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Whitsun Cantatas

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Whitsun Cantatas

Format: CD
Label: Challenge Classics
UPC: 0608917229028
Catnr: CC 72290
Release date: 30 January 2009
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1 CD
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Label
Challenge Classics
UPC
0608917229028
Catalogue number
CC 72290
Release date
30 January 2009
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Whitsun Cantatas
In Lutheran Germany of Bach’s time the Whitsun or Pentecost festival was celebrated like other high ecclesiastical feasts on three consecutive days, Sunday through Tuesday. Music was performed in the services on all three feast days and Bach usually wrote cantatas for each of them. Extant are for Whit Sunday the cantatas “Erschallet, ihr Lieder” BWV 172 (Weimar and Leipzig versions), “Wer mich liebet, der wird mein Wort halten” BWV 59 and 74 (two different settings), and “O ewiges Feuer, o Ursprung der Liebe” BWV 34; for Whit Monday the cantatas “ Erhöhtes Fleisch und Blut” BWV 173, “Also hat Gott die Welt geliebt” BWV 68, and “Ich liebe den Höchsten von ganzem Gemüte” BWV 174; and for Whit Tuesday “Erwünschtes Freudenlicht” BWV 184 and ”Er rufet seinen Schafen mit Namen” BWV 175. Of these nine Whitsun cantatas, the present album presents a representative cross-section: BWV 172 for the Sunday and then BWV 68 and BWV 174, respectively, for the Second Day of Pentecost, and BWV 175 for the Third Day. As is typical for works to be performed on the high feasts, they invariably display a rich instrumental configuration: BWV 172 includes trumpets and timpani; BWV 68 makes use of 3 oboes, violoncello piccolo, and supporting cornetto and trombones; and BWV 174 features 2 horns, 3 oboes, along with an unusual complement of nine concertato strings.

The traditional gospel lessons for Whit Sunday are John 14: 23-31 (descent of the Holy Spirit upon the apostles) and for Whit Monday John 3: 16- 21 (“God so loved the world”). The cantata texts chosen by Bach relate closely to these liturgical readings prescribed for the church year, for in the Lutheran worship service the cantata was generally understood as a musical complement to the preached sermon and, therefore, pursues the same topical contents.

The cantata “Erschallet, ihr Lieder” BWV 172 for the First Day of Pentecost was originally composed in Weimar and probably first performed there in 1714, but re-performed in Köthen as well as in Leipzig. Bach made some revisions for the 1724 performance in Leipzig and adapted the earlier work to the conditions of a much larger performing space. The text of the cantata, possibly by the Weimar court poet Salomon Franck, consists primarily of free poetry but includes a passage from the Whit Sunday gospel (John 14: 23) in the second movement and a strophe from Philipp Nicolai’s hymn “Wie schön leuchtet der Morgenstern (1599).

The cantata “Also hat Gott die Welt geliebt” BWV 68 for the Second Day of Pentecost was composed and first performed in 1725. Its text was authored by Mariane von Ziegler, who used a hymn stanza by Salomo Liscow (1675) for the first movement. The fifth movement draws on John 3: 18 from the scriptural reading for the feast day, to which the hymn also refers. The instrumental forces of the cantata include three oboes, violoncello piccolo, strings, and continuo, but also cornetto and three trombones in support of the choral voices. Here Bach had to take into consideration the severe demands made on his singers during the high church feasts with their multiple performances at three different Churches, regularly at the two main churches of St. Thomas’s and St. Nicholas’s as well as at St. Paul’s, the university church on the First Day of Christmas, Easter, and Pentecost as well as St. Michael’s Day. In BWV 68 the soprano and bass arias, movements 2 and 4, are lavish reworkings of arias from the Weimar Hunting Cantata BWV 208 of 1713.

The cantata “Ich liebe den Höchsten von ganzem Gemüte” BWV 174 was composed for the Second Day of Pentecost in 1729 and—a rare phenomenon—shows that date in Bach’s autograph score. Its text is taken from the volume of cantata poetry (1728) by Christian Friedrich Henrici (‘Picander’) and refers closely to the gospel of the day, which also affects the choice of the concluding hymn strophe by Martin Schalling (1571). The cantata shows a magnificent and varied instrumental scoring, making use of two horns, three oboes, strings, and continuo. Apparently the ensemble at Bach’s disposal was for the occasion reinforced by members of the Collegium musicum, of which Bach had recently (in May, 1729) become the director. However, the essentially soloistic vocal complement with alto, tenor and bass (the choir is used only at the very end) indicates — as in BWV 68, above — Bach’s desire to reduce the demands on the choir for the second and third of the three feast days. By way of inaugurating his collaboration with the Collegium musicum, Bach began his cantata with a splendid sinfonia. Here he arranged the opening movement from Brandenburg Concerto no. 3, a ten-voice string score, by adding five wind parts to the original ensemble of pure strings.

The cantata “Er rufet seinen Schafen mit Namen” BWV 175 for the Third Day of Pentecost was first performed on May 22, one day after the first performance of BWV 68 (see above). Not only these two works were composed side-by-side, but additionally also BWV 74 “Wer mich liebet, der wird mein Wort halten” for Whitsunday of 1725 (not included in this album)—indicative of both Bach’s productivity and the pressing church music schedule at certain times of the liturgical year. The text of BWV 175, like that of BWV 68 by the Leipzig poetess Mariane von Ziegler, makes use of two passages from the Gospel reading for the day, John 10:1-11 (Jesus as the Good Shepherd), for movements 1 and 5. Movement 7 presents the final strophe of the hymn “O Gottes Geist, mein Trost und Rat” by Johann Rist (1651). The rich instrumental scoring of the work includes not only trumpets and three recorders in the orchestra, but also a violoncello piccolo for the solo in aria no. 4, whose text refers to the “good shepherd.” Similarly, the instruments assigned by Bach to the other two arias also support individual sonorities and the expressive needs of the texts. Hence, the three recorders lend pastoral character to the alto aria no. 2 (“my shepherd, my friend”) and the two trumpets in the bass aria no. 6 underscore the victory of Jesus over Devil and death.

Christoph Wolff
Een dwarsdoorsnede van de Pinkstercantates van Bach
In het protestantse Duitsland uit de tijd van Bach werd Pinksteren net als andere belangrijke kerkelijke feestdagen op drie opeenvolgende dagen gevierd, van zondag tot dinsdag. Tijdens de diensten op alle drie de feestdagen werd muziek uitgevoerd en Bach componeerde gewoonlijk cantates voor elk van deze dagen. De teksten van deze cantates sloten inhoudelijk aan bij de lezingen en preek van de feestdag. In de protestantse dienst werd de cantate immers algemeen opgevat als een muzikaal aanvulling op de lezingen, die om die reden dezelfde onderwerpen behandelt.

Het huidige album bevat met vier van de negen overgeleverde pinkstercantates een representatieve dwarsdoorsnede van deze categorie: Erschallet ihr Lieder BWV 172 voor de zondag, Also hat Gott die Welt geliebt BWV 68 en Ich liebe den Höchsten von ganzem Gemüte BWV 174 voor de maandag, en Er rufet seinen Schafen mit Namen BWV 175 voor de dinsdag.

In deze cantates wordt gebruik gemaakt van een rijke orkestbezetting, wat typerend is voor werken die uitgevoerd worden op feestdagen. BWV 172 bevat trompetten en pauken, BWV 68 maakt gebruik van drie hobo’s, een violoncello piccolo en een ondersteunende cornetto en trombones, en BWV 174 bevat twee hoorns en drie hobo’s naast een ongebruikelijke aanvulling van negen concertante strijkers. In BWV 175 worden enkele van de extra instrumenten gebruikt om de teksten van de aria’s muzikaal uit te drukken.
Im protestantischen Deutschland zur Zeit Bachs wurde Pfingsten an drei auf einander folgenden Tagen, Pfingstsonntag bis Pfingstdienstag, gefeiert. Von neun Pfingstkantaten Bachs enthält das vorliegende Album einen repräsentativen Querschnitt: Die Sonntagskantate BWV 172 und die beiden Montagskantaten BWV 68 und 174. Alle Werke verfügen über die für die Musik der Hochfeste typische reiche Orchesterbesetzung.

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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Christoph Prégardien

Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class. Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky. Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his...
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Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class.
Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky.
Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his concert tours throughout Italy, Japan and North America.
A longstanding collaboration unites him with his favourite piano partners Michael Gees and Andreas Staier. Soloist of choice for renowned orchestras, he performed with the Berlin and Vienna Philharmonic, Bavarian Radio Symphony, Royal Concertgebouw Orchestra Amsterdam, Gewand-hausorchester Leipzig, London Philharmonia, Staatskapelle Dresden, Philharmonie de Radio France, the Montreal, Boston, St. Louis and San Francisco Symphony Orchestras.
An important part of his repertory has been recorded by labels such as BMG, EMI, Deutsche Grammophon, Philips, Sony, Erato, Challenge Classics and Teldec. He is represented on more than a hundred and twenty titles, including nearly all of his active repertoire. His recordings of German Romantic Lied repertory have been highly acclaimed by the public and press and have received international awards including the prestigious Orphée d’Or of the Académie du Disque Lyrique-Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award and Diapason d’Or.
As an opera singer, Christoph Prégardien has made stage appearences in major European houses, performing leading roles as Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Almaviva (Il Barbiere di Seviglia), Fenton (Falstaff) and Monteverdi’s Ulisse. In Spring 2005, Christoph Prégardien sang the leading part in Mozart’s “La Clemenza di Tito” at the Paris National Opera conducted by Sylvain Cambreling.
An important aspect in the musical life of Christoph Prégardien is his intensive and varied educational work. From 2000 to 2005 Christoph Prégardien was in charge of a vocal class at the Hochschule für Musik und Theater in Zurich. Since the autumn of 2004, he is a professor at the Musikhochschule Köln. In a new combination of DVD and book, released in the serie “Schott Master Class”, he presents for the first time questions of singing technique and interpretation in word and picture. Film examples accompagny him during his lessons with masterclass students.
Christoph Prégardien now has a long-term cooperation with Challenge Classics. The first production on our label, released in February 2008, was Schubert’s “Die schöne Müllerin” with pianist Michael Gees. In the fall of 2008 “Schwanengesang” with pianist Andreas Staier followed and “Die schöne Müllerin” was awarded the Midem ‘Record of the Year’ 2009 at MIDEM, the world’s largest music industry trade fair. The duo Christoph Prégardien/Michael Gees also received the MIDEM ‘Vocal Recitals’ Award 2009. Throughout 2008 the recording received critical acclaim from many national and international magazines (Gramophone, Editor’s Choice & „Best of 2008“ among others).

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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
01.
Erschallet, ihr Lieder BWV 172: Chorus: Erschallet, ihr Lieder, erklinget, ihr Saiten!
03:52
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
02.
Erschallet, ihr Lieder BWV 172: Recitative : Wer mich liebet
00:43
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
03.
Erschallet, ihr Lieder BWV 172: Aria : Heiligste Dreieinigkeit
02:07
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
04.
Erschallet, ihr Lieder BWV 172: Aria: O Seelenparadies
04:06
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
05.
Erschallet, ihr Lieder BWV 172: Aria: Komm, laß mich nicht länger warten?
03:38
(Johann Sebastian Bach ) Barbara Schlick, Ton Koopman, Amsterdam Baroque Choir, Kai Wessel, Amsterdam Baroque Orchestra
06.
Erschallet, ihr Lieder BWV 172: Chorale: Von Gott kömmt mir ein Freudenschein
01:25
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
07.
Erschallet, ihr Lieder BWV 172: Chorus: Erschallet, ihr Lieder, erklinget, ihr Saiten!
03:58
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
08.
Also hat Gott die Welt geliebt BWV 68: Chorus: Also hat Gott die Welt geliebt
05:20
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
09.
Also hat Gott die Welt geliebt BWV 68: Aria and Ritornello: Mein gläubiges Herze
03:08
(Johann Sebastian Bach ) Deborah York, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
10.
Also hat Gott die Welt geliebt BWV 68: Recitative: Ich bin mit Petro nicht vermessen
00:46
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
11.
Also hat Gott die Welt geliebt BWV 68: Aria: Du bist geboren mir zugute
03:20
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
12.
Also hat Gott die Welt geliebt BWV 68: Chorus: Wer an ihn gläubet?
02:21
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
13.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Sinfonia
05:37
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
14.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Aria: Ich liebe den Höchsten von ganzem Gemüte
06:42
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
15.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Recitative: O Liebe, welcher keine gleich!
01:08
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
16.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Aria: Greifet zu, fasst das Heil, ihr Glaubenshände
04:04
(Johann Sebastian Bach ) Klaus Mertens, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
17.
Ich liebe den Höchsten von ganzem Gemüte BWV 174: Chorale: Herzlich lieb hab ich dich, o Herr
01:46
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
18.
Er rufet seinen Schafen mit Namen BWV 175: Recitative: Er rufet seinen Schafen mit Namen
00:20
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
19.
Er rufet seinen Schafen mit Namen BWV 175: Aria: Komm, leite mich
03:26
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
20.
Er rufet seinen Schafen mit Namen BWV 175: Recitative: Wo find ich dich?
00:28
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
21.
Er rufet seinen Schafen mit Namen BWV 175: Aria: Es dünket mich, ich seh dich kommen
03:16
(Johann Sebastian Bach ) Christoph Prégardien, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
22.
Er rufet seinen Schafen mit Namen BWV 175: Recitative: Sie vernahmen aber nicht
01:01
(Johann Sebastian Bach ) Bogna Bartosz, Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
23.
Er rufet seinen Schafen mit Namen BWV 175: Aria: Öffnet euch, ihr beiden Ohren
04:15
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Klaus Mertens, Amsterdam Baroque Orchestra
24.
Er rufet seinen Schafen mit Namen BWV 175: Chorale: Nun, werter Geist, ich folg dir
01:42
(Johann Sebastian Bach ) Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
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