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Dialogue Cantatas I
Johann Sebastian Bach

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Dialogue Cantatas I

Price: € 8.95
Format: CD
Label: Challenge Classics
UPC: 0608917228823
Catnr: CC 72288
Release date: 27 June 2008
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Label
Challenge Classics
UPC
0608917228823
Catalogue number
CC 72288
Release date
27 June 2008
Album
Artist(s)
Composer(s)
EN
NL

About the album

Johann Sebastian Bach set quite a number of dialogue texts to music and some of his pertinent cantatas were also specifically entitled “Dialogus” in Latin or “Dialogo” in Italian as genre designation. This is the case with the Dialogus “Ach Gott, wie manches Herzeleid” (BWV 58), “Erfreut euch, ihr Herzen (BWV 66), “Ich geh und suche mit Verlangen” (BWV 49), “O Ewigkeit, du Donnerwort (BWV 60) and the Concerto in Dialogo “Liebster Jesu, mein Verlangen” (BWV 32).

Patterns from the dialogue tradition, especially the relationship of specific vocal ranges associated with dramatic or allegorical figures, occasionally also enter the non-dialogue repertoire. Hence the “vox Christi” of the Passion oratorios or quotations of Jesus words are invariably assigned to the bass voice; likewise passages that represent the believing soul, for example, in the aria text “Aus Liebe will mein Heiland sterben” from the St. Matthew Passion assigned to the soprano voice.

“Ich geh und suche mit Verlangen” BWV 49 was first performed on November 3, 1726. “O Ewigkeit, du Donnerwort” BWV 60 was written for the 24th Sunday after Trinity and received its first performance on November 7, 1723. “Wachet auf, ruft uns die Stimme” BWV 140 was composed for the last Sunday of the church year, the 27th after Trinity, and first performed on November 25, 1731. “Wer mich liebet, der wird mein Wort halten” BWV 59 was written for Whit Sunday and performed in Leipzig on May 28, 1724, but perhaps also the year before, on May 16, 1723 at the Pauliner Church for the service of the university community, for which Bach was responsible on the high feasts.
Dialoogcantates van Bach
Vanaf de Renaissance kunnen werken in dialoogvorm, die dramatische personages of allegorische figuren tegenover elkaar zetten, gevonden worden binnen de verschillende categorieën van geestelijke en wereldlijke composities. Binnen de Duitse kerkmuziek van de 17e eeuw hadden geestelijke dialoogwerken een voorkeurspositie. Deze werden vaak gecomponeerd in de vorm van een cantate of concert met twee solostemmen, die vaak de stem van Jezus (bas) en die van de ziel van de gelovige (sopraan) vertegenwoordigden. Deze traditie zette zich voort in de 18e-eeuwse cantate. Johann Sebastian Bach voorzag een aantal dialoogteksten van muziek en gaf aan enkele van zijn toepasselijke cantates de titel ‘Dialogus’ of ‘Dialogo’ mee als genreaanduiding.

Dit album bevat enkele dialoogcantates van Bach: Ich geh und suche mit Verlangen BWV 49, volgens de traditionele interpretatie van het Hooglied in de vorm van een dialoog tussen de ziel als bruid en Jezus als bruidegom, O Ewigkeit, du Donnerwort BWV 60, in de vorm van een dialoog tussen Angst en Hoop, met een bas als de stem van Jezus, Wachet auf, ruft uns die Stimme BWV 140, met enkele ongebruikelijke instrumenten in de bezetting, en Wer mich liebet, der wird mein Wort halten BWV 59, met een openingsduet voor sopraan en bas in de rollen van de stem van de ziel en Jezus met een bijzonder kleurrijke instrumentatie.

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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Klaus Mertens (bass)

Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.
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Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.

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James Gilchrist (tenor)

James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world with conductors including Sir John Eliot Gardiner, Sir Roger Norrington, Bernard Labadie, Harry Christophers, Harry Bicket and the late Richard Hickox. In J.S. Bach’s great Passions of St John and St Matthew, James works consistently at the highest level and is recognised as the finest Evangelist of his generation; as one recent BBC Proms reviewer noted, 'he...
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James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge.
James’ extensive concert repertoire has seen him perform in major concert halls throughout the world with conductors including Sir John Eliot Gardiner, Sir Roger Norrington, Bernard Labadie, Harry Christophers, Harry Bicket and the late Richard Hickox. In J.S. Bach’s great Passions of St John and St Matthew, James works consistently at the highest level and is recognised as the finest Evangelist of his generation; as one recent BBC Proms reviewer noted, "he hasn’t become a one-man Evangelist industry by chance".
A prolific and versatile recitalist, James enjoys imaginative and varied programming in collaborations with pianists Anna Tilbrook and Julius Drake, and harpist Alison Nicholls. James returned to the Wigmore Hall to begin his project with Anna Tilbrook, Schumann and the English Romantics, pairing Schumann song cycles with new commissions from leading composers, Sally Beamish, Julian Philips and Jonathan Dove, setting English poetry of the Romantic period.
James’ impressive discography includes the title role in Albert Herring and Vaughan Williams’ A Poisoned Kiss, St John Passion with the Academy of Ancient Music, the Finzi song cycle Oh Fair To See, When Laura Smiles with Matthew Wadsworth, Leighton Earth Sweet Earth, Vaughan Williams On Wenlock Edge, Finzi songs, Britten’s Winter Words and the critically-acclaimed recordings of Schubert’s song cycles.

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Ruth Ziesak (soprano)

Numerous competition successes quickly paved the way for an international career for German soprano Ruth Ziesak. Meanwhile she has also been appointed a Professor of Singing at the Saar Academy of Music. After early appearances at the Theater Heidelberg and the Deutsche Oper am Rhein Düsseldorf/Duisburg, she went on to sing on the international stages in Munich, Milan, Berlin, Florence, Vienna, Paris, London and New York, where she made a name for himself in her signature roles of as Pamina, Ännchen, Marzelline, Ilia and Sophie. She has since broadened her repertoire, and has appeared as the Countess in Le Nozze di Figaro in Glyndebourne and Zürich, and in 2010 at the Stuttgart Opera under Manfred Honeck. The multifaceted artist is also much in...
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Numerous competition successes quickly paved the way for an international career for German soprano Ruth Ziesak. Meanwhile she has also been appointed a Professor of Singing at the Saar Academy of Music.

After early appearances at the Theater Heidelberg and the Deutsche Oper am Rhein Düsseldorf/Duisburg, she went on to sing on the international stages in Munich, Milan, Berlin, Florence, Vienna, Paris, London and New York, where she made a name for himself in her signature roles of as Pamina, Ännchen, Marzelline, Ilia and Sophie. She has since broadened her repertoire, and has appeared as the Countess in Le Nozze di Figaro in Glyndebourne and Zürich, and in 2010 at the Stuttgart Opera under Manfred Honeck.

The multifaceted artist is also much in demand as a concert singer, and enjoys working with such Baroque orchestras as the Akademie für Alte Musik Berlin or the Freiburger Barockorchester. She makes frequent guest appearances at the Salzburg Festival and the Lucerne Festival. Her work with conductors such as Herbert Blomstedt, Daniele Gatti, Riccardo Muti, Kent Nagano, Lothar Zagrosek, Riccardo Chailly, Jukka Pekka Saraste and Ivor Bolton has taken her to the Gewandhausorchester Leipzig, the Staatskapelle Dresden, the Bavarian Radio Symphony Orchestra, the WDR Symphony Orchestra, the Konzerthausorchester Berlin, the Montreal Symphony Orchestra and the Mozarteum-Orchester in Salzburg.

As a lieder singer she is regularly accompanied by the pianist Gerold Huber, with whom she appeared in Vienna, Berlin, London, at the Heidelberger Frühling and the Kissinger Sommer. Ruth Ziesak is among Sir András Schiff's regular lieder partners. They appeared together at London's Wigmore Hall, at the Salzburg Festival and at the Philharmonie in Berlin. In the field of chamber music, she works together with the Merel Quartet, the Vienna Piano Trio, the Auryn Quartet and the Trio Wanderer.

Alongside her concert recordings with Sir Georg Solti, Riccardo Chailly and Herbert Blomstedt, Ruth Ziesak has recorded The Magic Flute, Fidelio, La Clemenza di Tito, Der Freischütz, Hansel and Gretel and Robert Schumann's Genoveva with the Chamber Orchestra of Europe. Among her solo recordings are operatic arias with the Deutsches Symphonie-Orchester Berlin under Marcus Creed and lieder by Mahler, as well as a series of lieder recitals with Ulrich Eisenlohr.


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Jörg Dürmüller (tenor)

The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey. Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin...
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The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey.
Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin in the role of Fernando in Così fan tutte produced by Harry Kupfer, and at the National Theatre of Braunschweig as Andres in Wozzeck by Alban Berg. In 2002 and 2003 he sang the role of Bajazete in George Frideric Handel’s Tamerlano also at the Opera Comique Berlin directed by David Alden.

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Bogna Bartosz (alto)

The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig. Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra)...
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The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig.
Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra) and leading conductors (including Horia Andrescu, Moche Atzmon, Marcus Creed, Philippe Entremont, Jörg Faerber, Enoch zu Guttenberg, Philippe Herreweghe, Marek Janowski, Ton Koopman, Krzysztof Penderecki, Helmuth Rilling, Jeffrey Tate, Marcello Viotti, Lothar Zagrosek, Udo Zimmermann), in all the major concert halls in Germany (such as Berliner Philharmonie, Berliner Konzerthaus, Leipziger Gewandhaus, Alte Oper Frankfurt, Kölner Philharmonie, Tonhalle Düsseldorf, Glocke Bremen, Hamburger Musikhalle, Liederhalle Stuttgart), as well as in Europe, the USA and Israel, and at numerous major festivals.

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Sandrine Piau (soprano)

Sybilla Rubens (soprano)

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

Play album Play album
01.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Sinfonia
06:24
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
02.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Aria (Bass): “Ich geh und suche mit Verlangen”
05:01
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
03.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Recitative (Soprano, Bass): “Mein Mahl ist zubereit”
01:49
(Johann Sebastian Bach ) Sybille Rubens, Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
04.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Aria (Soprano): “Ich bin herrlich, ich bin schön”
04:22
(Johann Sebastian Bach ) Sybille Rubens, Ton Koopman, Amsterdam Baroque Orchestra
05.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Recitative (Soprano, Bass): “Mein glaube hat mich selbst so angezogen”
01:19
(Johann Sebastian Bach ) Sybille Rubens, Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
06.
Ich geh und suche mit Verlangen (Dialogus (BWV 49): Aria and Chorale (Soprano, Bass): “Dich hab ich je und je geliebt”
04:47
(Johann Sebastian Bach ) Sybille Rubens, Amsterdam Baroque Choir, Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
07.
O Ewigkeit, du Donnerwort BWV 60: Aria (Alto, Tenor): “O ewigkeit, du Donnerwort”
03:24
(Johann Sebastian Bach ) Bogna Bartosz, Jörg Dürmüller, Ton Koopman, Amsterdam Baroque Orchestra
08.
O Ewigkeit, du Donnerwort BWV 60: Recitative (Alto, Tenor): “O schwerer Gang zum letzten Kampf und streite”
02:05
(Johann Sebastian Bach ) Bogna Bartosz, Jörg Dürmüller, Ton Koopman, Amsterdam Baroque Orchestra
09.
O Ewigkeit, du Donnerwort BWV 60: Duet (Alto, Tenor): “Mein letztes Lager will mich schrecken”
03:06
(Johann Sebastian Bach ) Jörg Dürmüller, Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
10.
O Ewigkeit, du Donnerwort BWV 60: Recitative, Arioso (Alto, Bass): “Der Tod bleibt doch – Selig sind die Toten”
04:34
(Johann Sebastian Bach ) Bogna Bartosz, Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
11.
O Ewigkeit, du Donnerwort BWV 60: Chorale: “Es ist genug: Herr, wenn es dir gefällt”
01:08
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
12.
Wachtet auf, ruft uns die Stimme BWV 140: Chorale: “Wachet auf, ruft uns die Stimme”
06:23
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
13.
Wachtet auf, ruft uns die Stimme BWV 140: Recitative (Tenor): “Er kommt, er kommt”
00:52
(Johann Sebastian Bach ) James Gilchrist, Ton Koopman, Amsterdam Baroque Orchestra
14.
Wachtet auf, ruft uns die Stimme BWV 140: Duet (Soprano, Bass): “Wenn kömmst du, mein Heil”
05:29
(Johann Sebastian Bach ) Sandrine Piau , Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
15.
Wachtet auf, ruft uns die Stimme BWV 140: Chorale (Tenors): “Zion hört die Wächter singen”
03:20
(Johann Sebastian Bach ) James Gilchrist, Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
16.
Wachtet auf, ruft uns die Stimme BWV 140: Recitative (Bass): “So geh herein zu mir”
01:16
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
17.
Wachtet auf, ruft uns die Stimme BWV 140: Duet (Soprano, Bass): “Mein Freund ist mein”
05:24
(Johann Sebastian Bach ) Klaus Mertens, Sandrine Piau , Ton Koopman, Amsterdam Baroque Orchestra
18.
Wachtet auf, ruft uns die Stimme BWV 140: Chorale: “Gloria sei dir gesungen”
01:24
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
19.
Wer mich liebet, der wird mein Wort halten BWV 59: Duet (Soprano, Bass): “Wer mich liebet, der wird mein Wort halten”
03:34
(Johann Sebastian Bach ) Ruth Ziesak, Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
20.
Wer mich liebet, der wird mein Wort halten BWV 59: Recitative (Soprano): “O, was sind das vor Ehren”
02:02
(Johann Sebastian Bach ) Ruth Ziesak, Ton Koopman, Amsterdam Baroque Orchestra
21.
Wer mich liebet, der wird mein Wort halten BWV 59: Chorale: “Komm, Heiliger Geist, Herre Gott”
01:45
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
22.
Wer mich liebet, der wird mein Wort halten BWV 59: Aria (Bass): “Die Welt mit allen Königreichen”
02:38
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
23.
Wer mich liebet, der wird mein Wort halten BWV 59: Chorale: “Gott, heil’ger Geist”
00:47
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
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