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Complete Bach Cantatas Vol. 7

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 7

Format: CD
Label: Challenge Classics
UPC: 0608917220728
Catnr: CC 72207
Release date: 01 May 2004
CD (3 items)
 
Label
Challenge Classics
UPC
0608917220728
Catalogue number
CC 72207
Release date
01 May 2004
Album
Artist(s)
Composer(s)
EN
NL

About the album

This seventh volume of the complete cantatas is exclusively given over to works from the first cycle of Leipzig cantatas of 1723/24. When Bach became Thomaskantor in Leipzig, he knew that he was taking on a post that was one of the richest in tradition and most important in the sphere of church music in Protestant Germany. From the latter part of the 17th century on, the cantata came to replace the Gospel motet, which had been used in church services in Protestant Germany since the time of the Reformation to underline the content of the prescribed reading from the Gospel. As the corresponding musical settings of these scriptural texts had often been planned us collections for the whole church year (for example by the composers Melchior Franck and Andreas Hammerschmidt), so there later grew up a tradition of composing cantatas in annual cycles, that is, in a series that covered the whole of the church year. So it was that Bach, on assuming his new functions, proceeded to create a repertoire for several annual cycles, which would meet his long term needs for church music.
Deel 7 uit de serie Bach Cantates opgenomen door Ton Koopman
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 tot stand in de jaren 1723-1725 toen Bach in Leipzig verbleef. Althans volgens biograaf Christoph Wolff, met wie Ton Koopman samenwerkte aan het enorme Bach-project.

Bach schreef de meeste cantates 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. Vaak beginnen de cantates met een uitgebreid openingskoor, gevolgd door enkele aria's en recitatieven (vertellende stukken, zonder tekstherhalingen).

Koopman heeft, zoals gezegd, alle bewaarde 202 cantates opgenomen. Deze verzameling is onderverdeeld in 22 delen. Musicologen verdelen Bach's enorme cantateproductie over vijf cantatejaargangen. Een cantatejaargang of cantate-jaarcyclus bestaat uit een groep van bij elkaar horende cantates, geschreven voor de kerkdiensten van één kerkelijk jaar.

In dit 7e deel van de complete cantates van Bach horen we cantates uit 1723-1724, Bach's eerste jaar in Leipzig. Toen Bach Thomascantor in Leipzig werd, wist hij, dat hij de meest traditionele en belangrijkste post binnen de wereld van de kerkmuziek in het protestantse Duitsland, zou bekleden. Zijn voorganger componeerde eigen werk, maar niet al te veel, laat staan dat hij het uitvoerde. Bach dacht daar compleet anders over. Er was hem veel aan gelegen een eigen repertoire te scheppen en uit te voeren. Alleen in bijzondere gevallen wilde hij andermans werk uitvoeren. Meteen vanaf het begin was Bach enorm productief. Gedurende het kerkjaar, van zondag op zondag, schreef, repeteerde en voerde hij een nieuw werk uit. Slechts onderbroken door twee rustperiodes rond Kerst en Pasen. Daar staat tegenover dat hij het in die periodes heel druk had met gelegenheidswerk. Alles moest gevierd worden met kerkelijke muziek. Dat gold ook voor de vele jaarlijkse festiviteiten in Leipzig.

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

Play album Play album
Disc #1
01.
Es ist nichts Gesundes an meinem Leibe BWV 25: Chorus: “Es ist nichts Gesundes an meinem Leibe”Chorus: “Es ist nichts Gesundes an meinem Leibe”
05:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Es ist nichts Gesundes an meinem Leibe BWV 25: Recitative (Tenor): “Die ganze Welt ist nur ein Hospital”
01:37
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
03.
Es ist nichts Gesundes an meinem Leibe BWV 25': Aria (Bass): “Ach, wo hol ich Armer Rat?”
03:13
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Es ist nichts Gesundes an meinem Leibe'' BWV 25': Recitative (Soprano): “Jesu, lieber Meister”
01:18
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
05.
'''Es ist nichts Gesundes an meinem Leibe'' BWV 25': Aria (Soprano): “Öffne meinen schlechten Liedern”
03:16
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
06.
'''Es ist nichts Gesundes an meinem Leibe'' BWV 25': Chorale: “Ich will alle meine Tage”
01:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
'''Christus, der ist mein Leben'' BWV 95': Chorus and recitative (Tenor):
04:59
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Gerd Türk, Amsterdam Baroque Orchestra
08.
'''Christus, der ist mein Leben'' BWV 95': Recitative (Soprano): Nun, falsche Welt
00:55
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
09.
'''Christus, der ist mein Leben'' BWV 95': Chorale: Valet will ich dir geben
01:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
'''Christus, der ist mein Leben'' BWV 95': Recitative (Tenor): Ach, könnte mir doch bald so wohl gescheh'n
00:35
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
11.
'''Christus, der ist mein Leben'' BWV 95': Aria (Tenor): Ach, schlage doch bald selige Stunde
07:54
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
12.
'''Christus, der ist mein Leben'' BWV 95': Recitative (Bass): Denn ich weiß dies
01:22
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
13.
'''Christus, der ist mein Leben'' BWV 95': Chorale: Weil du vom Tod entstanden bist
01:11
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Chorus: “Nimm, was dein ist, und gehe hin”
01:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Aria (Alto): “Murre nicht lieber Christ”
05:03
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
16.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Chorale: “Was Gott tut, das ist wohlgetan”
00:44
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Recitative (Tenor): “Wo die Genügsamkeit regiert”
00:55
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
18.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Aria (Soprano): “Genügsamkeit”
02:49
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
19.
'''Nimm, was dein ist, und gehe hin'' BWV 144': Chorale: “Was mein Gott will, das g’scheh’ allzeit”
01:19
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Chorus: “Halt im Gedächtnis Jesum Christ”
02:41
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Aria (Tenor): “Mein Jesus ist erstanden”
02:14
(Johann Sebastian Bach ) Ton Koopman, Elisabeth von Magnus, Amsterdam Baroque Orchestra
22.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Recitative (Alto): “Mein Jesu, heißest du des Todes Gift”
00:27
(Johann Sebastian Bach ) Ton Koopman, Elisabeth von Magnus, Amsterdam Baroque Orchestra
23.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Chorale: “Erschienen ist der herrlich’ Tag”
00:38
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
24.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Recitotive (Alto): “Doch scheinet fast”
00:48
(Johann Sebastian Bach ) Ton Koopman, Elisabeth von Magnus, Amsterdam Baroque Orchestra
25.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Aria (Bass): “Friede sei mit euch!”
05:43
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
26.
'''Halt im Gedächtnis Jesum Christ'' BWV 67': Chorale: “Du Friedefürst, Herr Jesu Christ”
00:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
27.
Ein ungefärbt Gemüte BWV 24': Aria (Alto): “Ein ungefärbt Gemüte”
03:18
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
28.
Ein ungefärbt Gemüte BWV 24': Recitative (Tenor): “Die Redlichkeit”
01:46
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
29.
Ein ungefärbt Gemüte BWV 24': Chorus: “Alles nun, das ihr wollet”
02:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
30.
Ein ungefärbt Gemüte BWV 24': Recitative (Bass): “Die Heuchelei ist eine Brut”
01:46
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
31.
Ein ungefärbt Gemüte BWV 24': Aria (Tenor): “Treu und Wahrheit sei der Grund”
03:16
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
32.
Ein ungefärbt Gemüte BWV 24': Chorale: “Gott, du frommer Gott”
02:23
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #2
01.
Erforsche mich, Gott, und erfahre mein Herz BWV 136: Chorus: “Erforsche mich, Gott, und erfahre mein Herz”
03:54
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Erforsche mich, Gott, und erfahre mein Herz BWV 136: Recitative (Tenor): “Ach, daß der Fluch”
01:11
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
03.
Erforsche mich, Gott, und erfahre mein Herz'' BWV 136': Aria (Alto): “Es kommt ein Tag”
03:58
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
04.
'''Erforsche mich, Gott, und erfahre mein Herz'' BWV 136': Recitative (Bass): “Die Himmel selber sind nicht rein”
01:04
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
'''Erforsche mich, Gott, und erfahre mein Herz'' BWV 136': Aria (Tenor, Bass): “Uns treffen zwar der Sünden Flecken”
03:45
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Klaus Mertens, Amsterdam Baroque Orchestra
06.
'''Erforsche mich, Gott, und erfahre mein Herz'' BWV 136': Chorale: “Dein Blut, der edle Saft”
00:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
'''Erwünschtes Freudenlicht'' BWV 184': Recitative (Tenor): “Erwünschtes Freudenlicht”
03:34
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
08.
'''Erwünschtes Freudenlicht'' BWV 184': Ario (Soprano, Alto): “Gesegnete Christen”
08:17
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Elisabeth von Magnus, Amsterdam Baroque Orchestra
09.
'''Erwünschtes Freudenlicht'' BWV 184': Recitative (Tenor): “So freuet euch”
01:57
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
10.
'''Erwünschtes Freudenlicht'' BWV 184': Aria (Tenor): “Glück und Segen sind bereit”
03:37
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
11.
'''Erwünschtes Freudenlicht'' BWV 184': Chorale: “Herr, ich hoff’ je”
01:07
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
'''Erwünschtes Freudenlicht'' BWV 184': Chorus: “Guter Hirte, Trost der Deinen”
02:30
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
'''Herr, gehe nicht ins Gericht'' BWV 105': Chorus: “Herr, gehe nicht ins Gericht mit deinem Knecht”
05:50
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
'''Herr, gehe nicht ins Gericht'' BWV 105': Recitative (Alto): “Mein Gott, verwirf mich nicht”
00:53
(Johann Sebastian Bach ) Ton Koopman, Elisabeth von Magnus, Amsterdam Baroque Orchestra
15.
'''Herr, gehe nicht ins Gericht'' BWV 105': Aria (Soprano): “Wie zittern und wanken”
06:01
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
16.
'''Herr, gehe nicht ins Gericht'' BWV 105': Recitative (Bass): “Wohl aber dem, der seinen Bürgen weiß”
01:46
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
17.
'''Herr, gehe nicht ins Gericht'' BWV 105': Aria (Tenor): “Kann ich nur Jesum mir zum Freunde machen”
05:41
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
18.
'''Herr, gehe nicht ins Gericht'' BWV 105': Chorale: “Nun, ich weiß, du wirst mir stillen”
02:04
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Chorus: “Bringet dem Herrn Ehre seines Namens”
03:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Aria (Tenor): “Ich eile, die Lehren”
04:40
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
21.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Recitative (Alto): “So wie der Hirsch nach frischem Wasser schreit”
01:14
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
22.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Aria (Alto): “Mund und Herze steht dir offen”
04:39
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
23.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Recitative (Tenor): “Bleib auch, mein Gott, in mir”
00:44
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
24.
'''Bringet dem Herrn Ehre seines Namens'' BWV 148': Chorale: “Amen zu aller Stund”
00:45
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra

Disc #3
01.
Herz und Mund und Tat und Leben BWV 147: Chorus: “Herz und Mund und Tat und Leben”
04:09
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Herz und Mund und Tat und Leben BWV 147: Recitative (Tenor): “Gebenedeiter Mund!”
01:42
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
03.
Herz und Mund und Tat und Leben'' BWV 147': Aria (Alto): “Schäme dich, o Seele, nicht”
03:21
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
04.
'''Herz und Mund und Tat und Leben'' BWV 147': Recitative (Bass): “Verstockung kann Gewaltige verblenden”
01:32
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
05.
'''Herz und Mund und Tat und Leben'' BWV 147': Aria (Soprano): “Bereite dir, Jesu, noch itzo die Bahn”
04:02
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
06.
'''Herz und Mund und Tat und Leben'' BWV 147': Chorale: “Wohl mir, daß ich Jesum habe”
03:13
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
'''Herz und Mund und Tat und Leben'' BWV 147': Aria (Tenor): “Hilf, Jesu, hilf, daß ich auch dich bekenne”
03:30
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
08.
'''Herz und Mund und Tat und Leben'' BWV 147': Recitative (Alto): “Der höchsten Allmacht Wunderhand”
02:04
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
09.
'''Herz und Mund und Tat und Leben'' BWV 147': Aria (Bass): “Ich woll von Jesu Wundern singen”
02:44
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
10.
'''Herz und Mund und Tat und Leben'' BWV 147': Chorale: “Jesus bleibet meine Freude”
03:14
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
'''Leichtgesinnte Flattergeister'' BWV 181': Aria (Bass): “Leichtgesinnte Flattergeister”
03:02
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
'''Leichtgesinnte Flattergeister'' BWV 181': Recitative (Alto): “O unglückselger Stand verkehrter Seelen”
01:42
(Johann Sebastian Bach ) Ton Koopman, Elisabeth von Magnus, Amsterdam Baroque Orchestra
13.
'''Leichtgesinnte Flattergeister'' BWV 181': Aria (Tenor): “Der schädlichen Dornen unendliche Zahl”
03:19
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
14.
'''Leichtgesinnte Flattergeister'' BWV 181': Recitative (Soprano): “Von diesen wird die Kraft erstickt”
00:47
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Amsterdam Baroque Orchestra
15.
'''Leichtgesinnte Flattergeister'' BWV 181': Chorus: “Laß, Höchster, uns zu allen Zeiten”
04:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
'''Erhöhtes Fleisch und Blut'' BWV 173': Recitative (Tenor): “Erhöhtes Fleisch und Blut”
00:40
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
17.
'''Erhöhtes Fleisch und Blut'' BWV 173': Aria (Tenor): “Ein geheiligtes Gemüte”
03:41
(Johann Sebastian Bach ) Ton Koopman, Gerd Türk, Amsterdam Baroque Orchestra
18.
'''Erhöhtes Fleisch und Blut'' BWV 173': Aria (Alto): “Gott will, o ihr Menschenkinder”
01:46
(Johann Sebastian Bach ) Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
19.
'''Erhöhtes Fleisch und Blut'' BWV 173': Aria (Soprano, Bass): “So hatt Gott die Welt geliebt”
03:46
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Klaus Mertens, Amsterdam Baroque Orchestra
20.
'''Erhöhtes Fleisch und Blut'' BWV 173': Recitative (Soprano, Tenor): “Unendlichster, den man doch Vater nennt”
01:09
(Johann Sebastian Bach ) Ton Koopman, Lisa Larsson, Bogna Bartosz, Amsterdam Baroque Orchestra
21.
'''Erhöhtes Fleisch und Blut'' BWV 173': Chorus: “Rühre, Höchster, unsern Geist”
02:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
'''Leichtgesinnte Flattergeister'' BWV 181': Aria (Bass): “Leichtgesinnte Flattergeister”
03:14
(Johann Sebastian Bach ) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
23.
'''Leichtgesinnte Flattergeister'' BWV 181': Chorus: “Laß, Höchster, uns zu allen Zeiten”
04:48
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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