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Cantatas For Marian Feasts

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Cantatas For Marian Feasts

Price: € 8.95
Format: CD
Label: Challenge Classics
UPC: 0608917228120
Catnr: CC 72281
Release date: 01 February 2008
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Label
Challenge Classics
UPC
0608917228120
Catalogue number
CC 72281
Release date
01 February 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

The Lutheran Reformation abandoned most of the many feasts which the medieval church dedicated to saints, but it kept St. Johns Day, St. Michael’s Day, and the three Marian Feasts: Annunciation (March 25), Visitation (July 2), and Purification (February 2).

The general importance of these feast days was underscored by the music written for them. The cantatas Bach wrote for the three Marian Feasts not only show magnificent orchestration but also a particular degree of elaboration. Hence, the overall design of these cantatas is noticeably different from that of those written for the ordinary Sundays of the Epiphany and Trinity seasons. As the Feast of Annunciation fell into the time of Lent, a five-week period without polyphonic music that was strictly observed in many areas of Lutheran Germany, the cantatas written for this occasion played as special role. For on March 25 they interrupted the musically silent period that ended with the performance of the Passion at the Good Friday vespers and the subsequent cantata for Easter Sunday, respectively.

The cantata “Wie schön leuchtet der Morgenstern“ BWV 1 for the Feast of Annunciation dates from 1725 and is based on the hymn by Philipp Nicolai (1599) that makes use of an older melody.

The chorale cantata „Mit Fried und Freud ich fahr dahin“ BWV 125 was composed about two months earlier and performed at the Feast of Purification in 1725. Its text is based on the hymn by Martin Luther (1524).

The cantata “Komm, du süße Todesstunde” BWV 161 was originally written for the 16th Sunday after Trinity and probably received its first performance in the Weimar castle church on September 27, 1716. Bach revived the cantata in Leipzig and, apparently after 1735 altered its liturgical function as well by performing it on the Feast of Purification.
Fantastische en verfijnde Bachcantates voor de Mariafeesten
De Lutherse Reformatie schafte de meeste feesten die de middeleeuwse kerk aan heiligen opdroeg af, maar behield Sint Jansdag, Sint Michaelsdag, en de drie Mariafeesten: Annunciatie (25 maart) Maria-Visitatie (2 juli) en Maria-Lichtmis (2 februari).

Het algemene belang van deze feestdagen werd benadrukt door de muziek die ervoor werd geschreven. De cantates die Bach voor de drie Mariafeesten componeerde tonen niet alleen een fantastische orkestratie maar ook een bijzondere mate van verfijnde uitwerking. Om die reden verschilt de algehele vormgeving van deze cantates van degene die gecomponeerd werden voor de gewone zondagen van het Driekoningen- en Trinitatisseizoen.

Aangezien Annunciatie binnen de Vastentijd valt, een periode van vijf weken zonder polyfone muziek die in het Lutherse Duitsland streng werd nageleefd, speelde de cantates die voor deze gelegenheid gecomponeerd werden een bijzondere rol. Op 25 maart onderbroken cantates als Wie schön leuchtet der Morgenstern BWV 1 uit 1725 namelijk een muzikaal stille periode.

De koraalcantate Mit Fried und Freud ich fahr dahin BWV 125, gebaseerd op de gelijknamige hymne van Luther, werd twee maanden eerder gecomponeerd en uitgevoerd tijdens Maria-Lichtmis.

Komm du süße Todesstunde BWV 161 werd oorspronkelijk gecomponeerd voor de zestiende zondag na Trinitatis en waarschijnlijk voor het eerst uitgevoerd in de Schlosskirche in Weimar op 27 september 1716. Bach blies in Leipzig nieuw leven in het werk en veranderde na 1735 de functie van het werk door het tijdens Maria-Lichtmis uit te voeren.
Die Kantaten, die Bach für die drei Marienfeste schrieb, weisen eine besonders ausführliche Ausarbeitung auf. Inhalt: Wie schön leuchtet der Morgenstern BWV 1 / Mit Fried und Freud ich fahr dahin BWV 125 / Komm, du süße Todesstunde BWV 161

Die lutherische Reformation gab die meisten der vielen Feste auf, die die mittelalterliche Kirche den Heiligen widmete, aber sie behielt den Johannistag, den Michaelistag und die drei Marienfeste bei: Verkündigung (25. März), Heimsuchung (2. Juli) und Reinigung (2. Februar).

Die allgemeine Bedeutung dieser Festtage wurde durch die für sie geschriebene Musik unterstrichen. Die Kantaten, die Bach für die drei Marienfeste schrieb, weisen nicht nur eine prächtige Orchestrierung, sondern auch einen besonderen Grad der Ausarbeitung auf. Damit unterscheiden sich diese Kantaten in ihrer Gesamtgestaltung deutlich von denen, die für die gewöhnlichen Sonntage der Epiphanias- und Trinitatiszeit geschrieben wurden. Da das Fest der Verkündigung in die Fastenzeit fiel, eine fünfwöchige Periode ohne mehrstimmige Musik, die in vielen Gegenden des lutherischen Deutschlands streng eingehalten wurde, spielten die für diesen Anlass geschriebenen Kantaten eine besondere Rolle. Denn sie unterbrachen am 25. März die musikalisch stille Zeit, die mit der Aufführung der Passion in der Karfreitagsvesper bzw. der anschließenden Kantate zum Ostersonntag endete.

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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Klaus Mertens

Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.
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Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.

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Reine-Marie Verhagen

Reine-Marie Verhagen studied the recorder with Pieter van Veen and Walter van Hauwe and graduated in 1976. She is a regular member of the Amsterdam Baroque Orchestra, conducted by Ton Koopman. With the ensemble La Sfera Armoniosa conducted by Mike Fentross she performed several 17th century operas. For the past 10 years she has also regularly performed 17th-18th and 20th-century music in San Francisco, Amherst, Boston, and New York. Verhagen takes keen interest in the contemporary repertoire. For the Steve Reich festival at the Royal Conservatory at The Hague in December 2003, she made a very successful transcription of his Vermont Counterpoint for solo recorder and an 11-member recorder ensemble. This composition was also performed in October 2007 at the International...
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Reine-Marie Verhagen studied the recorder with Pieter van Veen and Walter van Hauwe and graduated in 1976. She is a regular member of the Amsterdam Baroque Orchestra, conducted by Ton Koopman. With the ensemble La Sfera Armoniosa conducted by Mike Fentross she performed several 17th century operas. For the past 10 years she has also regularly performed 17th-18th and 20th-century music in San Francisco, Amherst, Boston, and New York.
Verhagen takes keen interest in the contemporary repertoire. For the Steve Reich festival at the Royal Conservatory at The Hague in December 2003, she made a very successful transcription of his Vermont Counterpoint for solo recorder and an 11-member recorder ensemble. This composition was also performed in October 2007 at the International Minimal Music Festival in Kassel, Germany, in combination with the premiere of a new minimal composition, written for Reine-Marie Verhagen, by Ulli Goette: “Mural”.
Not confining herself exclusively to musical performance, Reine-Marie Verhagen was a co-founder and former member of the board of the Dutch branch of the ERTA
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Paul Agnew

The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.
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The Scottish tenor, Paul Agnew, read music as a Choral Scholar at Magdalen College, Oxford. After earning his degree, he became associated with the Consort of Musicke, and remained a member of this wonderful early music ensemble for many productive years. At these early stages of his career, he has also made numerous appearances with The Tallis Scholars (Director: Peter Phillips), The Sixteen (Director: Harry Christophers) and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.

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Jörg Dürmüller

The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey. Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin...
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The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey.
Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin in the role of Fernando in Così fan tutte produced by Harry Kupfer, and at the National Theatre of Braunschweig as Andres in Wozzeck by Alban Berg. In 2002 and 2003 he sang the role of Bajazete in George Frideric Handel’s Tamerlano also at the Opera Comique Berlin directed by David Alden.

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Bogna Bartosz

The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig. Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra)...
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The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig.
Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra) and leading conductors (including Horia Andrescu, Moche Atzmon, Marcus Creed, Philippe Entremont, Jörg Faerber, Enoch zu Guttenberg, Philippe Herreweghe, Marek Janowski, Ton Koopman, Krzysztof Penderecki, Helmuth Rilling, Jeffrey Tate, Marcello Viotti, Lothar Zagrosek, Udo Zimmermann), in all the major concert halls in Germany (such as Berliner Philharmonie, Berliner Konzerthaus, Leipziger Gewandhaus, Alte Oper Frankfurt, Kölner Philharmonie, Tonhalle Düsseldorf, Glocke Bremen, Hamburger Musikhalle, Liederhalle Stuttgart), as well as in Europe, the USA and Israel, and at numerous major festivals.

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Alfredo Bernardini

Born in Rome, Alfredo Bernardini moved to Holland at the age of twenty to specialize in the baroque oboe and Early Music at the Royal Conservatory at the Hague, studying with Bruce Haynes and Ku Ebbinge, among others. Today Bernardini is recognized as one of the foremost baroque oboe specialists in the world. The leading Early Music groups with which he has performed include Hesperion XX, Le Concert Des Nations, La Petite Bande, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, and The Amsterdam Baroque Orchestra.   In 1989, together with the brothers Paolo and Alberto Grazzi, he founded the ensemble ZEFIRO, which has gained international acclaim. Bernardini’s numerous recordings have received important prizes, including the Cannes Classical Awards in 1995...
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Born in Rome, Alfredo Bernardini moved to Holland at the age of twenty to specialize in the baroque oboe and Early Music at the Royal Conservatory at the Hague, studying with Bruce Haynes and Ku Ebbinge, among others. Today Bernardini is recognized as one of the foremost baroque oboe specialists in the world. The leading Early Music groups with which he has performed include Hesperion XX, Le Concert Des Nations, La Petite Bande, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, and The Amsterdam Baroque Orchestra.
In 1989, together with the brothers Paolo and Alberto Grazzi, he founded the ensemble ZEFIRO, which has gained international acclaim. Bernardini’s numerous recordings have received important prizes, including the Cannes Classical Awards in 1995 for Vivaldi’s Concertos for Oboe on the Astrèe Naìve label. He has performed regularly as guest leader of baroque ensembles in Europe, Canada, Australia, Cuba, and Israel, and with the European Union Baroque Orchestra. In January 2013 he led the first baroque orchestra in the internationally renowned project El Sistema de Musica in Venezuela. In addition to his performance career, Bernardini researches the history of wind instruments and makes copies of historical oboes, and as of 2014 he is professor of baroque oboe at the Mozarteum in Salzburg.
Since 2009 he has been a much beloved guest leader for Barokkanerne, and he can also be heard on two of our earlier releases, “Empfindsamkeit!” (LAWO, 2013) and “TotallyTelemann” (LAWO, 2015).

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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
01.
'Wie schön leuchtet der Morgenstern' BWV 1: Chorus: Wie schön leuchtet der Morgenstern
08:00
(Johann Sebastian Bach ) Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
'Wie schön leuchtet der Morgenstern' BWV 1: Recitative: (Tenor): Du wahrer Gottes und Marien Sohn
01:02
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
03.
'Wie schön leuchtet der Morgenstern' BWV 1: Aria (Soprano): Erfüllet, ihr himmlischen göttlichen Flammen
04:06
(Johann Sebastian Bach ) Deborah York, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
04.
'Wie schön leuchtet der Morgenstern' BWV 1: Recitative (Bass): Ein irdscher Glanz, ein leiblich Licht
00:55
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
05.
'Wie schön leuchtet der Morgenstern' BWV 1: Aria (Tenor): Unser Mund und Ton der Saiten
06:44
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
06.
'Wie schön leuchtet der Morgenstern' BWV 1: Chorale: Wie bin ich doch so herzlich froh
01:19
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
07.
'Mit Fried und Freud ich fahr dahin' BWV 125: Chorus: Mit Fried und Freud ich fahr dahin
05:59
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
08.
'Mit Fried und Freud ich fahr dahin' BWV 125: Aria (Alto): Ich will auch mit gebrochnen Augen
10:12
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
09.
'Mit Fried und Freud ich fahr dahin' BWV 125: Recitative (Bass) and Chorale: O Wunder, daß ein Herz
02:27
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
'Mit Fried und Freud ich fahr dahin' BWV 125: Aria (Duet Tenor, Bass): Ein unbegreiflich Licht erfüllt
04:46
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Jörg Dürmüller, Amsterdam Baroque Orchestra
11.
'Mit Fried und Freud ich fahr dahin' BWV 125: Recitative (Alto): O unerschöpfter Schatz der Güte
00:44
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
12.
'Mit Fried und Freud ich fahr dahin' BWV 125: Chorale: Er ist das Heil und Selig Licht
00:54
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Margaret Faultless, Kati Debretzeni, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
13.
'Komm, du süße Todesstunde' BWV 161: Aria (Alto): Komm, du süße Todesstunde
04:57
(Johann Sebastian Bach ) Elisabeth von Magnus, Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
14.
'Komm, du süße Todesstunde' BWV 161: Recitativo (Tenor): Welt, deine Lust ist Last
01:54
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
15.
'Komm, du süße Todesstunde' BWV 161: Aria (Tenor): Mein Verlangen ist den Heiland zu umfangen
05:20
(Johann Sebastian Bach ) Paul Agnew , Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
16.
'Komm, du süße Todesstunde' BWV 161: Recitative (Alto): Der Schluß ist schon gemacht
02:09
(Johann Sebastian Bach ) Elisabeth von Magnus, Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
17.
'Komm, du süße Todesstunde' BWV 161: Chorus: Wenn es meines Gottes Wille
03:01
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
18.
'Komm, du süße Todesstunde' BWV 161: Chorale (Chorus): Der Leib zwar in der Erden
01:11
(Johann Sebastian Bach ) Amsterdam Baroque Choir, Ton Koopman, Alfredo Bernardini, Marion Verbruggen, Reine Marie Verhagen, Wilbert Hazelzet , Andrew Clark, Amsterdam Baroque Orchestra
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