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 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...
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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”.

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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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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.  
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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

artikeltje over Ton Koopman
Trouw, 11-2-2014

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

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
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
03.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Recitative (Alto): “Du süsser Jesus-Name du”
01:01
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
05.
'Gott, wie dein Name, so ist auch dein Ruhm BWV 171': Recitative (Bass): “Und da du, Herr, gesagt”
01:46
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
07.
Jauchzet Gott in allen Landen BWV 51: Aria (Soprano): “Jauchzet Gott in allen Landen”
04:27
08.
Jauchzet Gott in allen Landen BWV 51: Recitative (Soprano): “Wir beten zu dem Tempel an”
01:58
09.
Jauchzet Gott in allen Landen BWV 51: Aria (Soprano): “Höchster, mache deine Güte ferner alle Morgen neu”
03:38
10.
Jauchzet Gott in allen Landen BWV 51: Chorale / Aria (Soprano): “Sei Lob und Preis mit Ehren / Halleluja”
06:04
11.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Aria (Duet: Soprano, Tenor): “Ich lebe, mein Herze, zu deinem Ergötzen
02:59
12.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Recitative (Tenor): “Nun fordre, Moses, wie du willt”
00:55
13.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Aria (Bass): “Merke, mein Herze, beständig nur dies”
03:05
14.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Recitative (Soprano): “Mein Jesus lebt”
00:45
15.
'Ich lebe, mein Herze, zu deinem Ergötzen BWV 145': Chorale: “Drum wir auch billig fröhlich sein”
00:36
16.
Ich habe meine Zuversicht BWV 188: Sinfonia (reconstruction: Ton Koopman)
07:48
17.
Ich habe meine Zuversicht BWV 188: Aria (Tenor): “Ich habe meine Zuversicht”
05:30
18.
Ich habe meine Zuversicht BWV 188: Recitative (Bass): “Gott meint es gut mit jedermann”
01:46
19.
Ich habe meine Zuversicht BWV 188: Aria (Alto): “Unerforschlich ist die Weise”
04:57
20.
Ich habe meine Zuversicht BWV 188: Recitative (Soprano): “Die Macht der Welt verlieret sich”
00:35
21.
Ich habe meine Zuversicht BWV 188: Chorale: “Auf meinen lieben Gott trau ich in Angst und Not”
00:51

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

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Complete Bach Cantatas Vol. 16
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Complete Bach Cantatas Vol. 15
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Complete Bach Cantatas Vol. 14
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