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Wedding Cantatas

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Wedding Cantatas

Format: CD
Label: Challenge Classics
UPC: 0608917228427
Catnr: CC 72284
Release date: 01 February 2008
1 CD
 
Label
Challenge Classics
UPC
0608917228427
Catalogue number
CC 72284
Release date
01 February 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Bach composed his church cantatas not only for the regular Sundays and feast days of the liturgical year but also for specific occasions. Among the most important of those were weddings of usually well-to-do couples who ordered a particularly elaborate ceremony or, in terms of Leipzig practice and terminology during Bach’s time, a Full Wedding Mass instead of the more frequent and less expensive Half or Quarter Wedding Masses.

The larger Leipzig pieces for Full Wedding Masses were ordinarily performed in two parts, before and after the sermon, as can be seen in BWV 195 and 197. The cantata “Dem Gerechten muß das Licht“ BWV 195 survives in several versions. Its origins date from before 1730, a second version from about 1742, and a final one follows in 1748-49.

“Der Herr denket an uns“ BWV 196 was in all likelihood composed at Mühlhausen around 1707-08, that is around the time of Bach himself getting married to his distant cousin Maria Barbara on October 17,1707. The cantata “Gott ist unsre Zuversicht“ BWV 197 dates from about 1736-37 and must have been written for a prominent Leipzig wedding ceremony.

“Weichet nur, betrübte Schatten“ BWV 202 is a cantata for soprano solo and, as the text clearly suggests, written for a wedding. However, no further details are known.
Huwelijkscantates van Bach uitgevoerd door Koopman en zijn toonaangevende ensemble
Bach componeerde zijn kerkcantates niet slechts voor de Zondagen en de feestdagen van het liturgische jaar, maar ook voor bijzondere gelegenheden zoals wereldlijke feestenf of begravenissen. Onder de belangrijkste gebeurtenissen waren de bruiloften van gewoonlijk welgestelde koppels die een bijzonder uitgebreide ceremonie bestelden. In het Leipzig van Bachs tijd werd dit ook werl een "volledige huwelijksmis" genoemd, in plaats van de gebruikelijke, en goedkopere, "halve" of "kwart" huwelijksmis.

De huwelijksfestiviteiten bestonden niet alleen uit kerkdiensten maar ook uit huiselijke ceremonies, waarvoor wereldlijke muziek werd gecomponeerd. Bach componeerde zowel geestelijke als wereldlijke huwelijkscantates, die qua vorm en bezetting niet verschilden van hun gebruikelijke tegenhangers, afgezien van specifieke verwijzingen naar de gebeurtenis in de tekst. De grotere werken uit Leipzig die gecomponeerd werden voor de volledige huwelijksmissen werden gewoonlijk in twee delen uitgevoerd, voor en na de preek, wat blijkt uit Dem Gerechten muß das Licht BWV 195 en Gott ist unsre Zuversicht BWV 197. De wereldlijke werken houden zich niet aan een bepaald type, maar weerspiegelen kamermuziekeigenschappen, zoals blijkt uit het verfijnde evenwicht in Weichet nur, betrübte Schatten BWV 202 voor sopraan, hobo en strijkers.
Bach komponierte seine Kirchenkantaten nicht nur für die gewöhnlichen Sonntage und Feiertage des geistlichen Jahres, sondern auch für besondere Gelegenheiten wie z.B. Hochzeiten von üblicherweise gut situierten Paaren, die eine besonders aufwändige Zeremonie bestellt hatten. Inhalt: Dem Gerechten muß das Licht BWV 195 / Der Herr denket an uns BWV 196 / Gott ist unsre Zuversicht BWV 197 / Weichet nur, betrübte Schatten BWV 202

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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Wouter Verschuren

Wouter Verschuren graduated from the Royal Conservatory in The Hague. He studied baroque and classical bassoon with Donna Agrell. Wouter is sought after in the Netherlands and abroad as a bassoonist, and is equally at home with repertoire ranging from the Renaissance to the Romantic. He is principal bassoonist of The Amsterdam Baroque Orchestra conducted by Ton Koopman, and regularly plays with other renowned period orchestras. In addition, he regularly appears as a soloist, and plays in numerous international chamber music ensembles such as Caecilia-Concert, specializing in performance and research of 17th century music, and can be heard on countless CDs. Wouter teaches at the Royal Conservatory in The Hague and at the Utrecht Conservatory.
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Wouter Verschuren graduated from the Royal Conservatory in The Hague. He studied baroque and classical bassoon with Donna Agrell. Wouter is sought after in the Netherlands and abroad as a bassoonist, and is equally at home with repertoire ranging from the Renaissance to the Romantic. He is principal bassoonist of The Amsterdam Baroque Orchestra conducted by Ton Koopman, and regularly plays with other renowned period orchestras. In addition, he regularly appears as a soloist, and plays in numerous international chamber music ensembles such as Caecilia-Concert, specializing in performance and research of 17th century music, and can be heard on countless CDs. Wouter teaches at the Royal Conservatory in The Hague and at the Utrecht Conservatory.

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James Gilchrist

James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world with conductors including Sir John Eliot Gardiner, Sir Roger Norrington, Bernard Labadie, Harry Christophers, Harry Bicket and the late Richard Hickox. In J.S. Bach’s great Passions of St John and St Matthew, James works consistently at the highest level and is recognised as the finest Evangelist of his generation; as one recent BBC Proms reviewer noted, 'he...
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James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge.
James’ extensive concert repertoire has seen him perform in major concert halls throughout the world with conductors including Sir John Eliot Gardiner, Sir Roger Norrington, Bernard Labadie, Harry Christophers, Harry Bicket and the late Richard Hickox. In J.S. Bach’s great Passions of St John and St Matthew, James works consistently at the highest level and is recognised as the finest Evangelist of his generation; as one recent BBC Proms reviewer noted, "he hasn’t become a one-man Evangelist industry by chance".
A prolific and versatile recitalist, James enjoys imaginative and varied programming in collaborations with pianists Anna Tilbrook and Julius Drake, and harpist Alison Nicholls. James returned to the Wigmore Hall to begin his project with Anna Tilbrook, Schumann and the English Romantics, pairing Schumann song cycles with new commissions from leading composers, Sally Beamish, Julian Philips and Jonathan Dove, setting English poetry of the Romantic period.
James’ impressive discography includes the title role in Albert Herring and Vaughan Williams’ A Poisoned Kiss, St John Passion with the Academy of Ancient Music, the Finzi song cycle Oh Fair To See, When Laura Smiles with Matthew Wadsworth, Leighton Earth Sweet Earth, Vaughan Williams On Wenlock Edge, Finzi songs, Britten’s Winter Words and the critically-acclaimed recordings of Schubert’s song cycles.

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Johannette Zomer

The repertoire of the Dutch soprano Johannette Zomer ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music. Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, René Jacobs, Reinard Goebel and Paul McCreesh, but has also worked with conductors including Kent Nagano, Ivan Fisher,Daniel Harding, Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.   Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in...
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The repertoire of the Dutch soprano Johannette Zomer ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music. Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, René Jacobs, Reinard Goebel and Paul McCreesh, but has also worked with conductors including Kent Nagano, Ivan Fisher,Daniel Harding, Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.
Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in roles including Belinda, Pamina, La Musica, Euridice, Dalinda and Ilia, and also as Amanda in Ligeti’s Le Grand Macabre and Mélisande in Debussy’s Pelléas et Mélisande.
Regularly she contributes to recording projects. A few of her releases – all very well received in both press and radio – are the Bach Cantatas album with the English ensemble Florilegium for which she won an Edison Award, the album With Endless Teares with theorbist Fred Jacobs, showing the development of English 17th Century Song, and the album Love & Madness, an album with Händel aria’s together with Bart Schneemann, oboe.
In 2013 she founded her own ensemble the Tulipa Consort. She has performed with this ensemble at the Göttinger Handel Festspiele and in Amsterdam with Dutch oboist Bart Schneemann.

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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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Marcel Ponseele (conductor)

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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01.
“Dem Gerechten muß das Licht” BWV 195 : Chorus: Dem Gerechten muß das Licht
04:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Amsterdam Baroque Orchestra
02.
“Dem Gerechten muß das Licht” BWV 195 : Recitative (Bass): Dem Freudenlicht gerechter Frommen
01:04
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Amsterdam Baroque Orchestra
03.
“Dem Gerechten muß das Licht” BWV 195 : Aria (Bass): Rühmet Gottes Güt und Treu
04:02
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Amsterdam Baroque Orchestra
04.
“Dem Gerechten muß das Licht” BWV 195 : Recitative (Soprano): Wohlan, so knüpfet denn ein Band
00:54
(Johann Sebastian Bach ) Sandrine Piau , Ton Koopman, Margaret Faultless, Amsterdam Baroque Orchestra
05.
“Dem Gerechten muß das Licht” BWV 195 : Chorus (Soli S, A, T, B and Choir): Wir kommen deine Heiligkeit
06:30
(Johann Sebastian Bach ) Johannette Zomer, Ton Koopman, Amsterdam Baroque Choir, Annette Markert, James Gilchrist, Klaus Mertens, Margaret Faultless, Amsterdam Baroque Orchestra
06.
“Dem Gerechten muß das Licht” BWV 195 : Chorale: Nun danket all und bringet Ehr
00:33
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Amsterdam Baroque Orchestra
07.
“Der Herr denket an uns” BWV 196: Sinfonia
01:41
(Johann Sebastian Bach ) Ton Koopman, Margaret Faultless, Amsterdam Baroque Orchestra
08.
“Der Herr denket an uns” BWV 196: Coro: Der Herr denket an uns
01:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Els Bongers, Richard Bryan, Joost van der Linden, Matthijs Mesdag, Amsterdam Baroque Orchestra
09.
“Der Herr denket an uns” BWV 196: Aria (Soprano): Er segnet, die den Herrn fürchten
02:35
(Johann Sebastian Bach ) Barbara Schlick, Ton Koopman, Margaret Faultless, Amsterdam Baroque Orchestra
10.
“Der Herr denket an uns” BWV 196: Duetto (Tenore, Basso): Der Herr segne euch
02:09
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, James Gilchrist, Margaret Faultless, Amsterdam Baroque Orchestra
11.
“Der Herr denket an uns” BWV 196: Coro: Ihr seid die Gesegneten des Herrn
02:36
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Els Bongers, Richard Bryan, Joost van der Linden, Matthijs Mesdag, Amsterdam Baroque Orchestra
12.
“Gott ist unsre Zuversicht” BWV 197: Chorus: Gott ist unsre Zuversicht
05:22
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
13.
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Gott ist und bleibt der beste Sorger
01:12
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
14.
“Gott ist unsre Zuversicht” BWV 197: Aria (Alto): Schläfert allen Sorgenkummer
05:21
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
15.
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Drum folget Gott und seinem Triebe
00:43
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
16.
“Gott ist unsre Zuversicht” BWV 197: Chorale: Du süße Lieb, schenk uns deine Gunst
00:53
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Margaret Faultless, Amsterdam Baroque Orchestra
17.
“Gott ist unsre Zuversicht” BWV 197: Aria (Bass):O du angenehmes Paar
05:52
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
18.
“Gott ist unsre Zuversicht” BWV 197: Recitative (Soprano): So wie es Gott mit dir getreu
01:20
(Johann Sebastian Bach ) Sandrine Piau , Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
19.
“Gott ist unsre Zuversicht” BWV 197: Aria (Soprano): Vergnügen und Lust, Gedeihen und Heil
03:35
(Johann Sebastian Bach ) Sandrine Piau , Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Amsterdam Baroque Orchestra
20.
“Gott ist unsre Zuversicht” BWV 197: Recitative (Bass): Und dieser frohe Lebenslauf
00:43
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
21.
“Gott ist unsre Zuversicht” BWV 197: Chorale: So wandelt froh auf Gottes Wegen
00:51
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Alida Schat, Katharina Spreckelsen, Wouter Verschuren, Amsterdam Baroque Orchestra
22.
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Weichet nur, betrubte Schatten
06:22
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Jaap ter Linden, Marcel Ponseele, Amsterdam Baroque Orchestra
23.
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Die Welt wird wieder neu
00:26
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
24.
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Phoebus eilt mit schnellen Pferden
03:09
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
25.
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Drum sucht auch Amor sein Vergnügen
00:40
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
26.
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Wenn die Frühlingslüfte streichen
02:37
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
27.
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): Und dieses ist das Glücke
00:44
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
28.
“Weichet nur, betrübte Schatten” BWV 202: Aria (Soprano): Sich üben im Lieben
04:07
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Amsterdam Baroque Orchestra
29.
“Weichet nur, betrübte Schatten” BWV 202: Recitative (Soprano): So sei das Bund der keuschen Liebe
00:21
(Johann Sebastian Bach ) Lisa Larsson, Ton Koopman, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
30.
“Weichet nur, betrübte Schatten” BWV 202: Gavotte: Sehet in Zufriedenheit
01:39
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Margaret Faultless, Marcel Ponseele, Jaap ter Linden, Amsterdam Baroque Orchestra
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