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Complete Bach Cantatas Vol. 15
Johann Sebastian Bach

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 15

Price: € 14.95
Format: CD
Label: Challenge Classics
UPC: 0608917221527
Catnr: CC 72215
Release date: 16 January 2004
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Label
Challenge Classics
UPC
0608917221527
Catalogue number
CC 72215
Release date
16 January 2004
Album
Artist(s)
Composer(s)
EN
NL

About the album

The cantatas in this fifteenth volume belong mostly to the transitional period between the second and the third yearly cycle of cantatas, i.e. the spring of 1725. BWV 3 is part of the series of chorale cantatas that give the second yearly cycle its special character, whereas BWV 28, 110, 146 and 168 already belong to the third yearly cycle. However, cantatas BWV 85, 87, 108, 128, 175, 176 and 183, mostly compositions on texts by Mariane von Ziegler, bring the second yearly cycle to its conclusion. Bach had taken up his position as Kantor of St Thomas's, Leipzig, at the end of May 1723 and so begun his regular performances of cantatas on the First Sunday after Trinity - in other words, in the middle of the church year. His order for the first year of cantatas therefore deviated from the traditional course of the church year, which began on the first Sunday of Advent and ended on the last Sunday after Trinity. This, however, had consequences for the ensuing cycles. Thus Bach no doubt had planned to conclude his yearly cycle of chorale cantatas of 1724-25 on Trinity Sunday 1725. He could not have foreseen that the loss of his librettist would force him to break off the series on 25 March. For Easter Sunday he was able to resort to a much earlier work, the chorale cantata "Christ lag in Todesbanden", BWV 4, especially as the Mühlhausen version needed little revision. For the period after Easter, however, he was forced to make other arrangements at short notice.
Tussen de tweede en de derde cantate-jaarcyclus van Bach
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 verbleef.

Bachs enorme cantateproductie delen de musicologen op in 5 cantatejaargangen. Een cantatejaargang of cantate-jaarcyclus bestaat uit een groep van bij elkaar horende cantates geschreven voor de kerkdiensten van één kerkelijk jaar.

Het merendeel van cantates werd door Bach geschreven als muzikale omlijsting van de zondagse kerkdienst. De cantates sloten inhoudelijk aan bij de lezingen en de preek van die zondag of kerkelijke feestdag. Het was dus functionele gebruiksmuziek, maar van een hoog muzikaal niveau. De meeste van Bachs cantates beginnen met een uitgebreid openingskoor. Deze opening werd gevolgd door enkele aria's en recitatieven(vertellende stukken, zonder tekstherhalingen). De volledige set bevat alle 202 cantates onderverdeeld in 22 volumes.

De cantates op dit 15e volume behoren voor het merendeel tot de overgangsperiode tussen de tweede en derde cantate-jaarcyclus gecomponeerd in de lente van 1725. BWV 3, 85, 87, 108, 128, 175 en 176 zijn nog onderdeel van de tweede jaargang en voornamelijk gecomponeerd op teksten van Mariane von Ziegler. BWV 28, 110, 146 en 168, aan de andere kant, behoren al tot de derde cyclus. Aangezien Bach zijn werk als Kantor in Leipzig begon in mei 1723, beginnen en eindigen Bach’s cycli niet volgens de traditionele kerkkalender, maar rond Pinksteren. Bach had ongetwijfeld het plan ook zijn tweede cyclus te eindigen op de zondag na Pinksteren, maar de dood van zijn tekstschrijver zorgde ervoor dat hij zijn plannen moest aanpassen. Uit deze periode na pasen zijn verschillende cantates overgebleven die niet meer het vaste patroon van de kerkkalender volgen.

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...
more
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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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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Jörg Dürmüller

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

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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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.
Unser Mund sei voll Lachens BWV 110: Chorus (Solo S, A, T, B): “Unser Mund sei voll Lachens”
06:16
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Sandrine Piau , Bogna Bartosz, Paul Agnew, Klaus Mertens, Amsterdam Baroque Orchestra
02.
Unser Mund sei voll Lachens BWV 110: Aria (Tenor): “Ihr Gedanken und ihr Sinnen”
07:24
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew, Amsterdam Baroque Orchestra
03.
Unser Mund sei voll Lachens BWV 110: Recitative (Bass): “Dir, Herr, ist niemand gleich”
01:48
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Unser Mund sei voll Lachens BWV 110: Aria (Alto): “Ach Herr, was ist ein Menschenkind”
05:29
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
05.
Unser Mund sei voll Lachens BWV 110: Aria (Duet Soprano, Tenor): “Ehre sei Gott in der Höhe”
01:15
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Paul Agnew, Amsterdam Baroque Orchestra
06.
Unser Mund sei voll Lachens BWV 110: Aria (Bass): “Wacht auf, ihr Adern und ihr Glieder”
05:33
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
07.
Unser Mund sei voll Lachens BWV 110: Chorale: “Alleluja! Gelobt sei Gott”
00:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Wir müssen durch viel Trübsal BWV 146: Sinfonia
03:47
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
09.
Wir müssen durch viel Trübsal BWV 146: Chorus: “Wir müssen durch viel Trübsal in das Reich Gottes eingehen”
03:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Wir müssen durch viel Trübsal BWV 146: Aria (Alto): “Ich will nach dem Himmel zu”
01:51
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
11.
Wir müssen durch viel Trübsal BWV 146: Recitative (Soprano): “Ach! Wer doch schon im Himmel wär”
01:12
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
12.
Wir müssen durch viel Trübsal BWV 146: Aria (Soprano): “Ich säe meine Zähren”
04:08
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
13.
Wir müssen durch viel Trübsal BWV 146: Recitative (Tenor): “Ich bin bereit”
02:02
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
14.
Wir müssen durch viel Trübsal BWV 146: Aria (Duet Tenor, Bass): “Wie will ich mich freuen, wie will ich mich laben”
00:53
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
15.
Wir müssen durch viel Trübsal BWV 146: Chorale: “Freu dich sehr, o meine Seele”
00:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Gottlob! nun geht das Jahr zu Ende BWV 28: Aria (Soprano): “Gottlob, nun geht das Jahr zu Ende”
03:55
(Johann Sebastian Bach ) Ton Koopman, Deborah York, Amsterdam Baroque Orchestra
17.
Gottlob! nun geht das Jahr zu Ende BWV 28: Chorus: “Nun lob, mein Seel, den Herren”
03:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Gottlob! nun geht das Jahr zu Ende BWV 28: Recitative - Arioso (Bass): “So spricht der Herr”
03:36
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
19.
Gottlob! nun geht das Jahr zu Ende BWV 28: Recitative (Tenor): “Gott ist ein Quell, wo lauter Güte fleußt”
00:45
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
20.
Gottlob! nun geht das Jahr zu Ende BWV 28: Aria (Duet Alto, Tenore): “Gott hat uns im heurigen Jahr gesegnet”
07:25
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Jörg Dürmüller, Amsterdam Baroque Orchestra
21.
Gottlob! nun geht das Jahr zu Ende BWV 28: Chorale: “All solch dein Güt wir preisen”
06:04
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
Tue Rechnung! Donnerwort BWV 168: Aria (Bass): “Tue Rechnung! Donnerwort”
03:04
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
02.
Tue Rechnung! Donnerwort BWV 168: Recitative (Tenor): “Es ist nur fremdes Gut”
03:17
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
03.
Tue Rechnung! Donnerwort BWV 168: Aria (Tenor): “Kapital und Interessen”
01:02
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
04.
Tue Rechnung! Donnerwort BWV 168: Recitative (Bass): “Jedoch, erschrocknes Herz”
04:15
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
Tue Rechnung! Donnerwort BWV 168: Aria (Duet Soprano, Alto): “Herz, zerreiß des Mammons Kette”
01:43
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Bogna Bartosz, Amsterdam Baroque Orchestra
06.
Tue Rechnung! Donnerwort BWV 168: Chorale: “Stärk mich mit deinem Freudengeist”
02:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Er rufet seinen Schafen mit Namen BWV 175: Recitative (Tenor): “Er rufet seinen Schafen mit Namen”
00:36
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
08.
Er rufet seinen Schafen mit Namen BWV 175: Aria (Alto): “Komm, leite mich”
08:03
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
09.
Er rufet seinen Schafen mit Namen BWV 175: Recitative (Tenor): “Wo find ich dich?”
00:51
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
10.
Er rufet seinen Schafen mit Namen BWV 175: Aria (Tenor): “Es dünket mich, ich seh dich kommen”
01:50
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
11.
Er rufet seinen Schafen mit Namen BWV 175: Recitative (Alto, Bass): “Sie vernahmen aber nicht”
04:41
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
12.
Er rufet seinen Schafen mit Namen BWV 175: Aria (Bass): “Öffnet euch, ihr beiden Ohren”
01:36
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
13.
Er rufet seinen Schafen mit Namen BWV 175: Chorale: “Nun, werter Geist, ich folg dir”
01:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Aria (Bass): “Bisher habt ihr nichts gebeten in meinem Namen”
05:13
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
15.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Recitative (Alto): “O Wort, das Geist und Seel erschreckt”
02:05
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
16.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Aria (Alto): “Vergib, O Vater, unsre Schuld”
05:32
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
17.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Recitative (Tenor): “Wenn unsre Schuld bis an den Himmel steigt”
01:08
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
18.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Aria (Bass): “In der Welt habt ihr Angst”
05:43
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
19.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Aria (Tenor): “Ich will leiden, ich will schweigen”
00:35
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
20.
Bisher habt ihr nichts gebeten in meinem Namen BWV 87: Chorale: “Muß ich sein betrübet?”
03:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Ach Gott, wie manches Herzeleid: Chorus: “Ach Gott, wie manches Herzeleid”
01:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Ach Gott, wie manches Herzeleid: Chorale and Recitative (S, A, T, B; Choir): “Wie schwerlich läßt sich Fleisch und Blut”
02:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Sandrine Piau , Bogna Bartosz, Paul Agnew, Klaus Mertens, Amsterdam Baroque Orchestra
23.
Ach Gott, wie manches Herzeleid: Aria (Bass): “Empfind ich Höllenangst und Pein”
01:00
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
24.
Ach Gott, wie manches Herzeleid: Recitative (Tenor): “Es mag mir Leib und Geist verschmachten”
00:20
(Johann Sebastian Bach ) Ton Koopman, Paul Agnew, Amsterdam Baroque Orchestra
25.
Ach Gott, wie manches Herzeleid: Aria (Duet Soprano, Alto): “Wenn Sorgen auf mich dringen”
03:26
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Bogna Bartosz, Amsterdam Baroque Orchestra
26.
Ach Gott, wie manches Herzeleid: Chorale: “Erhalt mein Herz im Glauben rein”
00:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
Es ist ein trotzig und verzagt Ding BWV 176: Chorus: “Es ist ein trotzig und verzagt Ding”
01:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Es ist ein trotzig und verzagt Ding BWV 176: Recitative (Alto): “Ich meine, recht verzagt”
02:11
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
03.
Es ist ein trotzig und verzagt Ding BWV 176: Aria (Soprano): “Dein sonst hell beliebter Schein”
02:57
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
04.
Es ist ein trotzig und verzagt Ding BWV 176: Recitative (Bass): “So wundre dich, o Meister, nicht”
00:51
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
Es ist ein trotzig und verzagt Ding BWV 176: Aria (Alto): “Ermuntert euch, furchtsam und schüchterne Sinne”
03:03
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
06.
Es ist ein trotzig und verzagt Ding BWV 176: Chorale: “Auf daß wir also allzugleich”
03:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Es ist euch gut, daß ich hingehe BWV108: Aria (Bass): “Es ist euch gut, daß ich hingehe”
05:06
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
08.
Es ist euch gut, daß ich hingehe BWV108: Aria (Tenor): “Mich kann kein Zweifel stören”
01:05
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
09.
Es ist euch gut, daß ich hingehe BWV108: Recitative (Tenor): “Dein Geist wird mich also regieren”
02:50
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
10.
Es ist euch gut, daß ich hingehe BWV108: Chorus: “Wenn aber jener, der Geist der Wahrheit, kommen wird”
01:06
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Es ist euch gut, daß ich hingehe BWV108: Aria (Alto): “Was mein Herz von dir begehrt”
04:21
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
12.
Es ist euch gut, daß ich hingehe BWV108: Chorale: “Dein Geist, den Gott vom Himmel gibt”
00:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Ich bin ein guter Hirt BWV 85: Aria (Bass): “Ich bin ein guter Hirt”
00:41
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
14.
Ich bin ein guter Hirt BWV 85: Aria (Alto): “Jesus ist ein guter Hirt”
03:23
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
15.
Ich bin ein guter Hirt BWV 85: Chorale (Soprano): “Der Herr ist mein getreuer Hirt”
06:01
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Deborah York, Amsterdam Baroque Orchestra
16.
Ich bin ein guter Hirt BWV 85: Recitative (Tenor): “Wann die Mietlinge schlafen”
00:57
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
17.
Ich bin ein guter Hirt BWV 85: Aria (Tenor): “Seht, was die Liebe tut”
00:25
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
18.
Ich bin ein guter Hirt BWV 85: Chorale: “Ist Gott mein Schutz und treuer Hirt”
07:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Auf Christi Himmelfahrt allein BWV 128: Chorus: “Auf Christi Himmelfahrt allein”
00:49
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Auf Christi Himmelfahrt allein BWV 128: Recitative (Tenor): “Ich bin bereit, komm, hole mich”
03:28
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
21.
Auf Christi Himmelfahrt allein BWV 128: Aria (Bass): “Auf, auf, mit hellem Schall”
00:48
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
22.
Auf Christi Himmelfahrt allein BWV 128: Aria (Duet Alto, Tenor): “Sein Allmacht zu ergründen”
02:46
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Jörg Dürmüller, Amsterdam Baroque Orchestra
23.
Auf Christi Himmelfahrt allein BWV 128: Chorale: “Alsdenn so wirst du mich”
01:27
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
24.
Sie werden euch in den Bann tun BWV 183: Recitative (Bass): “Sie werden euch in den Bann tun”
02:08
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
25.
Sie werden euch in den Bann tun BWV 183: Aria (Tenor): “Ich fürchte nicht des Todes Schrecken”
01:04
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
26.
Sie werden euch in den Bann tun BWV 183: Recitative (Alto): “Ich bin bereit, mein Blut und armes Leben”
03:38
(Johann Sebastian Bach ) Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
27.
Sie werden euch in den Bann tun BWV 183: Aria (Soprano): “Höchster Tröster, heilger Geist”
04:08
(Johann Sebastian Bach ) Ton Koopman, Deborah York, Amsterdam Baroque Orchestra
28.
Sie werden euch in den Bann tun BWV 183: Chorale: “Du bist ein Geist, der lehret”
00:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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