Bach, Telemann: Cantatas

1. Cantata No. 202, "Weichet nur, betrübte Schatten," ("Wedding Cantata"), BWV 202
Composed by Johann Sebastian Bach
Performed by Berlin Symphony Orchestra , Saint Hedwig Cathedral Choir with Dietrich Fischer-Dieskau , Erika Koth
Conducted by Karl Forster

2. Cantata No. 203, "Amore Traditore," BWV 203
Composed by Johann Sebastian Bach
Performed by Berlin Symphony Orchestra , Saint Hedwig Cathedral Choir with Dietrich Fischer-Dieskau , Helmut Keller , Aurele Nicolet , Edith Picht-Axenfeld , Edith Picht-Axenfeld , Edith Picht-Axenfeld , Irmgard Poppen
Conducted by Karl Forster

3. Cantata "Die Hoffnung ist mein Leben" for voice, 2 violins, cello & continuo, TWV 20:48
Composed by Georg Philipp Telemann
with Dietrich Fischer-Dieskau , Helmut Keller , Aurele Nicolet , Edith Picht-Axenfeld , Edith Picht-Axenfeld , Edith Picht-Axenfeld , Irmgard Poppen
Conducted by Karl Forster

Tracks:

Concerto
Chorus Uns Ist Ein Kind Geboren
Aris Dein Geburtstag Ist Erschienen
Chorus Ich Will Den Namen Gottes Loben
Aria Jesu, Dir Sei Dank Gesungen
Recitative Immanuel
Aria Jesu, Dir Sei Preis Gesungen
Chorus Alleluja
Chorus Das Ist Je Gewisslich Wahr
Aria Jesus Ist Der Menschen Heil
Recitative Wir Mussen Recht Im Geiste
Aria Jesu, Trost Der Geistlich Armen
Aria Denn Du Wirst MEine Seele Nicht In Der Holle Lassen
Recitative Mein Jesus Ware Todt
Duet Weichet, Furcht und Schreken
Aria Entsetzet Euch Nicht
Aria Auf, Freue Dich, Seele
Trio Wo Bleibet Dein Rasen
Duet Ich Jauchze, Ich Lache
Sonata
Recitative/Aria/Chorus Drum Danket Dem Hochsten
Aria Ich Weiss, Dass Mein Erloser Lebt
Recitative Er Lebt Und Ist Von Todten Auferstanden
aria Gott Lob, Gott Lob
Recitative So Biet Ich Allen Teufeln Trutz
Aria Nun, Ich Halte Mich Bereit

The Apocryphal Bach Cantatas, Vol 1 (BWV 217-222) /Alsfelder Vokalensemble * Steintor Barock Bremen * Helbich

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Dr john grifiths.

The Apocryphal Bach Cantatas, Vol 1 (BWV 217-222) /Alsfelder Vokalensemble * Steintor Barock Bremen * Helbich
Steintor Barock Bremen
Manufacturer: CPO
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Apocryphal Bach Cantatas, Vol. 2
J.S. Bach: Apocryphal Masses & Magnificat
The Apocryphal Bach Motets, BWV Anh. 159-165
Bach: Apocryphal St. Luke Passion BWV.246, Anh.II,30
Johann Pachelbel: Easter Cantatas

ASIN: B000001RUS
Release Date: 1995-01-25

Tracks:

Be Mindful Of Our Condition Lord: 1. Choir
Be Mindful Of Our Condition Lord: 2. Reciative
Be Mindful Of Our Condition Lord: 3. Aria
Be Mindful Of Our Condition Lord: 4. Recitative
Be Mindful Of Our Condition Lord: 5. Chorale
May The Gad Of Hope Fill You: 1. Choir
May The Gad Of Hope Fill You: 2. Aria
May The God Of Hope Fill You: 3. Recitative
May The Gad Of Hope Fill You: 4. Aria
May The Gad Of Hope Fill You: 5. Chorale
Behold, The Lion Has Triumphed: 1. Choir
Behold, The Lion Has Triumphed: 2. Aria
Behold, The Lion Has Triumphed: 3. Recitative
Behold, The Lion Has Triumphed: 4. Aria
Behold, The Lion Has Triumphed: 5. Chorale

Tracks:

Praise Him With Heart And Voice (BWV 220): 1. Chorale
Praise Him With Heart And Voice (BWV 220): 2. Aria
Praise Him With Heart And Voice (BWV 220): 3, Recitative
Praise Him With Heart And Voice (BWV 220): 4. Aria
Praise Him With Heart And Voice (BWV 220): 5. Choir
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 1. Sinfonia
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 2. Recitative
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 3. Duet, Aria
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 4. Reciative
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 5. Aria
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 6. Recitative
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 7. Aria
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 8. Reciative
Who Seeks The Splendor, Who Desires The Radiance (BWV 221): 9. Duet, Aria
My Life's Breath In Failing (BWV 222): 1. Aria
My Life's Breath In Failing (BWV 222): 2. Aria
My Life's Breath In Failing (BWV 222): 3. Choir
My Life's Breath In Failing (BWV 222): 4. Chorale
My Life's Breath In Failing (BWV 222): 5. Aria
My Life's Breath In Failing (BWV 222): 6. Choir

Customer Reviews:

Dr john grifiths........2007-05-25

For a listener with an interest in German Baroque music and centering on the J.S.Bach period the 2 volumes are a wealth of information. The selections are very well choosen to make a representative span of both time and area.The disc is crisply recorded and the players are expertly directed ,responding with a virile performance giving zest to a possible mundane task.

Bach: Cantatas Nos. 10 & 47 (Includes Bonus Baroque Sampler)

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Bach: Cantatas Nos. 10 & 47 (Includes Bonus Baroque Sampler)

Manufacturer: Lyrichord Discs Inc.
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0002VGQ9Q
Release Date: 2004-09-21

Tracks:

Chorus - Neil Howlett
Aria - Neil Howlett
Recitativo - Neil Howlett
Aria - Neil Howlett
Duet - Neil Howlett
Recitativo - Neil Howlett
Chorale - Neil Howlett
Chorus (Dictum) - Neil Howlett
Aria - Neil Howlett
Recitativo - Neil Howlett
Aria - Neil Howlett
Chorale - Neil Howlett

Tracks:

L'Agracante - The Queens Chamber Band
The Coffee Cantata BWV No. 211 - Ann Monoyios
The Cat's Fugue - Elaine Comparone
Aria De Passacaglia - Drew Minter
Boffins - Pro Arte Recorder Ensemble of Argentina
Allemande - Richard Troeger
Me, O Ye Gods - Howard Crook
Grave - Le Triomphe De L'Amour
Orfeo - Gwendolyn Toth
Complete Keyboard Trio Sonatas - John Paul
Sarabande - La Follia Salzburg
Presto - Paul Wolfe
Vivace - Tom Moore
Recitativo - Nogel Rogers
The Complete Toccatas - Richard Troeger
Allegro - Melomani
Toccata In D Minor 'Dorian' - Robert Noehren

Bach, Telemann, Hoffmann: Sacred Cantatas for Alto & Tenor

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Spurious Bach, but Still Wonderful Music

Bach, Telemann, Hoffmann: Sacred Cantatas for Alto & Tenor

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B000A16PNK
Release Date: 2006-06-20

Customer Reviews:

Spurious Bach, but Still Wonderful Music.......2006-07-03

In recent years, several cantatas that had been included in the catalog of Bach's works (in German, BWV) have been determined to have been written by other composers. These "spurious" or "apocryphal" Bach cantatas are now typically excluded from the integral recordings, for example, those of Harnoncourt and Rilling. That's too bad, because several of these works are extremely attractive and enjoyable. This Naxos recording contains two such cantatas: "Meine Seele ruhmt und preist" by Melchior Hoffman (formerly BWV 189) and "Ich weiss, dass mein Erloser lebt" by Telemann (formerly BWV 160). It's good to have these pieces readily available again in fine performances led by Bach specialist Helmut Muller-Bruhl. The disc also contains excellent performances of two real Bach cantatas (BWV 35 and 55), but it's the Hoffman and Telemann that make the disc stand out.

If you're looking for other spurious Bach cantatas, you'll find "Schlage doch, gewunschte Stunde," also by Hoffman (formerly BWV 53), beautifully performed by countertenor Robin Blaze on a Hyperion disc entitled "German 17th Century Church Music." BWV 15, 141, and 142 are available on a cpo disc, "Apocryphal Cantatas II."

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Re-issue of Rare German Vocal Repertoire from the 17th and 18th Centuries

German Church Cantatas and Arias

Manufacturer: Accent Plus
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00000443Y
Release Date: 1999-01-01

Customer Reviews:

Re-issue of Rare German Vocal Repertoire from the 17th and 18th Centuries.......2006-06-04

As with all those recordings on which Rene Jacobs stars as countertenor, the main problem here is his voice: Although Jacobs proves himself to be delightfully musical as far as interpretatory detail is concerned, his timbre is cold and hard, and as soon as the pitch gets higher, his falsetto sounds pressed and extremely unnatural. Today, he is, in Europe, one of the most successful conductors of early music repertoire, but his days as a singer were over as soon as the art of countertenor began to produce singers whose voice sounded natural and easy.

The CD in question (“German Church Cantatas and Arias”) is a re-issue. The major portion was recorded in October, 1979, at St. Stephen’s Church in Melsen, and originally released as an LP (ACC 7912; later as a CD ACC 77912D). The last three tracks, consisting of Telemann’s cantata “Ihr Völker hört”, was recorded at the Chapelle Royale of the Protestant Church in Brussels in June, 1981, and originally appeared on the Accent LP devoted to Telemann’s “Harmonischer Gottesdienst” (ACC 8020; never issued as a CD).

The recording itself has its pros and cons. On the one hand, the instruments, played by the Kuijken Consort (S. Kuijken, J. Van der Meer, violin; W. Kuijken, A. Pols, M. Tindemans, A. Glatt, viola da gamba; R. Kohnen, organ; M. Aerts, violone; K. Junghänel, theorbo) and, for the additional Telemann cantata, by the Parnassus Ensemble (B. Kuijken, transverse flute; R. Van der Meer, cello; J. Huys, harpsichord) have been captured exceedingly clearly with a broad stereo panorama. In particular, the chamber organ has been very clearly positioned; and on “Ihr Völker hört”, the flute, positioned to the extreme left of proceedings, can be wonderfully heard. On the other hand, Jacobs’ voice, with all the disadvantages already mentioned, seems somehow superimposed on the whole, recorded, as it is, very closely, almost as though it had been taped separately and mixed in to the instrumental accompaniment later. The balance is not always quite what it should be: particularly on Johann Christoph Bach’s “Ach, dass ich Wassers g’nug haette” there seems almost to be competition between the voice and the instruments. Personally, I found listening over headphones slightly more satisfactory than in front of loudspeakers.

The music itself is unusual and fascinating. Dietrich Buxtehude (1637 – 1707) was an organist in Luebeck in the North of Germany, one of his main claims to fame being that the young J. S. Bach took time off to go and listen to one of his evening concerts. Buxtehude’s music has been steadily discovered by the early music movement; I currently have organ works played by Piet Kee on Chandos Chaconne and harpsichord works played by Mitzi Meyerson on ASV Gaudeamus. The aria “Muss der Tod denn nun doch trennen”, written on the death of Buxtehude’s father, is an extremely sombre piece accompanied almost exclusively by trembling viols producing a sound that is both ravishing and disturbing, at least on a first hearing. The contrast to “Jubilate Domine” could scarcely be greater: this second Buxtehude piece is joyful and triumphant and could not demonstrate the other side of the coin more forcefully.

Johann Christoph Bach (1642 – 1703), one of the great Bach family, is best known for his aria “Ach, dass ich Wassers g’nug haette”, a lamentation accompanied by viols, violone, organ and theorbo. Because of the balance problem mentioned above, I still prefer the first version of this that I ever heard, that by Henri Ledroit and the Ricercar Consort on the rival Belgian label Ricercar.

The Telemann pieces are rare, but demonstrate his high baroque style with alternating fast and slow movements and music that wonderfully illustrates the psalm texts that he was setting.

Bach 2000 Light (Without Sacred Cantatas)

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Bach 2000 Light (Without Sacred Cantatas)
Various Conductors , Various Performers , and Various Ensembles
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

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ASIN: B00001IV8C
Release Date: 1999-09-21

Amazon.com

The Bach renaissance--which began in earnest in the early 19th century thanks to the efforts of Felix Mendelssohn and others--inspired an endeavor of far-reaching significance. It led to the founding of the Bach Society in 1850, with the goal of gathering and publishing the composer's complete works, and thus set into motion one of the great projects of musical scholarship. That effort has continued and been refined throughout the 20th century, ultimately influencing not only our perception of how to perform early music but fundamental ideas of musical history, evolution, and reception as well.

Teldec's mammoth Bach 2000 box set represents a kind of culmination of that original attempt to come to terms with Johann Sebastian Bach's unparalleled legacy. This set brings together performances recorded over the last several decades--a small percentage of the recordings are previously unreleased--of all the extant works determined by modern scholarship to be authentic. There are also some pieces the authorship of which is still in question and a few now deemed "inauthentic" but familiarly associated with the composer. Bach was a prodigious reviser of his compositions, and alternate versions of a particular work have been included "where the changes seemed sufficiently important," such as the glorious Magnificat. No doubt manuscripts will continue to be unearthed here and there in various archives (Bach 2000 contains, for example, the "Neumeister chorales," which were rediscovered in 1984), but the set does not represent the many fragments of music that consist of just a few bars; however, there are some reconstructions of lost concertos (such as one for three violins reconstructed by Christopher Hogwood from an extant concerto for harpsichords).

Of course a truly comprehensive recorded edition of every note Bach wrote remains a utopian impossibility--about one-third of his cantatas, for example, have not survived. Even so, the dimensions of Bach 2000 are staggering. With its 12 boxes comprising 153 CDs, the set can be compressed into fewer boxes to save shelf space yet is still about ten times as long as the Ring cycle. (It should be noted that the packaging--using thin cardboard sleeves for the CDs--is distinctively unattractive.) That adds up to just under 160 hours of music--but a lifetime of discovery. Each box (grouped according to genre) contains a booklet with excellent notes on individual works and--for all the choral works--texts and translations. Tracking indexes are useful and thorough. Also included is a profusely illustrated hardbound volume of 24 Inventions, in which journalist Wolfgang Sandberger uses the composer's biography as a peg for some enigmatic and fascinating musings on the meaning of Bach today.

The presiding philosophy behind this project and its approach to musical interpretation can be largely ascribed to Nikolaus Harnoncourt, a true musical pioneer and galvanizing force of the "period performance" movement. Harnoncourt's epoch-making recordings of the sacred cantatas (using, for instance, boy sopranos and choristers according to the practice in Bach's time) with the Concentus musicus Wien and colleague Gustav Leonhardt comprise the first four volumes here (those who already own them can turn to the Bach 2000 Light edition, which contains everything sans the cantatas). These recordings--which were not remastered for this set--have long been controversial and are notably uneven, embracing some magnificent accounts as well as others that lack fire and seem clearly underrehearsed. But Harnoncourt is one of the most fascinating conductors of our era, and his interpretations amply bear out his assertion: "I have never felt that Bach worked in a routine manner, that he repeated himself in his works." Harnoncourt--who has articulated many of his ideas in his book The Musical Dialogue--displays his gifts as a cellist in a remarkably probing performance of the Cello Suites (originally recorded in 1965) and in his concertizing for a number of chamber works. For\ the St. Matthew Passion, you get Harnoncourt's groundbreaking earlier account from 1970, while his 1986 recording of the sublime B Minor Mass is also represented here (the St. John Passion included is Harnoncourt's 1995 acount).

Other artists included are colleague Gustav Leonhardt, whose thoughtful if occasionally dry harpsichord artistry is heard in the Goldberg Variations as well as in the concertos and chamber music. The harpsichord is in fact used throughout in preference to piano for the keyboard works. Ton Koopman (himself the conductor of an ongoing complete cantata series and of the Easter Oratorio included here) performs the organ works, including some newly recorded offerings, while Il Giardino Armonico's well-known high-energy account represents the Brandenburg Concertos. Violinist Thomas Zehetmair is exceptionally compelling in the unaccompanied sonatas and partitas, and the Concentus musicus Wien--again under Harnoncourt--perform a superb Musical Offering that richly repays frequent listening.

The result of Bach 2000 as a whole is an aptly encyclopedic grappling with the infinite legacy of this most compendious of composers, whose works are on one level a summation of all the styles available to him. Bach was once thought to represent a "terminal point" (to use Albert Schweitzer's famous formulation), the end of an era; today he is at least equally recognized as a fertile source of inspiration for composers since. To be sure, individual recordings of particular works will be found to be preferable, and it would be misguided to consider Bach 2000 any kind of "final" or "definitive" word. Instead, it's an indispensable starting point that represents a monumental achievement for our own contemporary understanding of Bach. --Thomas May --This text refers to the complete edition of this title

Album Description

Volume 1, 11 Discs
Secular Cantatas App. Sacred Cantatas; 11 CDs; Koopman, Harnoncourt, Koopman, Goebel and others

Volume 2, 14 Discs
The Sacred Vocal Works Masses,Magnificat, Passions, Oratorios; 14 CDs; Harnoncourt, Koopman, Corboz and others

Volume 3, 7 Discs
The Motets, Chorales & Songs Kirnberger Chorales,Schemelli Songs, Quodlibet

Volume 4, 16 Discs
The Organ Works; 16 CDs; Ton Koopman

Volume 5, 11 Discs
The Keyboard Works (I) The Well-Tempered Clavier, English & French Suites, Partitas etc; 11 CDs; Curtis, Ross, Wilson, Ruzickova

Volume 6, 11 Discs
The Keyboard Works (II) Goldberg Variations, Toccatas, Fugues, Italian Concerto, etc; 11 CDs; Staier, Barchi, Leonhardt, von Asperen, Baumont, and others

Volume 7, 13 Discs
The Chamber Music Violin Sonatas & Partitas, Flute Sonatas, Works for Lute, Art of Fugue, Musical Offering, etc; 13 CDs; Harnoncourt, Pianca, Tachezi, Brggen, Zehetmair, and others

Tracks:

The Christmas Oratorio For Baritone, Trumpet, Bassoon, Harpsichord And Strings: Aria: Grosser Herr Und Starker Konig
Cantata: Jauchzet dem Herrn Alle Welt
Concerto In D Major For Trumpet, Strings, And Basso Continuo
Sonata In C Major For Bassoon And Harpsichord
Area: Er ist's, der ganz allein
Alexander's Feast: Revenge, Timotheus Cries
Lieder For Baritone And Basso Continuo
Concerto In D Major For Trumpet, Two Oboes, And Basso Continuo

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Johann Sebastian Bach in merry mood.

Bach, Scarlatti, Telemann: Cantatas

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - Was mir behagt, ist nur die muntre Jagd! - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Jagen ist die Lust de Gotter - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - Wie, schonste Gottin? wie? - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Willst du dich nicht mehr ergetzen? - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - Ich liebe dich zwar noch! - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - Ich, der ich sonst ein Gott in diesen Feldern bin - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Ein Furst ist seines Landes Pan - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - Soll denn der Pales Opfer hier das letzte sein? - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Schafe konnen sicher weiden - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Recitative - So stimmt mit ein - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Chorus - Lebe, Sonne dieser Erden - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Duet - Entzechet uns beide, ihr Strahlen der Freude - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Weil die wollenreichen Herden - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Aria - Ihr Felder und auen, lasst grunend euch schauen - Johann Sebastian Bach
Cantata - Was mir behagt, ist nur die muntre Jagd, BWV 208: Chorus - Ihr lieblichste Bliche, ihr freudige Stunden - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Recitative - Schweigt stille, plaudert nicht - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Aria - Hat man nicht mit seinen Kindern hunderttausend Hudelei! - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Recitative - Du boses Kind - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Aria - Ei! wie schmeckt der Coffe susse - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Recitative - Wenn du mir nicht der Coffee lasst - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Aria - Madchen, die von harten Sinnen - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Recitative - Nun, folge, was dein Vater spricht! - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Aria - Heute noch, lieber Vater, tut es doch! - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Recitative - Nun geft und sucht der alte Schlendrian - Johann Sebastian Bach
Cantata - Schweigt stille, plaudert nicht, BWV 211: Trio - Die Katze lasst das Mausen nicht - Johann Sebastian Bach

Tracks:

Infirmata vulerata: Infirmata vulnerata - Alessandro Scarlatti
Die Hoffnung ist mein Leben: Aria - Die Hoffnung ist mein Leben - George Philipp Telemann
Die Hoffnung ist mein Leben: Recitative - Ich bin in allem vergnugt - George Philipp Telemann
Die Hoffnung ist mein Leben: Aria - Die Hoffnung bleibt ewig der Trost unsres Lebens - George Philipp Telemann
Lecons de tenebres 'Pour le Mercredy' - Premiere Lecon - Francois Couperin
Cantata - Mer hahn en neue Oberkeet, BWV 212: Sinfonia - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Duet - Mer hahn en neue Oberkeet - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Nu, Mieke. gib dein Guschel immer her! - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Ach, es schmeckt doch gar zu gut - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Der Herr ist gut - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Ach Herr Schosser - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Es bleibt dabei - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Unser trefflicher, lieber Kammerherr - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Er hilft uns allen - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Das ist galant - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Und unsre gnad'ge Frau - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Funfzig Taler bares Geld - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Im Ernst ein Wort! - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Klein-Zschocher musse so zart und susse - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Das ist klug vor dich - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Es nehme zehntausend Dukaten - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Das klingt zu liederlich - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Gib, Schone, viel Sohne - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Du hast wohl recht - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Dein Wachstum sei feste - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Und damit sei es auch genung - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Aria - Und dass ihr's all wisst - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Recitative - Mein Schatz, erraten! - J.S. Bach
Cantata - Mer hahn en neue Oberkeet, BWV 212: Duet - Wir gehn nun, wo der Tudelsack - J.S. Bach

Customer Reviews:

Johann Sebastian Bach in merry mood........2001-11-14

It's worth a long search to obtain and enjoy these works, even if only for the rare chance to hear Bach in merry mood. Of course it is not his fault that about half of his secular cantatas have been lost. Amongst those that survive, two of those included here in matchless performances from the early 1960s conducted by Karl Forster, will bring smiles to your face and dance steps to your feet. Amongst the singers, Fischer-Dieskau and Lisa Otto are especially lively, and Fritz Wunderlich's singing is little short of miraculous. It is in Cantata 208 that the aria known as "Sheep May Safely Graze" occurs.

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