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Sinfonia - Instrumentale delen uit de cantates

Ton Koopman / Amsterdam Baroque Orchestra

Sinfonia - Instrumentale delen uit de cantates

Format: CD
Label: Challenge Classics
UPC: 0608917250220
Catnr: CC 72502
Release date: 01 November 2010
CD (3 items)
 
Label
Challenge Classics
UPC
0608917250220
Catalogue number
CC 72502
Release date
01 November 2010
Album
Artist(s)
Composer(s)
EN
NL

About the album

Instrumental movements from cantatas by J.S. Bach

Bach composed in Leipzig the biggest part of his cantatas. A cantata is a composition in several parts for one or more voices and instruments, where arias, recitatives and chorusses alternate. Often these were preceded by an instrumental introduction, a sinfonia. In Bach's earliest cantatas these were also called concerto, sonata or sonatina. These instrumental works are collected on this album.

Nach dir, Herr, verlanget mich BWV 150 is probably the oldest cantata by Bach that has survived. The piece is perhaps from the period 1703–1707, when Bach was organist at the Neue Kirche of Arnstadt.

Bach composed the easter cantata Christ lag in Todesbanden BWV 4 presumably in 1707, as an application. Bach namely wanted to be organist of the Blasiuskirche in Mühlhausen and on Easter Sunday he did audition for this position. Bach would work as organist in Mühlhausen for two years. Here he probaly created Gottes Zeit ist die allerbeste Zeit BWV 106, also called Actus tragicus. It is a funeral cantata, although the exact occasion is not known.

De next stop was Weimar, where Bach worked from 1708 until 1717 as organist and chamber musician at the court. When he was appointed in 1714 as concert master, this meant also the obligation of a monthly performance of a cantate. The first resulting cantata would have been Himmelskönig, sei willkommen BWV 182. In the months thereafter he composed Weinen, Klagen, Sorgen, Zagen BWV 12 and Ich hatte viel Bekümmernis BWV 21. At the penultimate day of this year Tritt auf die Glaubensbahn BWV 152 sounded. In Weimar arose also the easter cantata Der Himmel lacht! die Erde jubilieret BWV 31 and Gleichwie der Regen und Schnee vom Himmel fällt BWV 18. When Bach performed the last mentioned cantata again as Thomas-cantor he added two flutes to the strings lineup.

Before he was appointed as Thomas-cantor Bach had done a public exam with two cantatas, which he performed on the first Sunday of Februari 1723 in the Thomaskirche. At the 30th of May, a week after his definite arrival, his appointment was celebrated with the cantata Die Elenden sollen essen BWV 75.

Bach divided his work over the two main churches of Leipzig. When he presented Die Himmel erzählen die Ehre Gottes BWV 76 it sounded in the Thomaskirche. The sinfonia of Am Abend desselbigen Sabbats BWV 42 is one of his most overwhelming cantatas and was performed on the 8th of April 1725.

The introduction movement of his First Brandenburg Concerto was used as sinfonia for Falsche Welt, dir trau ich nicht BWV 52. The first movement of his Third Brandenburg Concerto was used for Ich liebe den Höchsten von ganzem Gemüte BWV 174. To the original strings occupation Bach added horns and oboes.

The sinfonia from Gott soll allein mein Herze haben BWV 169 was also used as the first movement of the Harpsichord Concerto in E major BWV 1053. The last movement of this concerto was used as introduction of Ich geh und suche mit Verlangen BWV 49. In this way Bach recycled his own material sometimes.

In Geist und Seele wird verwirret BWV 35, which was performed on the 8th of September 1726, he even implemented a complete solo concerto in one cantata.

The sinfonia from Wir müssen durch viel Trübsal BWV 146 is also known as the introduction movement of the Harpsichord Concerto in d minor BWV 1052. The third movement of this concerto formed the beginning of Ich habe meine Zuversicht BWV 188. Ich steh mit einem Fuß im Grabe BWV 156 originated from the Harpsichord Concerto in f minor BWV 1056. One of the most special examples of recycling is the sinfonia of Wir danken dir, Gott, wir danken dir BWV 29 with a big lineup of solo organ, trumpets, oboes, timpani and strings. The origin of this work lies in a work which Bach composed for the smallest lineup thinkable: the prelude from the Partita in E BWV 1006 for violin solo.

The backgrounds of Sinfonia in D BWV 1045 are unknown. In the original manuscript one can see that this work was meant as introduction to a cantata, but the other movements have disappeared. So now it lives on as an independent instrumental composition.

To the cantatas by Bach one can also count the Weihnachtsoratorium BWV 248. Of the six cantatas only the second starts with a sinfonia. It's a pastorale, shepherds music, in 12/8 time signature. Bach composed next to the church cantatas several secular cantatas, like Non sa che sia dolore BWV 209, with a solo role for the flute. Auf, schmetternde Töne, der muntern Trompeten BWV 207a is an anniversary cantata for August, the prince-elector (Kurfürst) of Saxony. The cantata has also a march that perhaps was performed during a festive parade and a ritornel that originates from the First Brandenburg Concerto. Bach arranged the third movement from this concerto as introduction choir of the cantata.

The farmers cantata Mehr hahn en neue Oberkeet BWV 212 has a very outspoken folk atmosphere. This already begins with the overture, where one can discern seven short movements. The cantata was tribute music for Carl Heinrich von Dieskau, descendant of an old noble family.

The bonus cd has two complete cantatas: Unser Mund sei voll Lachens BWV 110 and Wir müssen durch viel Trübsal BWV 146. Both works demonstrate how close in structure vocal and instrumental music could be for Bach. He derived the sparkling introduction chorus of the first mentioned cantata from the overture of his Orchestral Suite in D major BWV 1069.

Instrumentale delen van cantates van J.S. Bach
Tussen 1994 en 2004 nam dirigent Ton Koopman de enorme taak op zich om alle cantates gecomponeerd door Johann Sebastian Bach op te nemen met zijn Amsterdam Baroque Orchestra & Choir. Tijdens zijn leven schreef Bach vermoedelijk 295 cantates, waarvan er 202 bewaard zijn gebleven. Het overgrote deel van deze cantates kwam volgens biograaf Christoph Wolff, met wie Ton Koopman samenwerkte aan dit project, tot stand in de jaren 1723-25 toen Bach in Leipzig woonde en werkte.

Vaak werden deze voorafgegaan door een instrumentale introductie, een sinfonia. In Bachs vroegste cantates werd dit ook wel een concerto, sonata of sonatina genoemd. Deze instrumentale werken zijn verzameld op dit album. Het zijn stuk voor stuk wonderlijke composities die prachtig worden uitgevoerd door Ton Koopman en zijn Amsterdam Baroque Orchestra.

Artist(s)

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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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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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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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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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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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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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Press

Play album Play album
Disc #1
01.
Der Himmel lacht! die Erde jubilieret, BWV 31/1: sonata
02:34
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
02.
Der Herr denket an uns, BWV 196/1: sinfonia
01:45
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
03.
Non sa che sia dolore, BWV 209/1: sinfonia
06:13
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
04.
Tritt auf die Glaubensbahn, BWV152/1: concerto
03:18
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
05.
Christ lag in Todesbanden, BWV 4/1: sinfonia
01:14
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
06.
Himmelskönig, sei wilkommen, BWV 182/1: sonata
02:07
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
07.
Am Abend aber desselbigen Sabbats, BWV 42/1: sinfonia
06:53
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
08.
Gottes Zeit is die allerbeste Zeit, BWV 106/1: sonatina
02:35
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
09.
Falsche Welt, dir trau ich nicht, BWV 52/1: sinfonia
04:04
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
10.
Ich steh mit einem Fuß im Grabe, BWV 156/1: sinfonia
02:07
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
11.
Falsche Welt, dir trau ich nicht, BWV 52/1: sinfonia
04:06
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
12.
Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18/1: sinfonia
03:31
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
13.
Wir müssen durch viel Trübsal, BWV 146/1: sinfonia
07:29
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
14.
Ich hatte viel Bekümmernis, BWV 21/1: sinfonia
03:00
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
15.
Ich habe meine Zuversicht, BWV 188/1: sinfonia
07:54
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra

Disc #2
01.
Auf, schmetternde Töne, der muntern Trompeten BWV 207a/1: mars
01:37
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
02.
Auf, schmetternde Töne, der muntern Trompeten BWV 207a/7: ritornel
01:18
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
03.
Gott soll allein mein Herze haben, BWV 169/1: sinfonia
07:22
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
04.
Nach dir, Herr, verlanget mich, BWV 150/1: sinfonia
01:26
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
05.
Ich geh und suche mit Verlangen, BWV 49/1: sinfonia
06:30
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
06.
Mehr hahn en neue Oberkeet, BWV 212/1: sinfonia
02:18
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
07.
Weinen, Klagen, Sorgen, Zagen, BWV 12/1: sinfonia
02:22
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
08.
Die Elenden sollen essen, BWV 75/8: sinfonia
02:24
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
09.
Die Himmel erzählen die Ehre Gottes, BWV 76/8: sinfonia
02:27
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
10.
Ich liebe den Höchsten von ganzem Gemüte, BWV 174/1: sinfonia
05:43
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
11.
Und es waren Hirten in derselben Gegend, BWV 248/10: sinfonia (Weihnachtsoratorium, cantate nr. 2)
05:32
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
12.
Sinfonia in D gr.t., BWV 1045
06:25
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
13.
Geist und Seele wird verwirret, BWV 35/1: sinfonia
05:37
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
14.
Geist und Seele wird verwirret, BWV 35/4: aria, instrumentaal)
03:41
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
15.
Geist und Seele wird verwirret, BWV 35/5: sinfonia
03:30
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra
16.
Wir danken dir, Gott, wir danken dir, BWV 29/1: sinfonia
03:35
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra

Disc #3
01.
Unser Mund sei voll Lachens, BWV 110: Koor: Unser Mund sei voll Lachens
06:15
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sandrine Piau , Paul Agnew , Bogna Bartosz, Klaus Mertens
02.
Unser Mund sei voll Lachens, BWV 110: Aria (tenor): Ihr Gedanken und ihr Sinnen
04:07
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Paul Agnew
03.
Unser Mund sei voll Lachens, BWV 110: Recitatief (bas): Dir, Herr, ist niemand gleich
00:21
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Klaus Mertens
04.
Unser Mund sei voll Lachens, BWV 110: Aria (alt): Ach Herr, was ist ein Menschenkind
03:56
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Bogna Bartosz
05.
Unser Mund sei voll Lachens, BWV 110: Aria (duet, sopraan en tenor): Ehre sei Gott in der Höhe
03:29
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sandrine Piau , Paul Agnew
06.
Unser Mund sei voll Lachens, BWV 110: Aria (bas): Wacht auf, ihr Adern und ihr Glieder
03:35
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Klaus Mertens
07.
Unser Mund sei voll Lachens, BWV 110: Koraal: Alleluja! Gelobt sei Gott
00:45
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir
08.
Wir müssen durch viel Trübsal, BWV 146: Sinfonia
07:25
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir
09.
Wir müssen durch viel Trübsal, BWV 146: Koor: Wir müssen durch viel Trübsal in das Reich Gottes eingehen
06:04
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir
10.
Wir müssen durch viel Trübsal, BWV 146: Aria (alt): Ich will nach dem Himmel zu
07:24
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Bogna Bartosz
11.
Wir müssen durch viel Trübsal, BWV 146: Recitatief (sopraan): Ach! Wer doch schon im Himmel wär
01:48
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sibylla Rubens
12.
Wir müssen durch viel Trübsal, BWV 146: Aria (sopraan): Ich säe meine Zähren
05:28
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sibylla Rubens
13.
Wir müssen durch viel Trübsal, BWV 146: Recitatief (tenor): Ich bin bereit
01:15
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, James Gilchrist
14.
Wir müssen durch viel Trübsal, BWV 146: Aria (duet, tenor en bas): Wie will ich mich freuen, wie will ich mich laben
05:34
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir, James Gilchrist, Klaus Mertens
15.
Wir müssen durch viel Trübsal, BWV 146: Koraal: Freu dich sehr, o meine Seele
00:58
(J.S. Bach) Ton Koopman, Amsterdam Baroque Orchestra & Choir
show all tracks

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