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Complete Bach Cantatas Vol. 20

Ton Koopman / The Amsterdam Baroque Orchestra

Complete Bach Cantatas Vol. 20

Price: € 14.95
Format: CD
Label: Challenge Classics
UPC: 0608917222029
Catnr: CC 72220
Release date: 24 October 2005
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Label
Challenge Classics
UPC
0608917222029
Catalogue number
CC 72220
Release date
24 October 2005
Album
Artist(s)
Composer(s)
EN
NL

About the album

The cantatas of volume 20 combine the concluding items from the "Picander" year of 1728-29 with a series of cantatas from the first half of the 1730s. A special feature is the inclusion of a hitherto completely unknown sacred work from Bach’s Weimar period, discovered as recently as May 2005 by Michael Maul (who works in the Bach-Archiv in Leipzig) in the Herzogin Anna Amalia Library, Weimar. This aria of praise dating from 1713, preserved in a newly discovered original source and now assigned the BWV number 1127, supplements Bach’s Weimar cantatas in a felicitous manner. Above all it is the first new work to add to Bach’s vocal output for 70 years, since the discovery of the cantata fragment “Bekennen will ich seinen Namen”, BWV 200.
De 'Picander-cyclus' van Bach's cantates
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 van dit 20e volume bevat werken uit het “Picander-cyclus” van 1728-1729 en werken uit de eerste helft van de jaren ’30 van de achttiende eeuw. De “Picander-cyclus” is de vierde cantatejaargang gecomponeerd door Bach. Deze cyclus is helaas incompleet, maar het is onbekend of deze cantatejaargang niet was afgemaakt door Bach, of dat de werken door de jaren heen verloren zijn geraakt. De werken uit deze jaargang zijn gebaseerd op teksten van dichter Christian Friedrich Henrici, die beter bekend staat als Picander. Een bijzondere toevoeging aan dit album is de uitvoering van een tot hiervoor onbekend werk van Bach toen hij in Weimar werkte. Dit stuk is pas in 2005 ontdekt door Michael Maul, die werkzaam is in het Bach-archiv in Leipzig. Het stuk is ontdekt in een bibliotheek in Weimar en dateert van 1713. Deze cantate wordt gekenmerkt door een lange aria. Het stuk heeft het BWV nummer 1127 gekregen.

Artist(s)

Ton Koopman (conductor)

Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time...
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Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time to teaching. Ton Koopman is president of the International Dieterich Buxtehude Society and, since 2019, president of the Leipzig Bach Archiv.

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Amsterdam Baroque Orchestra & Choir

Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality. The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare...
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Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality.
The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare combination of textural clarity and interpretative flexibility, the Amsterdam Baroque Choir is considered among today’s most outstanding choirs. In 1994 Ton Koopman and the Amsterdam Baroque Orchestra & Choir embarked upon the most ambitious recording project of the last decades: the integral recording of Bach’s secular and sacred cantatas. For this extraordinary project Koopman and his ensemble received the Deutsche Schallplatten-Preis Echo Klassik. Next to the CD recordings three books have been edited and published by Ton Koopman and the musicologist Christoph Wolff and a series of six documentaries was produced and broadcasted by various TV stations.
Alongside Bach’s music the Amsterdam Baroque Orchestra & Choir has recorded all major baroque and classical works. Major recognitions include the Gramophone Award, Diapason d'Or, 10-Repertoire, Stern des Monats-Fono Forum, the Prix Hector Berlioz and two Edison Awards. In 2008 the ensemble and Ton Koopman have been honoured with the prestigious BBC Award. Since March 2003 “Antoine Marchand”, a new sub-label of Challenge Classics, took over the release of Koopman’s new recordings and among many others has published 22 CD boxes of the Bach Cantatas, a new recording of the St. Matthew Passion (on CD and DVD) and St. Markus Passion of J.S. Bach (DVD), live recorded in Milan, as well as the first seven volumes of the Buxtehude Opera-Omnia Edition. Ton Koopman and the ABO & ABC are regular guests at the major concert halls of Europe, the USA and Japan. In the 2008/09 season they will tour extensively in Europe (Amsterdam, Paris, Madrid, Vienna, Milan, Cologne, Dresden, Düsseldorf etc) and in Far East with concerts in Hong Kong, Seoul and Tokyo.
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Lisa Larsson

Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the...
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Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the Royal Danish Opera, the Opéra de Monte-Carlo, the Leipzig Opera, the Grand Théâtre de Genève, the Royal Swedish Opera and the Theater Basel as well as at the Salzburg Festival, the Lucerne Festival, the Glyndebourne Festival and the Festival d'Aix-en-Provence.
Lisa Larsson is also a remarkably versatile concert singer of international renown. In recent years she has constantly expanded her broad repertoire with works by Mahler, Richard Strauss, Brahms, Berlioz, Britten and Stravinsky, and has performed in a number of world premieres of contemporary works. Conductors she has worked with include Claudio Abbado, Sir Colin Davis, Daniel Harding, Adam Fischer, Mikhail Pletnev, David Zinman, Antonello Manacorda, Lawrence Renes, Massimo Zanetti, Louis Langrée, Douglas Boyd, Juanjo Mena, Christian Arming, Andrew Manze, Stefan Solyom, Vassily Sinaisky and Edo de Waart. Lisa Larsson has performed with leading orchestras including the Berlin Philharmonic, the Zurich Tonhalle Orchestra, the Frankfurt Radio Symphony Orchestra, the Munich Philharmonic, the Vienna Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Netherlands Philharmonic, the Royal Stockholm Philharmonic Orchestra, the Hong Kong Philharmonic, the Orquestra Sinfônica do Estado de São Paulo, the NHK Symphony Orchestra and the New Japan Philharmonic.
In the field of baroque music, she has often worked with leading conductors and their orchestras, including Sir John Eliot Gardiner, Sir Roger Norrington, Christopher Hogwood, Frans Brüggen, Andrea Marcon, Emmanuelle Haïm, Ton Koopman, Nathalie Stutzmann, Nicholas McGegan, Paul Goodwin, Martin Haselböck, Gottfried von der Goltz, Trevor Pinnock, Richard Egarr, Fabio Bonizzoni, Jan Willem de Vriend and David Stern.
Highlights of her 2014 | 2015 season include two world premieres of works dedicated to her by Swedish composer Rolf Martinsson: “Ich denke Dein…” for soprano and orchestra, commissioned by the Zurich Tonhalle Orchestra, and “Garden of Devotion” for soprano and string orchestra, commissioned by the Swedish ensemble Musica Vitae.
“Ich denke Dein…” will be first performed by the Zurich Tonhalle Orchestra and conducted by John Storgårds who will also lead the Finnish premiere with the Helsinki Philharmonic Orchestra. The Dutch premiere will be with the Netherlands Philharmonic Orchestra under its chief conductor Marc Albrecht in Amsterdam’s Concertgebouw. More performances are planned for future seasons with the Philharmonia Orchestra, Gothenburg Symphony Orchestra, Orchestra Sinfonica di Milano Giuseppe Verdi, Iceland Symphony Orchestra, Malmö Symphony Orchestra and Helsingborg Symphony Orchestra.
"Garden of Devotion" will be first performed on tour in Sweden by Musica Vitae and conducted by Nathalie Stutzmann. Further performances are scheduled with the Scottish Chamber Orchestra under Olari Elts as well as the Helsingborg Symphony Orchestra under Stefan Solyom. More performances in future seasons are planned with the Swedish Chamber Orchestra, Stuttgart Chamber Orchestra, Staatskapelle Weimar and the Norrköping Symphony Orchestra.
Lisa Larsson will continue her many years of collaboration with Antonello Manacorda in performances of Beethoven’s 9th symphony in the Netherlands as well as Alban Berg’s “Seven Early Songs” and Mahler’s 4th symphony with the BBC Philharmonic. She will also sing the Berg cycle with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra at the Prague Spring Festival and in Liverpool. Performances of Mahler’s 2nd symphony, conducted by Stefan Asbury, are planned for a tour in Holland. Other projects she is looking forward to are two new recital programmes with concerts in Italy together with Andrea Lucchesini and in Switzerland with Roland Pöntinen.
Recent additions to her substantial discography are two Challenge Classics releases: A Haydn album with the Combattimento Consort Amsterdam under the direction of Jan Willem de Vriend as well as Berlioz programme with the Arnhem Philharmonic Orchestra conducted by Antonello Manacorda who is also the conductor of her next CD to be released on the same label in the autumn of 2014 and featuring Mahler’s 4th symphony combined with a selection of “Wunderhorn” songs by Mahler. In spring 2015 she will record Rolf Martinsson’s “Orchestral Songs on Poems by Emily Dickens” with the Royal Stockholm Philharmonic Orchestra under Andrew Manze for BIS Records. Her other recordings include Strauss‘ ›Four Last Songs‹ under Douglas Boyd, Mahler’s 8th symphony under David Zinman, the Mozart operas ›Don Giovanni‹ under Daniel Harding, ›Mitridate‹ under Adam Fischer, ›Il sogno di Scipione‹ under Gottfried von der Goltz, Händel‘s ›Jephta‹ under David Stern as well as numerous Bach Cantatas under Sir John Eliot Gardiner and Ton Koopman. With the latter she also recorded Bach’s Christmas and Easter Oratorio as well as the Magnificat.

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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.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a: Chorus: 'Herr Gott , Beherrscher Aller Dinge'
06:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Recitative (Bass, Tenor) And Chorus: 'Wie Wunderbar, O Gott, Sind Deine Werke'
03:01
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
03.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Aria (Soprano): Leit, O Gott, Durch, Deine Liebe'
05:15
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Amsterdam Baroque Orchestra
04.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Sinfonia: Presto
03:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
05.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Recitative (Tenor) And Chorus: 'Herr Zebaoth, Herr, Unsrer Väter Gott'
01:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, James Gilchrist, Amsterdam Baroque Orchestra
06.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Aria ( Duet: Alto, Tenor) : 'herr, Fange an Und Sprich Den Segen'
07:26
(Johann Sebastian Bach ) Ton Koopman, Nathalie Stutzmann, James Gilchrist, Amsterdam Baroque Orchestra
07.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Recitative ) Bass) :' Der Herr, Herr Unser Gott'
01:25
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
08.
'Herr Gott, Beherrscher Aller Dinge' BWV 120a : Chorale : 'Lobe Den Herren , Der Deinen Stand Sichtbar Gesegnet'
01:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Sinfonia: Adiago
02:08
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
10.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Aria (Alto) And Chorale (sopranos) : 'Ich Steh Mit Einem Fuß Im Grabe'
04:34
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Amsterdam Baroque Orchestra
11.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Recitative (Bass) : 'Mein Angst Und Not'
01:23
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
12.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Aria (Alto): 'Herr Was Du Willt, Soll Mir Gefallen'
03:23
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
13.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Recitative ( Bass) : 'und Willst Du , Daß Ich Nicht Soll Kranken': Recitative ( Bass) : 'und Willst Du , Daß Ich Nicht Soll Kranken'
01:01
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
14.
Ich Steh Mit Einem Fuß Im Grabe BWV 156: Chorale: 'her, Wie Du Willt, So Schicks Mit Mir': Chorale: 'her, Wie Du Willt, So Schicks Mit Mir'
01:12
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Alles Mit Gott Und Nichts Ohn' Ihn BWV 127 : Aria (Sporano) :'Alles Mit Got Und Nichts Ohn' Ihn''
16:52
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra

Disc #2
01.
Man Singet Mit Freuden Vom Sieg BWV 149 : Chorus: 'Man Singet Mit Freuden Vom Sieg'
03:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Man Singet Mit Freuden Vom Sieg BWV 149 : Aria (Bass) : 'Kraft Und Stärke Sei Gesungen'
02:30
(Johann Sebastian Bach ) Ton Koopman, Nathalie Stutzmann, Klaus Mertens, Amsterdam Baroque Orchestra
03.
Man Singet Mit Freuden Vom Sieg BWV 149 : Recitative (alto): 'ich Fürchte Mich Vor Tausend Feinden Nicht'
00:44
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
04.
Man Singet Mit Freuden Vom Sieg BWV 149 : Aria(Soprano): 'Gottes Engel Weichen Nie'
05:12
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Amsterdam Baroque Orchestra
05.
Man Singet Mit Freuden Vom Sieg BWV 149 : Recitative (tenor) : 'Ich Danke Dir, Mein Lieber Gott'
00:32
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
06.
Man Singet Mit Freuden Vom Sieg BWV 149 : Aria (Duet: Alto, Tenor):' Seid Wachsam, Ihr Heiligen Wächter'
03:10
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, James Gilchrist, Amsterdam Baroque Orchestra
07.
Man Singet Mit Freuden Vom Sieg BWV 149 : Choral: 'Ach Herr, Laß Dein Lieb Engelein'
01:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
'Wär Gott Nicht Mit Uns Diese Zeit' BWV 14: Chorale: 'Wär Gott Nicht Mit Uns Diese Zeit'
05:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
'Wär Gott Nicht Mit Uns Diese Zeit' BWV 14: Aria (Soprano) : 'Unsre Stäarke Heißt Zu Schwach'
04:25
(Johann Sebastian Bach ) Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
10.
'Wär Gott Nicht Mit Uns Diese Zeit' BWV 14: Recitative(tenor) : 'Ja Hätt Es Gott Nur Zugegeben'
00:35
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
11.
'Wär Gott Nicht Mit Uns Diese Zeit' BWV 14: Aria ( Bass): 'Gott, Bei Deinem Starken Schützen'
03:43
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
12.
'Wär Gott Nicht Mit Uns Diese Zeit' BWV 14: Chorale : 'gott Lob Und Dank, Der Nicht Zugab'
00:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Sinfonia : Presto
03:29
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Orchestra
14.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Chorus : 'Wr Danken Dir Gott, Wir Danken Dir'
02:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Aria ( Tenor) : 'Halleluja, Stark Und Macht': Aria ( Tenor) : 'Halleluja, Stark Und Macht'
04:44
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
16.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Recitative (bass) : 'Gott Lob! Es Geht Uns Wohl!'
00:57
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
17.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Aria (Soprano) : 'Gedenk an Uns Mit Deiner Liebe'
06:12
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Amsterdam Baroque Orchestra
18.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Recitative (Alto) And Chorus: 'Vergiß Es Ferner Nicht'
00:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Amsterdam Baroque Orchestra
19.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Arioso (alto) : 'Halleluja, Stärk Und Macht'
01:30
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
20.
Wir Danken Dir, Gott, Wir Danken Dir BWV 29: Chorale: 'Sei Lob Und Preis Mit Ehren'
01:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Nun Danket Alle Gott BWV 192: Chorus : 'Nun Danket Alle Gott'
05:26
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Nun Danket Alle Gott BWV 192: Aria (Duet: Soprano, Bass) : 'Der Ewig Reiche Gott!'
02:35
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Klaus Mertens, Amsterdam Baroque Orchestra
23.
Nun Danket Alle Gott BWV 192: Chorus : Lob, Ehr Und Preis Sei Gott'
02:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
Gott, Man Lobet Dich In Der Stille BWV 120: Aria (Alto) : 'Gott, Man Lobet Dich In Der Stille'
05:29
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
02.
Gott, Man Lobet Dich In Der Stille BWV 120: Chorus: 'Jauchzet, Ihr Erfreuten'
05:57
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Bogna Bartosz, Amsterdam Baroque Orchestra
03.
Gott, Man Lobet Dich In Der Stille BWV 120: Recitative ( Bass): 'Auf! Du Geliebte Lindenstadt'
01:14
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Gott, Man Lobet Dich In Der Stille BWV 120: Aria (Soprano): 'Heil Und Segen Soll Und Muß'
04:55
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Amsterdam Baroque Orchestra
05.
Gott, Man Lobet Dich In Der Stille BWV 120: Recitative (tenor) : 'Nun, Herr, So Weihe Selbst Das Regiment'
00:44
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
06.
Gott, Man Lobet Dich In Der Stille BWV 120: Chorale: 'Nun Hilf Uns, Herr, Den Dienern Dein'
01:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Lobet Gott in seinen Reichen BWV 11: Chorus : 'Lobet Gott In Seinen Reichen'
04:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Lobet Gott in seinen Reichen BWV 11: Recitative (tenor) : 'Der Herr Jesus Hub Seine Hände Auf'
00:22
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
09.
Lobet Gott in seinen Reichen BWV 11: Recitative ( Bass) : ' Ach, Jesu, Ist Dein Abschied Schon So nah?
01:01
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Klaus Mertens, Amsterdam Baroque Orchestra
10.
Lobet Gott in seinen Reichen BWV 11: Aria ( Alto) : 'Ach, Bleibe Doch, Mein Liebstes Leben'
07:02
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Bogna Bartosz, Amsterdam Baroque Orchestra
11.
Lobet Gott in seinen Reichen BWV 11: Recitative (tenor) : 'Und Ward Aufgehaben Zusehends'
00:25
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Christoph Prégardien, Amsterdam Baroque Orchestra
12.
Lobet Gott in seinen Reichen BWV 11: Chorale: 'Nun Lieget Alles Unter Dir'
00:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Lobet Gott in seinen Reichen BWV 11: a. Recitative (Tenor, Bass): “Und da sie ihm nachsahen” b. Recitative (Alto): “Ah ja! So komme bald zurück” c. Recitative (Tenor): “Sie aber beteten ihn an”
01:55
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, James Gilchrist, Klaus Mertens, Amsterdam Baroque Orchestra
14.
Lobet Gott in seinen Reichen BWV 11: Aria (Soprano): “Jesu, deine Gnadenblicke”
06:16
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Amsterdam Baroque Orchestra
15.
Lobet Gott in seinen Reichen BWV 11: Chorale: “Wenn soll es doch geschehen”
04:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Es ist das Heil uns kommen her BWV 9: Chorus: “Es ist das Heil uns kommen her”
04:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Es ist das Heil uns kommen her BWV 9: Recitative (Bass): “Gott gab uns ein Gesetz”
01:09
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
18.
Es ist das Heil uns kommen her BWV 9: Aria (Tenor): “Wir waren schon zu tief gesunken”
03:28
(Johann Sebastian Bach ) Ton Koopman, James Gilchrist, Amsterdam Baroque Orchestra
19.
Es ist das Heil uns kommen her BWV 9: Recitative (Bass): “Doch mußte das Gesetz erfüllet werden”
01:12
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
20.
Es ist das Heil uns kommen her BWV 9: Aria (Duet: Soprano, Alto): “Herr, du siehst statt guter Werke”
04:53
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Bogna Bartosz, Nathalie Stutzmann, Amsterdam Baroque Orchestra
21.
Es ist das Heil uns kommen her BWV 9: Recitative (Bass): “Wenn wir die Sünd’ aus dem Gesetz erkennen”
01:28
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
22.
Es ist das Heil uns kommen her BWV 9: Chorale: “Ob sich’s anließ, als wollt’ er nicht”
01:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
23.
Der Herr ist mein getreuer Hirt BWV 112: Chorus: “Der Herr ist mein getreuer Hirt”
02:32
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
24.
Der Herr ist mein getreuer Hirt BWV 112: Aria (Alto): “Zum reinen Wasser er mich weist”
02:49
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
25.
Der Herr ist mein getreuer Hirt BWV 112: Recitativo, Arioso (Bass): “Und ob ich wandert im finstern Tal”
01:32
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
26.
Der Herr ist mein getreuer Hirt BWV 112: Aria (Duet: Soprano, Tenor): “Du bereitest für mir einen Tisch”
03:30
(Johann Sebastian Bach ) Ton Koopman, Sandrine Piau , Nathalie Stutzmann, Christoph Prégardien, Amsterdam Baroque Orchestra
27.
Der Herr ist mein getreuer Hirt BWV 112: Chorale: “Gutes und die Barmherzigkeit”
00:56
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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