Philippe Herreweghe, Collegium Vocale Gent - Johann Sebastian Bach: Oster-Oratorium, Himmelfahrts-Oratorium, Cantatas (2010)
Philippe Herreweghe, Collegium Vocale Gent - Johann Sebastian Bach: Oster-Oratorium, Himmelfahrts-Oratorium, Cantatas BWV 2, 20, 43, 44, 66, 176 (2010)
EAC | FLAC | Image (Cue & Log) ~ 824 Mb | Total time: 72:34+67:15+53:20 | Scans included
Classical | Label: Harmonia Mundi | # HML 5908354.56 | Recorded: 1993, 1994, 2002
EAC | FLAC | Image (Cue & Log) ~ 824 Mb | Total time: 72:34+67:15+53:20 | Scans included
Classical | Label: Harmonia Mundi | # HML 5908354.56 | Recorded: 1993, 1994, 2002
Another entry in Harmonia Mundi's ongoing Bach Edition, this recording from 1993 exemplifies both the consistently high standard of performance we've come to expect from Philippe Herreweghe and his Collegium Vocale and the astonishing musical variety and emotional/spiritual depth of Bach's vocal works. As usual in this series, the program reflects a theme, in this case the feast of Ascension, for which Bach wrote what proved to be his final oratorio (improperly catalogued as a cantata in the original edition of Bach's works) and at least three cantatas. The oratorio contains both original music and, as has recently been shown, several movements taken from cantatas no longer extant. It's a compelling and inexplicably underperformed work, far shorter than Bach's other oratorios, complete with some terrific orchestral music, two wonderful festive choruses, a tenor Evangelist narrator, a charming little duet for tenor and bass, and arias for soprano and alto.
…Once in while a recording comes along in which the performers, producers, and recording team get everything right. This is one of them. First issued in 1995, this production of Bach's Easter "oratorium" easily can claim supremacy among several very good alternatives. Largely cobbled from an earlier secular cantata for a duke's birthday, the music is some of Bach's most poignant while being alternately festive and meditative. There are no "roles" as we find in the Passions, no Evangelist-type recitatives, no chorales, and there's no real dramatic story line. Instead, we visit a particular scene–Peter, John, and the two Marys discover the empty tomb and contemplate its meaning. There are only two choruses, the first of which is substantial–and one of Bach's masterpieces–and there's an unusual two-movement (fast-slow) orchestral introduction. The rest consists of arias for soprano, alto, and tenor (one of the most beautiful tenor arias in all of music) and some of Bach's most skillfully written recitatives. The performances here are everything you could wish for, with sound that neither giveth nor taketh away, but rather just allows us to hear everything clearly and naturally.
…When you collect Bach cantata recordings, you just have to accept that the near-infinite programming choices afforded by the combinations and permutations of 200 or so works will unavoidably lead to duplications of repertoire from disc to disc. Of course, you can just go for one complete set, such as the editions from Hänssler or Teldec, but then you'd miss out on some of the best performances, such as those on this new release from Philippe Herreweghe and his Collegium Vocale, arguably the most stylistically consistent and musically reliable interpreters of this repertoire. These three "Trinity" cantatas, two of which fall into the category of "chorale" cantatas, may not be among Bach's more memorable works in the genre, but they certainly don't lack for an abundance of engaging moments and profound utterances from the chorus and soloists.
BWV 2 opens with a sumptuous chorus, loaded with chromaticism and driven by a persistent bass line, all of which is filled out by a richly scored orchestra that doubles the voices. The subsequent soprano aria is a typically masterful construction with obbligato violin, sensitively sung by Johannette Zomer, and the later, very difficult tenor aria is handled with ease by Jan Kobow. In Bach's choral works with orchestra, clarity of texture certainly is among the more critical ingredients for successful performance, and in BWV 20, perhaps the best known of these three cantatas, Herreweghe's forces meet the challenge of the opening chorus' dense contrapuntal writing–not to mention the demands of articulating the French-overture figurations–with precision and considerable dramatic impact. Again, tenor Kobow dispatches his tricky aria "Ewigkeit, du machst mir bange" with admirable facility and lovely tone. This cantata also contains two beautifully harmonized settings of the chorale O Ewigkeit, du Donnerwort and a lively soprano/tenor duet that implores its listeners to "cease forthwith to love the world and its sin".
BWV 176, one of Bach's shorter cantatas–and not based on a chorale theme–leads with an energetic chorus that folds into a bright, rhythmically buoyant soprano aria, effectively rendered by Zomer, who really grasps the textual implications (a recognition of Jesus' divinely chosen omnipotence). Although the reference recordings listed above both feature solid and perfectly acceptable performances of cantatas Nos. 2 and 20 (each has different couplings to fill out its program), this one has the edge in terms of exceptionally vibrant, full-bodied sound and impeccable performances from everyone–soloists, chorus, and orchestra. Tempos are sensible, giving expressive freedom to the singers but–as is typical of Herreweghe–always concerned to maintain overall clarity, coherence, and balance.– David Vernier
Performer:
Sopranos: Barbara Schlick, Johannette Zomer
Altos: Ingeborg Danz, Catherine Patriasz, Kai Wessel
Tenors: Jan Kobow, Christoph Pregardien, James Taylor
Basse: Peter Kooy
Collegium Vocale Gent
Conductor: Philippe Herreweghe
Track List:
CD1:
Oster-Oratorium, BWV 249
01. Sinfonia
02. Adagio
03. Chorus: Kommt, eilet und laufet
04. Recitativo (S, A, T, B): O kalter Männer Sinn
05. Aria (Soprano): Seele, deine Spezereien
06. Recitativo (A, T, B): Heir ist die Gruft
07. Aria (Tenor): Sanfte soll mein Todeskummer
08. Recitativo (Alto): Indessen seufzen wir
09. Aria (S, A): Saget, saget mir geschwinde
10. Recitativo (Basso): Wir sind erfreut
11. Chorus: Preis und Dank
Kantate “Erfreut euch, ihr Herzen”, BWV 66
12. Chorus: Erfreut euch, ihr Herzen
13. Recitativo (Basso): Es bricht das Grab
14. Aria (Basso): Lassen dem Höchsten ein Danklied erschallen
15. Recitativo (A, T): Bei Jesu Leben freudig sein
16. Aria (A, T): Ich furchte zwar/Ich furchte nicht
17. Choral: Alleluja! Des solln wir alle froh sein
CD2:
Kantate “Gott fähret auf mit Jauchzen”, BWV 43
01. I TEIL. Chorus: Gott fähret auf mit Jauchzen
02. Recitativo (Tenor): Es will der Höchste sich ein Siegsgepräng bereiten
03. Aria: Ja tausendmal tausend begleiten den Wagen
04. Recitativo (Soprano): Und der Herr
05. Aria (Soprano): Mein Jesus hat nunmehr
06. II TEIL. Recitativo (Basso): Es kommt der Helden Held
07. Aria: Er ists, der ganz allein
08. Recitativo (Alto): Der Vater hat ihm ja ein ewig Reich bestimmet
09. Aria: Ich sehe schon im Geist
10. Recitativo (Soprano): Er will mir neben sich die Wohnung zubereiten
11. Choral (S,A,T,B): Der Lebensfürst, Herr Jesu Christ
Kantate “Sie warden euch in den Bann tun”, BWV 44
12. Duetto (T,B, Chorus): Sie werden euch in den Bann tun
13. Aria (Alto): Christen müssen auf der Erden
14. Choral (Tenor): Ach Gott, wie manches Herzeleid
15. Recitativo (Basso): Es sucht der Antichrist
16. Aria (Soprano): Es ist und bleibt der Christen Trost
17. Choral (S,A,T,B): So sei nun, Seele, deine
Himmelfahrts-Oratorium, BWV 11
18. Chorus: Lobet Gott in seinen Reichen
19. Evangelista (Tenor): Der Herr Jesu hub seine Hände auf
20. Recitativo (Basso): Ach Jesu, ist dein Abschied schon so nah?
21. Aria (Alto): Ach bleibe doch
22. Evangelista (Tenor): Und ward aufgehaben zusehends
23. Choral (S,A,T,B): Nun lieget alles unter dir
24. Evangelista (T,B): Und da sie ihm nachsahen gen Himmel fahren
25. Recitativo (Alto): Ach ja! So komme bald zurück
26. Evangelista (Tenor): Sie aber beteten ihn an
27. Aria (Soprano): Jesu, deine Gnadenblicke
28. Choral: Wenn soll es doch geschehen
CD3:
Kantate “Ach Gott, vom Himmel sieh darein”, BWV 2
01. Choral: Ach Gott, vom Himmel sieh darein
02. Recitativo: Sie lehren eitel falsche List
03. Aria: Tilg, o Gott, die Lehren
04. Recitativo: Die Armen sind verstört
05. Aria: Durchs Feuer wird das Silber rein
06. Choral: Das wollst du, Gott, bewahren rein
Kantate “O Ewigkeit, du Donnerwort”, BWV 20
07. Choral: O Ewigkeit, du Donnerwort
08. Recitativo: Kein Unglück ist in aller Welt zu finden
09. Aria: Ewigkeit, du machts mir bange
10. Recitativo: Gesetzt es dau'rte der Verdammten Qual
11. Aria: Gott ist gerecht in seinen Werke
12. Aria: O Mensch, errette deine Seele
13. Choral: Solang ein Gott im Himmel lebt
14. Aria: Wacht auf, wacht auf, verlornen Schafe
15. Recitativo: Verlaß, o Mensch, die Wollust dieser Welt
16. Duetto. Aria: O Menschenkind
17. Choral: O Ewigkeit, du Donnerwort
Kantate “Es ist ein trotzig ubd verzagt Ding”, BWV 176
18. Chor: Es ist ein trotzig und verzagt Ding
19. Aria: Dein sonst hell beliebter Schein
20. Recitativo: So wundre dich, o Meister, nicht
21. Aria: Ermuntert euch
22. Choral: Auf daß wir also allzugleich
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 15. April 2022, 14:27
Philippe Herreweghe, Collegium Vocale Gent / Bach - Oster-Oratorium BWV 249, Kantate BWV 66
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Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 15. April 2022, 17:01
Philippe Herreweghe, Collegium Vocale Gent / Bach - Trinitatis-Kantaten BWV 2, 20 & 176
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Filename D:\ArlegZ\Bach - Trinitatis-Kantaten BWV 2, 20 & 176 - Philippe Herreweghe.wav
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Track 10 accurately ripped (confidence 21) [6AD97BF3] (AR v2)
Track 11 accurately ripped (confidence 21) [589A492D] (AR v2)
Track 12 accurately ripped (confidence 21) [C79B8577] (AR v2)
Track 13 accurately ripped (confidence 21) [DAB8F718] (AR v2)
Track 14 accurately ripped (confidence 21) [C2865E53] (AR v2)
Track 15 accurately ripped (confidence 21) [717BEE27] (AR v2)
Track 16 accurately ripped (confidence 20) [9BCEF623] (AR v2)
Track 17 accurately ripped (confidence 21) [0C1CEF52] (AR v2)
Track 18 accurately ripped (confidence 21) [1648CE99] (AR v2)
Track 19 accurately ripped (confidence 21) [4AE4E579] (AR v2)
Track 20 accurately ripped (confidence 21) [AEFCF835] (AR v2)
Track 21 accurately ripped (confidence 20) [559181FF] (AR v2)
Track 22 accurately ripped (confidence 21) [CD3C0A76] (AR v2)
Track 23 accurately ripped (confidence 21) [7FCC142A] (AR v2)
All tracks accurately ripped
End of status report
–– CUETools DB Plugin V2.1.6
[CTDB TOCID: mt1mgN5QqYcCuzUcTOts1zI3c4g-] found
Submit result: mt1mgN5QqYcCuzUcTOts1zI3c4g- has been confirmed
Track | CTDB Status
1 | (72/72) Accurately ripped
2 | (72/72) Accurately ripped
3 | (72/72) Accurately ripped
4 | (72/72) Accurately ripped
5 | (72/72) Accurately ripped
6 | (72/72) Accurately ripped
7 | (72/72) Accurately ripped
8 | (72/72) Accurately ripped
9 | (72/72) Accurately ripped
10 | (72/72) Accurately ripped
11 | (72/72) Accurately ripped
12 | (72/72) Accurately ripped
13 | (72/72) Accurately ripped
14 | (72/72) Accurately ripped
15 | (72/72) Accurately ripped
16 | (72/72) Accurately ripped
17 | (72/72) Accurately ripped
18 | (72/72) Accurately ripped
19 | (72/72) Accurately ripped
20 | (72/72) Accurately ripped
21 | (72/72) Accurately ripped
22 | (72/72) Accurately ripped
23 | (72/72) Accurately ripped
==== Log checksum BBC8C31B2DA956E7929599B7730ACCAAB6DC152D9D46011782E1D7C567BB2955 ====
Philippe Herreweghe, Collegium Vocale Gent - Johann Sebastian Bach: Oster-Oratorium, Himmelfahrts-Oratorium, Cantatas (2010)
