Ton Koopman / Amsterdam Baroque Orchestra & Choir

Kaffee-Kantate

Price: € 8.95
Format: CD
Label: Challenge Classics
UPC: 0608917228021
Catnr: CC 72280
Release date: 01 February 2008
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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 was born in Zwolle in 1944. After a classical education he studied organ, harpsichord and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. From the beginning of his musical studies he was fascinated by authentic instruments and a performance style based on sound scholarship and in 1969, at the age of 25, he created his first Baroque orchestra. In 1979 he founded the Amsterdam Baroque Orchestra followed by the Amsterdam Baroque Choir in 1992.

Koopman's extensive and impressive activities as a soloist, accompanist and conductor have been recorded on a large number of LPs and CDs for labels like Erato, Teldec, Sony, Philips and DG, besides his own record label “Antoine Marchand”, distributed by Challenge Records.

Over the course of a forty-five-year career Ton Koopman has appeared in the most important concert halls and festivals of the five continents. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of the Amsterdam Baroque Orchestra & Choir he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Théatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center and Carnegie Hall in New York and leading concert halls in Vienna, London, Berlin, Brussels, Madrid, Rome, Salzburg, Tokyo and Osaka.

Between 1994 and 2004 Ton Koopman has been engaged in a unique project, conducting and recording all the existing Cantatas by Johann Sebastian Bach, a massive undertaking for which he has been awarded the Deutsche Schallplattenpreis "Echo Klassik", the BBC Award 2008, the Prix Hector Berlioz, has been nominated for the Grammy Award (USA) and the Gramophone Award (UK). In 2000 Ton Koopman has received an Honorary Degree from the Utrecht University for his academic work on the Bach Cantatas and Passions and has been awarded both the prestigious Silver Phonograph Prize and the VSCD Classical Music Award. In 2006 he has received the « Bach-Medaille » from the City of Leipzig.

Recently Ton Koopman has embarked on another main project: the recording of the whole works by Dietrich Buxtehude, one of the great inspirer of the young J.S. Bach. The recording will be accomplished in 2010 with the release of 30 CDs. Ton Koopman is President of the “International Dieterich Buxtehude Society”.

Ton Koopman is very active as a guest conductor and he has collaborated with many prominent orchestras in Europe, USA and Japan. He has been Principal Conductor of the Netherland Radio Chamber Orchestra and has collaborated with the Royal Concertgebouw Amsterdam, DSO Berlin, Tonhalle Orchestra Zurich, Orchester des Bayerischen Rundfunks in Munich, Boston Symphony, Chicago Symphony, Orchestre Philharmonique de Radio France, Cleveland Orchestra, Santa Cecilia in Rome, Deutsche Kammerphilharmonie and Wiener Symphoniker. In the following season he will work on new programmes with the New York Philharmonic, DSO Berlin, Orchestra RAI in Turin, Stockholm Philharmonic, Tonhalle in Zurich. After the great success of his tour at the beginning of 2008, Ton Koopman has been nominated Artist in Residence at the Cleveland Orchestra for three consecutive years starting in 2011.

Ton Koopman publishes regularly and for a number of years he has been engaged in editing the complete Händel Organ Concertos for Breitkopf & Härtel. Recently he has published Händel’s Messiah and Buxtehude‘s Das Jüngeste Gericht for Carus. Ton Koopman leads the class of harpsichord at the Royal Conservatory in The Hague, is Professor at the University of Leiden and is a Honorary Member of the Royal Academy of Music in London.

Ton Koopman is artistic director of the French Festival “Itinéraire Baroque”.

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 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.

Composer(s)

Press

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

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