was taken over into the New Year Cantata BWV 171 in 1729. Somewhat closer is the relationship between BWV 205 and Blast Lärmen, ihr Feinde! Verstärket die Macht BWV 205a, a parody written for the Elector Friedrich August II of Saxony on the occasion of his coronation as king August III of Poland in 1734.

“Schleicht, spielende Wellen” BWV 206 is another dramma per musica, this time a setting of a text by an unknown poet written for the birthday of the Elector Friedrich August II of Saxony on 7 October 1734. The text even alludes to the fighting that took place in Poland in 1734. Bach had already planned to set the work, but an unexpected invitation to write a serenade – Preise dein Glücke, gesegnetes Sachsen BWV 215 – in honour of a visit to Leipzig by the electoral couple on 5 October 1734 obliged him to postpone work on the score. It was evidently not completed until 1736, when it was performed, as originally intended, to mark the king’s birthday. Leipzig’s newspapers announced that at eight o’clock on the evening of 7 October 1736 Bach’s Collegium Musicum would “humbly perform solemn music with trumpets and timpani at Zimmermann’s coffee-house”. Clearly the time of year meant that the piece had to be performed indoors, rather than outside, as had been the case with BWV 207a. Although no copies of the libretto that was printed on this occasion have survived, Bach’s autograph score is extant, as is a complete set of parts indicating that the work was revived on 3 August 1740 to celebrate the elector’s name-day. On this occasion, however, it is clear from a report in the local paper that the performance, once again given by Bach’s Collegium Musicum, took place out of doors – at four o’clock in the afternoon in Zimmermann’s garden”.
The four vocal soloists represent allegorical personifications of the four principal rivers of Saxony, Poland and the Habsburg empire: the Pleiße (soprano), Danube (alto), Elbe (tenor) and Vistula (bass). In the opening chorus, Bach conjures up the play of the waves in the orchestra, and later, too, there are repeated references to the image of water. The work is lavishly scored, with not only trumpets and timpani but also three flutes and two oboes in addition to the standard string ensemble. BWV 206 is one of the very few secular cantatas by Bach not to be related to any of his other works in terms of parody borrowings.

“Auf, schmetternde Töne der muntern Trompeten” BWV 207a was written for the name-day of the elector of Saxony and king of Poland, Friedrich August II, and was probably first performed on 3 August 1735. According to a report in the local newspaper, Bach’s Collegium Musicum planned “most humbly to perform a solemn work, with illuminations, in Zimmermann’s garden by the Grimm Gate”. The librettist is unknown. Nor are any copies of the libretto known to have survived, although we do know from an invoice sent to Bach that the firm of Breitkopf printed 150 copies. Structurally, the text is based closely on that of the 1727 dramma per musica, Vereinigte Zwietracht der wechselnden Saiten BWV 207, from which the music of six of the nine movements is taken (nos. 1, 3, 5 and 7-9). The work was originally written to congratulate Dr Gottlieb Kortte on taking up his appointment as professor of jurisprudence and required few changes to transform it into the present piece. Even the introductory march had already been used in BWV 207. In BWV 207 the four vocal soloists were all cast as allegorical figures (Good Fortune, Gratitude, Diligence and Honour), whereas they have, as it were, been neutralised in the new version, although the original libretto (now lost) may also have contained pointers to similar sorts of personification. There is mention here, for example, of the Rivers Pleiße and Elbe and also of Mercury and Irene, all of whom pay tribute to the elector. The classical subject is used to glorify the king, who is addressed in person in the ninth movement (”Long live Augustus, long live the king”). Once again, the work is elaborately scored, this time for three trumpets and timpani, two flutes and three oboes in addition to the usual complement of strings.

“O holder Tag, erwünschte Zeit” BW 210 is a cantata for soprano solo (“Cantata a Voce Sola”) based on a text by an unknown poet and performed in Leipzig between 1738 and 1741 to celebrate the wedding of an unknown couple. A ten-movement work, it calls on a flute and oboe d’amore in addition to the usual strings. These two instruments are occasionally used soloistically in the ciricis to add to the range of musical expression: in no. 4 the oboe d’amore appears with a solo violin, in no. 6 there is solo work for the flute and in no. 8 for the oboe d’amore. In the great outer movements (nos. 2, 9 and 10), too, the combination of different instruments provides a subtly differentiated and colourful accompaniment for the soprano soloist.
The present work is a not especially extensive reworking of an older cantata, BWV 210a, that was written before 1727 for an unknown occasion. BWV 210 was frequently revived, with the words being modified to suit the changing occasion. On 2 January 1729, for example, it was performed with the words “O angenehme Melodei” in honour of Duke Christian of Saxe-Weißenfels on the occasion of the latter’s visit to Leipzig. Shortly afterwards Bach was appointed Kapellmeister “von Haus aus” to the court of Saxe-Weißenfels.

“Mer hahn en neue Oberkeet” BWV 212 is another setting of a libretto by Christian Friedrich Henrici (Picander). A cantate burlesque, it received its first performance of Schloß Klein-Zschocher near Leipzig on 30 August 1742 and was given in honour of Carl Heinnrich von Dieskau, a local tax collector and later director of the Königliche Kammermusik in Dresden who inherited the estate at Klein-Zschocher in 1742. The cantata’s earthy text is written in an Upper Saxon dialect. Musically too, the piece is emphatically burlesque in tone, as is clear even from the overture, which parodies a rustic ensemble with a three-part writing for violin, viola and continuo, its apparently unmotivated shifts suggesting a potpourri of dances. At various points in the work, moreover, Bach quotes snatches of popular tunes of the day: in the third movement for instance, we hear the “Großvatertanz”, Mit mir und dir ins Federbett, in the eighth movement the Folies d’Espagne and in the sixteenth movement the drinking song Was helfen uns tausend Dukater.

“Laßt uns sorgen, laßt uns wachen” BWV 213 is another dramma per musica, this time subtitled Herkules auf dem Scheidewege (Hercules at the Crossroads), and is based on a libretto by Bach’s regular collaborator in Leipzig, Christian Friedrich Henrici, otherwise known as Picander. Picander published the text in the fourth volume of his Ernst-scherzthaffte und satyrische Gedichte (1737), where the piece is said to have been performed “on the birthday of His Highness, the Prince Elector of Saxony etc. on 5 Sept. 1733”. We therefore know the circumstances surrounding the first performance of the cantata. An announcement in the Leipzig press additionally informs us that “Bach’s Collegium Musicum [ ... ] will most humbly celebrate the exalted birthday of His Highness the Prince Elector with solemn music from four to six in the afternoon in Zimmermann’s garden by the Grimm Gate”. In other words, the piece was intended to be performed out of doors by Bach’s Collegium Musicum in the course of an afternoon. Some two hundred copies of the text were published to coincide with the event, but none of these appears to have survived. The mythological subject-matter served to glorify the elector, who is mentioned by name in the twelfth and thirteenth movements. The five vocal soloists all represent mythological or allegorical figures: Pleasure (soprano), Hercules (alto), Echo (alto), Virtue (tenor) and Mercury (bass). A chorus of Muses appears in the first and last movements. The cantata is lavishly scored for winds and strings, its forces including two corni di caccia, two oboes (one of which doubles the oboe d’amore) and two concertante violins in addition to the usual four-part string writing. Bach’s autograph score and the original parts have survived and are rightly regarded as the most authoritative extant sources. The cantata’s choruses and arias (movements 1, 3, 5, 7, 9 and 11) were taken over into Part Four of the Christmas Oratorio in 1734/35 and, divorced from their secular, occasional context, given a new lease of life in the world of sacred music.

De laatste seculiere Bach Cantates meesterlijk vertolk door Het Amsterdam Baroque Orchestra & Choir
Tussen 1994 en 2004 nam dirigent Ton Koopman de enorme taak op zich om alle cantates gecomponeerd door Johann Sebastian Bach op te nemen met zijn Amsterdam Baroque Orchestra & Choir. Tijdens zijn leven schreef Bach vermoedelijk 295 cantates, waarvan er 202 bewaard zijn gebleven. Het overgrote deel van deze cantates kwam volgens biograaf Christoph Wolff, met wie Ton Koopman samenwerkte aan dit project, tot stand in de jaren 1723-25 toen Bach in Leipzig woonde en werkte.

De volledige set bevat alle 202 cantates onderverdeeld 22 volumes. Dit vijfde volume uit de serie voltooit de seculiere cantates die de componist schreef tijdens zijn jaren in Leipzig. In dit deel zeven werken, gecomponeerd tussen 1725 en 1742.

Van Bach's seculiere cantates bestaan er nog 50 stukken. Deze vertegenwoordigen echter niet meer dan een fractie van wat ooit heeft bestaan. Sterker nog, er is geen andere groep van werken waarvan zo veel werken verloren zijn gegaan. Bij meer dan de helft van de werken overleefde bovendien enkel de tekst, zonder de muziek.

De vermissing van Bach's werken is deels te wijten aan zijn blindheid op het einde van zijn leven (1685-1750), maar een bijkomende factor is het feit dat seculiere cantates geregeld werden hergebruikt voor andere praktische aangelegenheden. Het is dus moeilijk met zekerheid te zeggen hoeveel seculiere werken er ooit bestaan hebben, omdat er te weinig originele bronnen en documenten bestaan.


Artist(s)

Ton Koopman (conductor)

Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time...
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Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time to teaching. Ton Koopman is president of the International Dieterich Buxtehude Society and, since 2019, president of the Leipzig Bach Archiv.

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Amsterdam Baroque Orchestra & Choir

Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality. The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare...
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Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality.
The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare combination of textural clarity and interpretative flexibility, the Amsterdam Baroque Choir is considered among today’s most outstanding choirs. In 1994 Ton Koopman and the Amsterdam Baroque Orchestra & Choir embarked upon the most ambitious recording project of the last decades: the integral recording of Bach’s secular and sacred cantatas. For this extraordinary project Koopman and his ensemble received the Deutsche Schallplatten-Preis Echo Klassik. Next to the CD recordings three books have been edited and published by Ton Koopman and the musicologist Christoph Wolff and a series of six documentaries was produced and broadcasted by various TV stations.
Alongside Bach’s music the Amsterdam Baroque Orchestra & Choir has recorded all major baroque and classical works. Major recognitions include the Gramophone Award, Diapason d'Or, 10-Repertoire, Stern des Monats-Fono Forum, the Prix Hector Berlioz and two Edison Awards. In 2008 the ensemble and Ton Koopman have been honoured with the prestigious BBC Award. Since March 2003 “Antoine Marchand”, a new sub-label of Challenge Classics, took over the release of Koopman’s new recordings and among many others has published 22 CD boxes of the Bach Cantatas, a new recording of the St. Matthew Passion (on CD and DVD) and St. Markus Passion of J.S. Bach (DVD), live recorded in Milan, as well as the first seven volumes of the Buxtehude Opera-Omnia Edition. Ton Koopman and the ABO & ABC are regular guests at the major concert halls of Europe, the USA and Japan. In the 2008/09 season they will tour extensively in Europe (Amsterdam, Paris, Madrid, Vienna, Milan, Cologne, Dresden, Düsseldorf etc) and in Far East with concerts in Hong Kong, Seoul and Tokyo.
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Lisa Larsson

Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the...
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Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the Royal Danish Opera, the Opéra de Monte-Carlo, the Leipzig Opera, the Grand Théâtre de Genève, the Royal Swedish Opera and the Theater Basel as well as at the Salzburg Festival, the Lucerne Festival, the Glyndebourne Festival and the Festival d'Aix-en-Provence.
Lisa Larsson is also a remarkably versatile concert singer of international renown. In recent years she has constantly expanded her broad repertoire with works by Mahler, Richard Strauss, Brahms, Berlioz, Britten and Stravinsky, and has performed in a number of world premieres of contemporary works. Conductors she has worked with include Claudio Abbado, Sir Colin Davis, Daniel Harding, Adam Fischer, Mikhail Pletnev, David Zinman, Antonello Manacorda, Lawrence Renes, Massimo Zanetti, Louis Langrée, Douglas Boyd, Juanjo Mena, Christian Arming, Andrew Manze, Stefan Solyom, Vassily Sinaisky and Edo de Waart. Lisa Larsson has performed with leading orchestras including the Berlin Philharmonic, the Zurich Tonhalle Orchestra, the Frankfurt Radio Symphony Orchestra, the Munich Philharmonic, the Vienna Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Netherlands Philharmonic, the Royal Stockholm Philharmonic Orchestra, the Hong Kong Philharmonic, the Orquestra Sinfônica do Estado de São Paulo, the NHK Symphony Orchestra and the New Japan Philharmonic.
In the field of baroque music, she has often worked with leading conductors and their orchestras, including Sir John Eliot Gardiner, Sir Roger Norrington, Christopher Hogwood, Frans Brüggen, Andrea Marcon, Emmanuelle Haïm, Ton Koopman, Nathalie Stutzmann, Nicholas McGegan, Paul Goodwin, Martin Haselböck, Gottfried von der Goltz, Trevor Pinnock, Richard Egarr, Fabio Bonizzoni, Jan Willem de Vriend and David Stern.
Highlights of her 2014 | 2015 season include two world premieres of works dedicated to her by Swedish composer Rolf Martinsson: “Ich denke Dein…” for soprano and orchestra, commissioned by the Zurich Tonhalle Orchestra, and “Garden of Devotion” for soprano and string orchestra, commissioned by the Swedish ensemble Musica Vitae.
“Ich denke Dein…” will be first performed by the Zurich Tonhalle Orchestra and conducted by John Storgårds who will also lead the Finnish premiere with the Helsinki Philharmonic Orchestra. The Dutch premiere will be with the Netherlands Philharmonic Orchestra under its chief conductor Marc Albrecht in Amsterdam’s Concertgebouw. More performances are planned for future seasons with the Philharmonia Orchestra, Gothenburg Symphony Orchestra, Orchestra Sinfonica di Milano Giuseppe Verdi, Iceland Symphony Orchestra, Malmö Symphony Orchestra and Helsingborg Symphony Orchestra.
"Garden of Devotion" will be first performed on tour in Sweden by Musica Vitae and conducted by Nathalie Stutzmann. Further performances are scheduled with the Scottish Chamber Orchestra under Olari Elts as well as the Helsingborg Symphony Orchestra under Stefan Solyom. More performances in future seasons are planned with the Swedish Chamber Orchestra, Stuttgart Chamber Orchestra, Staatskapelle Weimar and the Norrköping Symphony Orchestra.
Lisa Larsson will continue her many years of collaboration with Antonello Manacorda in performances of Beethoven’s 9th symphony in the Netherlands as well as Alban Berg’s “Seven Early Songs” and Mahler’s 4th symphony with the BBC Philharmonic. She will also sing the Berg cycle with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra at the Prague Spring Festival and in Liverpool. Performances of Mahler’s 2nd symphony, conducted by Stefan Asbury, are planned for a tour in Holland. Other projects she is looking forward to are two new recital programmes with concerts in Italy together with Andrea Lucchesini and in Switzerland with Roland Pöntinen.
Recent additions to her substantial discography are two Challenge Classics releases: A Haydn album with the Combattimento Consort Amsterdam under the direction of Jan Willem de Vriend as well as Berlioz programme with the Arnhem Philharmonic Orchestra conducted by Antonello Manacorda who is also the conductor of her next CD to be released on the same label in the autumn of 2014 and featuring Mahler’s 4th symphony combined with a selection of “Wunderhorn” songs by Mahler. In spring 2015 she will record Rolf Martinsson’s “Orchestral Songs on Poems by Emily Dickens” with the Royal Stockholm Philharmonic Orchestra under Andrew Manze for BIS Records. Her other recordings include Strauss‘ ›Four Last Songs‹ under Douglas Boyd, Mahler’s 8th symphony under David Zinman, the Mozart operas ›Don Giovanni‹ under Daniel Harding, ›Mitridate‹ under Adam Fischer, ›Il sogno di Scipione‹ under Gottfried von der Goltz, Händel‘s ›Jephta‹ under David Stern as well as numerous Bach Cantatas under Sir John Eliot Gardiner and Ton Koopman. With the latter she also recorded Bach’s Christmas and Easter Oratorio as well as the Magnificat.

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Paul Agnew

The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.
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The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.

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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Press

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Disc #1
01.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: March
01:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Chorus: Auf, schmetternde Töne der muntern Trompeten
04:25
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Recitative (Tenor): Die stille Pleiße spielt mit ihren kleinen Wellen
02:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Arie (Tenor): Augustus’ Namenstages Schimmer verklärt der Sachsen Angesicht
03:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Recitative (Bass, Soprano): Augustus’ Wohl ist der treuen Sachsen Wohlergehn
01:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Aria Duetto (e Ritornello) (Bass, Soprano): Mich kann die süße Ruhe laben
04:59
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Ritornello
01:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Recitative (Alto): Augustus schützt die frohen Felder
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Aria (Alto): Preiset, späte Folgezeiten
05:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Recitative (soprano, alto, tenor, bass): Ihr Fröhlichen, herbei!
03:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: Chorus: August lebe, lebe, König!
02:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Auf, schmetternde Töne der muntern Trompeten BWV 207a: March
01:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Weichet nur, betrübte Schatten BWV 202: Aria (Soprano): Weichet nur, betrübte Schatten
06:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Weichet nur, betrübte Schatten BWV 202: Recitative (Soprano): Die Welt wird wieder neu
00:26
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Weichet nur, betrübte Schatten BWV 202: Aria (Soprano): Phoebus eilt mit schnellen Pferden
03:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Weichet nur, betrübte Schatten BWV 202: Recitative (Soprano): Drum sucht auch Amor sein Vergnügen
00:40
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Weichet nur, betrübte Schatten BWV 202: Aria (Soprano): Wenn die Frühlingslüfte streichen
02:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Weichet nur, betrübte Schatten BWV 202: Recitative (Soprano): Und dieses ist das Glücke
00:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Weichet nur, betrübte Schatten BWV 202: Aria (Soprano): Sich üben im Lieben
04:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Weichet nur, betrübte Schatten BWV 202: Recitative (Soprano): So sei das Bund der keuschen Liebe
00:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Weichet nur, betrübte Schatten BWV 202: Gavotte: Sehet in Zufriedenheit
01:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Chorus: Schleicht, spielende Wellen, und murmelt gelinde
06:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Recitative (Bass): O glückliche Veränderung!
01:31
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Aria (Bass): Schleuß des Janustempels Türen
04:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Recitative (Tenor): So recht! beglückter Weichselstrom!
01:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Aria (Tenor): Jede Woge meiner Wellen
07:17
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Recitative (Alto): Ich nehm zugleich an deiner Freude teil
01:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Aria (Alto): Reis, von Habsburgs hohem Stamme
06:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Recitative (Soprano): Verzeiht, bemooste Häupter starker Ströme
01:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Aria (Soprano): Hört doch! der sanften Flöten Chor
03:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Recitative (Soprano, Alto, Tenor, Bass): Ich Muß, ich will gehorsam sein
01:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Schleicht, spielende Wellen, und murmelt gelinde BWV 206: Chorus: Die himmlische Vorsicht der ewigen Güte
03:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
O holder Tag, erwünschte Zeit BWV 210: Recitative (Soprano): O holder Tag, erwünschte Zeit
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
O holder Tag, erwünschte Zeit BWV 210: Aria (Soprano): Spielet, ihr beseelten Lieder
06:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
O holder Tag, erwünschte Zeit BWV 210: Recitative (Soprano): Doch, haltet ein
01:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
O holder Tag, erwünschte Zeit BWV 210: M Aria (Soprano): Ruhet hie, matte Töne
06:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
O holder Tag, erwünschte Zeit BWV 210: Recitative (Soprano): So glaubt man denn, daß die Musik verführe
02:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
O holder Tag, erwünschte Zeit BWV 210: Aria (Soprano): Schweigt ihr Flöten, schweigt, ihr Töne
04:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
O holder Tag, erwünschte Zeit BWV 210: Recitative (Soprano): Was Luft? was Grab?
01:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
O holder Tag, erwünschte Zeit BWV 210: Aria (Soprano): Großer Gönner, dein Vergnügen
03:10
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
O holder Tag, erwünschte Zeit BWV 210: Recitative (Soprano): Hochteurer Mann, so fahre ferner fort
01:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
O holder Tag, erwünschte Zeit BWV 210: Aria (Soprano): Seid beglückt, edle beide
05:13

Disc #3
01.
Mer hahn en neue Oberkeet BWV 212: Sinfonia
02:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Mer hahn en neue Oberkeet BWV 212: Aria. Duetto (Soprano, Bass): Mer hahn en neue Oberkeet
00:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Mer hahn en neue Oberkeet BWV 212: Recitative (Bass, Soprano): Nu, Mieke, gib dein Guschel immer her
00:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Ach, es schmekt doch gar zu gut
00:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Mer hahn en neue Oberkeet BWV 212: Recitative (Bass): Ter Herr ist gut: Allein der Schösser
00:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Mer hahn en neue Oberkeet BWV 212: Aria (Bass): Ach, Herr Schösser, geht nicht gar zu schlimm
01:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano): Es bleibt dabei, daß unser Herr der beste sei
00:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Unser trefflicher lieber Kammerherr
01:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano, Bass): Er hilft uns allen, alt und jung
00:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Tas ist galant
00:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Mer hahn en neue Oberkeet BWV 212: Recitative (Bass): Und unsre gnäd’ge Frau
00:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Mer hahn en neue Oberkeet BWV 212: Aria (Bass): Fünfzig Taler bares Geld
00:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano): Im Ernst ein Wort!
00:26
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Klein­Zschocher müsse so zart und süße
05:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Mer hahn en neue Oberkeet BWV 212: Recitative (Bass): Das ist zu klug vor dich
00:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Mer hahn en neue Oberkeet BWV 212: Aria (Bass): Es nehme zehntausend Dukaten
00:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano): Das klingt zu liederlich
00:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Gib, Schöne, viel Söhne
00:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Mer hahn en neue Oberkeet BWV 212: Recitative (Bass): Du hast wohl recht
00:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Mer hahn en neue Oberkeet BWV 212: Aria (Bass): Dein Wachstum sei feste
05:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano, Bass): “Und damit sei es auch genung
00:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Mer hahn en neue Oberkeet BWV 212: Aria (Soprano): Und daß ihr’s alle wißt
00:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
Mer hahn en neue Oberkeet BWV 212: Recitative (Soprano, Bass): Mein Schatz! erraten
00:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
24.
Mer hahn en neue Oberkeet BWV 212: Chorus (Soprano, Bass): Wir gehn nun, wo der Tudelsack
01:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
25.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Chorus: Zerreißet, zersprenget, zertrümmert die Gruft
06:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
26.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Bass): Ja! Die Stunden sind nunmehro nah
01:35
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
27.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Aria (Bass): Wie will ich lustig lachen
04:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
28.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Tenor): Gefürcht’ter Aeolus
00:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
29.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Aria (Tenor): Frische Schatten, meine Freude
04:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
30.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Bass): Beinahe wirst du mich bewegen
00:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
31.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Aria (Alto): Können nicht die roten Wängen
03:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
32.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Alto, Soprano): So willst du, grimm’ger Aeolus
00:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
33.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Aria (Soprano): Angenehmer Zephyrus
03:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
34.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Soprano, Bass): Mein Aeolus
02:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
35.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Aria (Bass): Zurücke, zurücke, geflügelten Wind
03:32
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
36.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Soprano, Alto, Tenor): Was Lust!
01:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
37.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Duetto (Alto, Tenor): Zweig und Äste
02:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
38.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Recitative (Soprano): Ja, ja!
00:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
39.
Zerreibet, zersprenget, zertrümmert die Gruft BWV 205: Chorus: Vivat August, August vivat!
03:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #4
01.
Laßt uns sorgen, laßt uns wachen BWV 213: Chorus: laßt uns sorgen, laßt uns wachen
06:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Alto): Und wo? Wo ist die rechte Bahn
00:43
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Laßt uns sorgen, laßt uns wachen BWV 213: Aria (Soprano): Schlafe mein Liebster, und pflege der Ruh
09:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Soprano, Tenor): Auf! folge meiner Bahn
01:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Laßt uns sorgen, laßt uns wachen BWV 213: Aria (Alto): Treues Echo dieser Orten
05:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
06.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Tenor): Mein hoffnungsvoller Held!
01:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Laßt uns sorgen, laßt uns wachen BWV 213: Aria (Tenor): Auf meinen Flügeln sollst du schweben
04:38
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Tenor): Die weiche Wollust locket zwar
00:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Laßt uns sorgen, laßt uns wachen BWV 213: Aria (Alto): Ich will dich nicht hören, ich will dich nicht wissen
03:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Alto, Tenor): Geliebte Tugend, du allein
00:48
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Laßt uns sorgen, laßt uns wachen BWV 213: Aria ­ Duetto (Alto, Tenor): Ich bin deine, du bist meine
07:35
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Laßt uns sorgen, laßt uns wachen BWV 213: Recitative (Bass): Schaut, Götter, dieses ist ein Bild
01:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Laßt uns sorgen, laßt uns wachen BWV 213: Chorus: Lust der Völker, Lust der Deinen
02:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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