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Complete Bach Cantatas Vol. 19

Ton Koopman / The Amsterdam Baroque Orchestra

Complete Bach Cantatas Vol. 19

Price: € 26.95
Format: CD
Label: Challenge Classics
UPC: 0608917221923
Catnr: CC 72219
Release date: 05 September 2005
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Label
Challenge Classics
UPC
0608917221923
Catalogue number
CC 72219
Release date
05 September 2005

"artikeltje over Ton Koopman"

Trouw, 11-2-2014
Album
Artist(s)
Composer(s)
Press
EN
NL

About the album

The cantatas of volume 19 can be relegated to three groups: Four works (BWV 72, 88, 129 and 193) belong to the third Leipzig series, lasting from 1725 to 1727; five (BWV 145, 159, 171, 174 and 188) belong to the group known as the Picander cycle of 1728-29, which was not completed or has not survived complete; two works (BWV 51 and 117) belong to the period after 1730, in which Bach composed new church cantatas only sporadically.

His first five years as Thomaskantor cost Johann Sebastian Bach unusual effort, as he has undertaken to compose the church cantatas appointed for each Sunday more or less by himself. He was not contractually obliged to do so, but he adhered quite strictly to this plan at least for two years and loosened it a little for the third yearly cycle, which was spread over two or three years. Even so, Bach never got stuck in a routine, as he was constantly discovering new facets of the cantata genre.
Cantates uit verschillende periodes
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 22 volumes. Dit 19e volume uit de reeks kan worden onderverdeeld in drie groepen: vier werken (BWV 72, 88, 129 en 193) behoren tot de “derde jaarlijkse Leipzig cyclus” van 1725 tot 1727; vijf werken (BWV 145, 159, 171, 174 en 188) behoren tot de groep die bekend staat als de “Picander cyclus”, van 1728 tot en met 1729, welke of niet was afgemaakt door Bach zelf, of welke door de eeuwen heen is kwijtgeraakt; en de laatste twee werken (BWV 51 en 117) zijn gecomponeerd in de periode na 1730, toen Bach nog slechts sporadisch nieuwe cantates componeerde.

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...
more
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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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.  
more

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

artikeltje over Ton Koopman
Trouw, 11-2-2014

Play album Play album
Disc #1
01.
'Gelobet sei der Herr, mein Gott BWV 129': Chorus: “Gelobet sei der Herr, mein Gott, mein Licht”
03:43
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
02.
'Gelobet sei der Herr, mein Gott BWV 129': Aria (Bass): “Gelobet sei der Herr, mein Gott, mein Heil”
03:42
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
03.
'Gelobet sei der Herr, mein Gott BWV 129': Aria (Soprano): “Gelobet sei der Herr, mein Gott, mein Trost”
03:46
(Johann Sebastian Bach ) Johannette Zomer, Ton Koopman, Amsterdam Baroque Orchestra
04.
'Gelobet sei der Herr, mein Gott BWV 129': Aria (Alto): “Gelobet sei der Herr, mein Gott, der ewig lebet”
04:33
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
05.
'Gelobet sei der Herr, mein Gott BWV 129': Chorale: “Dem wir das Heilig itzt mit Freuden lassen klingen”
01:27
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
06.
'Sehet, wir gehn hinauf gen Jerusalem BWV 159': Arioso and Recitative (Bass, Alto): “Sehet! Komm, schaue doch, mein Sinn”
02:47
(Johann Sebastian Bach ) Klaus Mertens, Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
07.
'Sehet, wir gehn hinauf gen Jerusalem BWV 159': Aria with Chorale (Alto, Sopranos): “Ich folge dir nach”
03:20
(Johann Sebastian Bach ) Bogna Bartosz, Caroline Stam, Sibylla Rubens, Marlis Petersen, Sandrine Piau, Johannette Zomer, Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
08.
'Sehet, wir gehn hinauf gen Jerusalem BWV 159': Recitative (Tenor): “Nun will ich mich, mein Jesu”
00:54
(Johann Sebastian Bach ) James Gilchrist, Ton Koopman, Amsterdam Baroque Orchestra
09.
'Sehet, wir gehn hinauf gen Jerusalem BWV 159': Aria (Bass): “Es ist vollbracht”
04:52
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
10.
'Sehet, wir gehn hinauf gen Jerusalem BWV 159': Chorale: “Jesu, deine Passion ist mir lauter Freude”
01:11
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
11.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Sinfonia
05:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
12.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Aria (Alto): “Ich liebe den Höchsten von ganzem Gemüte”
06:42
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
13.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Recitative (Tenor): “O Liebe, welcher keine gleich!”
01:08
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Orchestra
14.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Aria (Bass): “Greifet zu, fasst das Heil, ihr Glaubenshände”
04:04
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
15.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Chorale: “Herzlich lieb hab ich dich, o Herr”
01:46
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
16.
Alles nur nach gottes Willen BWV 72: Chorus: “Alles nur nach Gottes Willen”
03:12
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
17.
Alles nur nach gottes Willen BWV 72: Recitative and Arioso (Alto): “O selger Christ, der allzeit seinen Willen”
01:55
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
18.
Alles nur nach gottes Willen BWV 72: Aria (Alto): “Mit allem, was ich hab und bin”
03:46
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
19.
Alles nur nach gottes Willen BWV 72: Recitative (Bass): “So glaube nun!”
00:53
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
20.
Alles nur nach gottes Willen BWV 72: Aria (Soprano): “Mein Jesus will es tun”
03:16
(Johann Sebastian Bach ) Sandrine Piau, Ton Koopman, Amsterdam Baroque Orchestra
21.
Alles nur nach gottes Willen BWV 72: Chorale: “Was mein Gott will, das gescheh allzeit”
01:04
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra

Disc #2
01.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Chorus: “Gott, wie dein Name, so ist auch dein Ruhm”
01:48
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
02.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Aria (Tenor): “Herr, so weit die Wolken gehen, gehet deines Namens Ruhm”
03:59
(Johann Sebastian Bach ) Christoph Prégardien, Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
03.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Recitative (Alto): “Du süsser Jesus-Name du”
01:01
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
04.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Aria (Soprano): “Jesus soll mein erstes Wort in dem neuen Jahre heissen”
04:20
(Johann Sebastian Bach ) Sandrine Piau, Ton Koopman, Amsterdam Baroque Orchestra
05.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Recitative (Bass): “Und da du, Herr, gesagt”
01:46
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
06.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Chorale: “Lass uns das Jahr vollbringen zu Lob dem Namen dein”
01:44
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
07.
Jauchzet Gott in allen Landen BWV 51: Aria (Soprano): “Jauchzet Gott in allen Landen”
04:27
(Johann Sebastian Bach ) Marlis Petersen, Ton Koopman, Amsterdam Baroque Orchestra
08.
Jauchzet Gott in allen Landen BWV 51: Recitative (Soprano): “Wir beten zu dem Tempel an”
01:58
(Johann Sebastian Bach ) Marlis Petersen, Ton Koopman, Amsterdam Baroque Orchestra
09.
Jauchzet Gott in allen Landen BWV 51: Aria (Soprano): “Höchster, mache deine Güte ferner alle Morgen neu”
03:38
(Johann Sebastian Bach ) Marlis Petersen, Ton Koopman, Amsterdam Baroque Orchestra
10.
Jauchzet Gott in allen Landen BWV 51: Chorale / Aria (Soprano): “Sei Lob und Preis mit Ehren / Halleluja”
06:04
(Johann Sebastian Bach ) Marlis Petersen, Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
11.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Aria (Duet: Soprano, Tenor): “Ich lebe, mein Herze, zu deinem Ergötzen
02:59
(Johann Sebastian Bach ) Christoph Prégardien, Johannette Zomer, Ton Koopman, Amsterdam Baroque Orchestra
12.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Recitative (Tenor): “Nun fordre, Moses, wie du willt”
00:55
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Orchestra
13.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Aria (Bass): “Merke, mein Herze, beständig nur dies”
03:05
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
14.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Recitative (Soprano): “Mein Jesus lebt”
00:45
(Johann Sebastian Bach ) Johannette Zomer, Ton Koopman, Amsterdam Baroque Orchestra
15.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Chorale: “Drum wir auch billig fröhlich sein”
00:36
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Amsterdam Baroque Orchestra
16.
Ich habe meine Zuversicht BWV 188: Sinfonia (reconstruction: Ton Koopman)
07:48
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
17.
Ich habe meine Zuversicht BWV 188: Aria (Tenor): “Ich habe meine Zuversicht”
05:30
(Johann Sebastian Bach ) James Gilchrist, Ton Koopman, Amsterdam Baroque Orchestra
18.
Ich habe meine Zuversicht BWV 188: Recitative (Bass): “Gott meint es gut mit jedermann”
01:46
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Orchestra
19.
Ich habe meine Zuversicht BWV 188: Aria (Alto): “Unerforschlich ist die Weise”
04:57
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Orchestra
20.
Ich habe meine Zuversicht BWV 188: Recitative (Soprano): “Die Macht der Welt verlieret sich”
00:35
(Johann Sebastian Bach ) Ton Koopman, Sibylla Rubens, Amsterdam Baroque Orchestra
21.
Ich habe meine Zuversicht BWV 188: Chorale: “Auf meinen lieben Gott trau ich in Angst und Not”
00:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
'Siehe, ich will viel Fischer aussenden BWV 88': Aria (Bass): “Siehe, ich will viel Fischer aussenden”
05:45
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
02.
'Siehe, ich will viel Fischer aussenden BWV 88': Recitative (Tenor): “Wie leichtlich könnte doch der Höchste uns entbehren”
00:49
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
03.
'Siehe, ich will viel Fischer aussenden BWV 88': Aria (Tenor): “Nein, nein! Gott ist alle Zeit geflissen”
03:22
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
04.
'Siehe, ich will viel Fischer aussenden BWV 88': Recitative (Tenor): “Jesus sprach zu Simon”
00:15
(Johann Sebastian Bach ) Ton Koopman, Christoph Prégardien, Amsterdam Baroque Orchestra
05.
'Siehe, ich will viel Fischer aussenden BWV 88': Arioso (Bass): “Fürchte dich nicht”
01:40
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
06.
'Siehe, ich will viel Fischer aussenden BWV 88': Aria (Duet: Soprano, Alto): “Beruft Gott selbst”
03:05
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Bogna Bartosz, Amsterdam Baroque Orchestra
07.
'Siehe, ich will viel Fischer aussenden BWV 88': Recitative (Soprano): “Was kann dich denn in deinem Wandel schrecken”
01:25
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
08.
'Siehe, ich will viel Fischer aussenden BWV 88': Chorale: “Sing, bet und geh auf Gottes Wegen”
00:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Sei Lob und Ehr dem höchsten Gut BWV 117: Chorus: “Sei Lob und Ehr dem höchsten Gut”
03:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Sei Lob und Ehr dem höchsten Gut BWV 117: Recitative (Bass): “Es danken dir die Himmelsheer”
01:02
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
11.
Sei Lob und Ehr dem höchsten Gut BWV 117: Aria (Tenor): “Was unser Gott geschaffen hat”
02:17
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
12.
Sei Lob und Ehr dem höchsten Gut BWV 117: Chorale: “Ich rief dem Herrn in meiner Not”
00:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Sei Lob und Ehr dem höchsten Gut BWV 117: Recitative (Alto): “Der Herr ist noch und nimmer nicht”
01:10
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
14.
Sei Lob und Ehr dem höchsten Gut BWV 117: Aria (Bass): “Wenn Trost und Hülf ermangeln muss”
03:23
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
15.
Sei Lob und Ehr dem höchsten Gut BWV 117: Aria (Alto): “Ich will dich all mein Leben lang”
02:42
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
16.
Sei Lob und Ehr dem höchsten Gut BWV 117: Recitative (Tenor): “Ihr, die ihr Christi Namen nennt”
00:36
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
17.
Sei Lob und Ehr dem höchsten Gut BWV 117: Chorale: “So kommet vor sein Angesicht”
03:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Ihr Tore zu Zion BWV 193: Chorus: “Ihr Tore zu Zion”
04:18
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Ihr Tore zu Zion BWV 193: Recitative (Soprano): “Der Hüter Israel entschläft noch schlummert nicht”
00:37
(Johann Sebastian Bach ) Ton Koopman, Caroline Stam, Amsterdam Baroque Orchestra
20.
Ihr Tore zu Zion BWV 193: Aria (Soprano): “Gott, wir danken deiner Güte”
05:40
(Johann Sebastian Bach ) Ton Koopman, Caroline Stam, Amsterdam Baroque Orchestra
21.
Ihr Tore zu Zion BWV 193: Recitative (Alto): “O Leipziger Jerusalem”
00:47
(Johann Sebastian Bach ) Ton Koopman, Michael Chance, Amsterdam Baroque Orchestra
22.
Ihr Tore zu Zion BWV 193: Aria (Alto): “Sende Herr, den Segen ein”
03:16
(Johann Sebastian Bach ) Ton Koopman, Michael Chance, Amsterdam Baroque Orchestra
23.
Ihr Tore zu Zion BWV 193: Recitative (Bass): “Nun, Herr, so weihe selbst das Regiment”
00:46
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
24.
Ihr Tore zu Zion BWV 193: Chorus: “Ihr Tore zu Zion”
04:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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