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Kaffee-Kantate
Johann Sebastian Bach

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Kaffee-Kantate

Format: CD
Label: Challenge Classics
UPC: 0608917228021
Catnr: CC 72280
Release date: 01 February 2008
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1 CD
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Label
Challenge Classics
UPC
0608917228021
Catalogue number
CC 72280
Release date
01 February 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Bach composed these three secular cantatas at very different stages in his career and they were also performed in different venues. The Italian chamber cantata "Amore traditore" BWV 203, written ca.1720 in Cöthen for solo bass and concertato harpsichord, is an extraordinary showpiece for two outstanding virtuosos. The other two works, from Bach's Leipzig period, are both humorous in character. The so-called 'coffee cantata' BWV 211, ca.1734, was scored for three vocal soloists and a small chamber group of transverse flute, strings, and continuo. Well suited for a performance in a coffee house, it is also moral cantata because the little dramatic scene addresses the issue of excessive consumption of coffee, at the time a luxurious commodity. The 'peasant cantata' BWV 212, from 1742, is the last secular cantata known to have been composed by Bach. It was commissioned for a celebratory occasion at a country estate outside of the city of Leipzig. Subject is a serenade offered bythe peasant folks greeting their master, the new occupant of the mansion. It is scored for Soprano and Bass, horn, flute, strings, and continuo. The text is written in Upper Saxon dialect.

Renowned Bach specialist Ton Koopman (1944) was awarded the 2006 Bach Medal by the city of Leipzig 05 Jun 2006, the final day of this year's annual Leipzig Bach Festival.

The award honors the significant contribution of the 61-year-old Dutchman to Bach performance and scholarship. Koopman performed at the festival, which is run in conjunction with the Bach-Leipzig Archive, with the Amsterdam Baroque Orchestra.

He studied organ (Simon C. Jansen), harpsichord (Gustav Leonhardt) and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra (founded 1979) & Choir (1993) he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Sydney, Melbourne, Madrid, Rome, Salzburg, Tokyo and Osaka.

Ton Koopman edited the complete Handel Organ Concertos for Breitkopf & Härtel and will edit a number of Buxtehude works for Carus Verlag. He is president of the International Dieterich Buxtehude Society.

He recorded a.o. for Erato, Teldec, Sony, Philips and DGG. In 2003 he created Antoine Marchand, his own sub-label of Challenge Records. Here he publishes these Complete Bach Cantatas, as well as his other recent and future recordings. "Schweigt stille plaudert nicht" BWV 211
Drie verschillende wereldlijke cantates van Bach
Bach componeerde de drie wereldlijke cantates op dit album tijdens verschillende fasen in zijn carrière. Ze werden daarnaast op verschillende locaties uitgevoerd.

De Italiaanse kamercantate Amore traditore BWV 203, gecomponeerd rond 1720, toen Bach als kapellmeister in dienst was van de prins van Anhalt-Köthen, is een buitengewoon bravourestuk voor twee voortreffelijke virtuozen.

De andere twee cantates zijn gecomponeerd in Leipzig en hebben een humoristisch karakter. Schweigt stille, plaudert nicht BWV 211, de zogenaamde ‘Koffiecantate’ uit circa 1734, is niet alleen geschikt voor een uitvoering in een koffiehuis, maar ook een morele cantate aangezien de kleine dramatische scene zich richt op de kwestie van de buitensporige consumptie van koffie, in die periode een luxeartikel.

De ‘Boerencantate’ Mer hahn en neue Oberkeet BWV 212 is de laatste bekende wereldlijke cantate die Bach heeft gecomponeerd, in opdracht voor een feestelijke gelegenheid op een landhuis buiten Leizpig. Het onderwerp is een serenade waarmee de boeren hun meester, de nieuwe eigenaar van het landhuis, begroeten. De tekst is geschreven in Oppersaksisch dialect.

Ton Koopman treedt als organist en klavecinist op in de meest prestigieuze concertzalen en speelt op de mooiste historische instrumenten van Europa. Tussen 1994 en 2004 nam hij de enorme taak op zich om alle cantates gecomponeerd door Johann Sebastian Bach op te nemen met zijn Amsterdam Baroque Orchestra & Choir.
Diese Auswahl an weltlichen Kantaten repräsentieren Werke, die J.S. Bach in sehr verschiedenen Perioden seiner Entwicklung komponierte und auch an unterschiedlichen Orten aufführte. Die italienische Kammerkantate Amore traditore BWV 203 wurde in seiner Zeit als Kapellmeister des Fürsten von Anhalt-Köthen (1717-1723) geschrieben, während die sog. "Kaffe-Kantate" und die sog. "Bauernkantate" aus Bachs Leipziger Jahren stammen.

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-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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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

Play album Play album
01.
“Schweigt stille, plaudert nicht” BWV 211: Recitative (Tenor): “Schweigt stille, plaudert nicht”
00:40
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew , Amsterdam Baroque Orchestra
02.
“Schweigt stille, plaudert nicht” BWV 211: Aria (Bass): “Hat man nicht mit seinen Kindern”
02:37
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
03.
“Schweigt stille, plaudert nicht” BWV 211: Recitative (Soprano, Bass): “Du böses Kind, du loses Mädchen”
00:40
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Anne Grimm, Amsterdam Baroque Orchestra
04.
“Schweigt stille, plaudert nicht” BWV 211: Aria (Soprano): “Ei! wie schmeckt der Coffee süße”
04:38
(Johann Sebastian Bach ) Ton Koopman, Anne Grimm, Amsterdam Baroque Orchestra
05.
“Schweigt stille, plaudert nicht” BWV 211: Recitative (Soprano, Bass): “Wenn du mir nicht den Coffee läßt”
01:21
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Anne Grimm, Amsterdam Baroque Orchestra
06.
“Schweigt stille, plaudert nicht” BWV 211: Aria (Bass): “Mädchen, die von harten Sinnen”
02:34
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
07.
“Schweigt stille, plaudert nicht” BWV 211: Recitative (Soprano, Bass): “Nun folge, was dein Vater spricht”
00:57
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Anne Grimm, Amsterdam Baroque Orchestra
08.
“Schweigt stille, plaudert nicht” BWV 211: Aria (Soprano): “Heute noch, lieber Vater tut es doch”
06:20
(Johann Sebastian Bach ) Ton Koopman, Anne Grimm, Amsterdam Baroque Orchestra
09.
“Schweigt stille, plaudert nicht” BWV 211: Recitative (Tenor): “Nun geht und sucht der alte Schlendrian”
00:54
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew , Amsterdam Baroque Orchestra
10.
“Schweigt stille, plaudert nicht” BWV 211: Chorus (Soprano, Tenor, Bass): “Die Katze läßt das Mausen nicht”
04:01
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Anne Grimm, Paul Agnew , Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
“Mer hahn en neue Oberkeet” BWV 212: Sinfonia
02:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
12.
“Mer hahn en neue Oberkeet” BWV 212: Aria. Duetto (Soprano, Bass): “Mer hahn en neue Oberkeet”
00:30
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Els Bongers, Amsterdam Baroque Orchestra
13.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Bass, Soprano): “Nu, Mieke, gib dein Guschel immer her”
00:50
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Els Bongers, Amsterdam Baroque Orchestra
14.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Soprano): “Ach, es schmekt doch gar zu gut”
00:49
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
15.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Bass): “Ter Herr ist gut: Allein der Schösser”
00:22
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
16.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Bass): “Ach, Herr Schösser, geht nicht gar zu schlimm”
01:20
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
17.
“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, Els Bongers, Amsterdam Baroque Orchestra
18.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Soprano): “Unser trefflicher lieber Kammerherr”
01:41
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
19.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Soprano, Bass): “Er hilft uns allen, alt und jung”
00:33
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Els Bongers, Amsterdam Baroque Orchestra
20.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Soprano): “Tas ist galant”
00:59
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
21.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Bass): “Und unsre gnäd’ge Frau”
00:42
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
22.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Bass): “Fünfzig Taler bares Geld”
00:53
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
23.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Soprano): “Im Ernst ein Wort!”
00:26
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
24.
“Mer hahn en neue Oberkeet” BWV 212: Ario (Soprano): “Klein-Zschocher müsse so zart und süße”
05:50
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
25.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Bass): “Das ist zu klug vor dich”
00:19
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
26.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Bass): “Es nehme zehntausend Dukaten”
00:41
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
27.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Soprano): “Das klingt zu liederlich”
00:19
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
28.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Soprano): “Gib, Schöne, viel Söhne”
00:36
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
29.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Bass): “Du hast wohl recht”
00:16
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
30.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Bass): “Dein Wachstum sei feste”
05:11
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
31.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Soprano, Bass): “Und damit sei es auch genung”
00:21
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Klaus Mertens, Amsterdam Baroque Orchestra
32.
“Mer hahn en neue Oberkeet” BWV 212: Aria (Soprano): “Und daß ihr’s alle wißt”
00:37
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Amsterdam Baroque Orchestra
33.
“Mer hahn en neue Oberkeet” BWV 212: Recitative (Soprano, Bass): “Mein Schatz! erraten”
00:29
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Klaus Mertens, Amsterdam Baroque Orchestra
34.
“Mer hahn en neue Oberkeet” BWV 212: Coro (S, B): “Wir gehn nun, wo der Dudelsack”
01:04
(Johann Sebastian Bach ) Ton Koopman, Els Bongers, Klaus Mertens, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
35.
“Amore traditore” BWV 203: Aria (Bass): “Amore traditore”
06:06
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
36.
“Amore traditore” BWV 203: Recitative (Bass):
00:42
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
37.
“Amore traditore” BWV 203: Aria (Bass): “Chi in amore ha nemica la sorte”
06:24
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
show all tracks

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