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2 LPs
- 6.35573 EX - (p) 1981
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2 CDs -
242-602-2 ZL - (c) 1989 |
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DAS KANTATENWERK - Volume 28 |
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Johann Sebastian
BACH (1685-1750) |
Kantate
"Herr Jesu Christ, du höchstes Gut",
BWV 113
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25' 41" |
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Kantate
am 11. Sonntag nach Trinitatis (Dominica
11 post Trinitatis)
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Text:
1., 2., 4., 8. Bartholomäus Ringwaldt
1588; 3.-7. Umdichtung eines unbekannten
Verfassers
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Solo:
Sopran, Alt, Tenor, Baß - Chor; Querflöte,
Oboe d'amore I, II; Streicher; B.c.
(Violoncello, Violone, Organo)
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- 1.
Chor: "Herr Jesu Christ, du höchstes Gut"
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3' 58" |
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C1 |
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- 2.
Aria (Alto): "Erbarm dich mein in solcher
Last" |
5' 13" |
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C2 |
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- 3.
Aria (Basso): "Fürwahr, wenn mir das
kömmet ein" |
3' 13" |
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C3 |
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- 4.
Recitativo (Basso): "Jedoch dein heilsam
Wort, das macht" |
2' 04" |
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C4 |
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- 5.
Aria (Tenore): "Jesus nimmt die Sünder an" |
4' 52" |
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C5 |
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- 6.
Recitativo (Tenore): "Der Heiland nimmt
die Sünder an" |
2' 12" |
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C6 |
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- 7.
Duetto (Soprano, Alto): "Ach Herr, mein
Gott, vergib mirs doch" |
2' 52" |
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C7 |
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- 8.
Choral: "Stärk mich mit deinem
Freudengeist" |
0' 57" |
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C8 |
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Kantate
"Ach, lieben Christen, seid getrost",
BWV 114 |
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24' 05" |
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Kantate
am 17. Sonntag nach Trinitatis (Dominica
17 post Trinitatis) |
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Text:
1., 4., 7. Johannes Gigas 1561; 2., 3.,
5., 6. Umdichtung eines unbekannten
Verfassers |
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Solo:
Sopran, Alt, Tenor, Baß - Chor; Corno,
Querflöte, Oboe I, II; Streicher; B.c.
(Violoncello, Violone, Organo) |
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- 1.
Chor: "Ach, lieben Christen, seid getrost"
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3' 53" |
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D1 |
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- 2.
Aria (Tenore): "Wo wird in diesem
Jammertale" |
9' 08" |
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D2 |
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- 3.
Recitativo (Basso): "O Sünder, trage mit
Geduld" |
1' 35" |
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D3 |
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- 4.
Aria (Soprano): "Kein Frucht das
Weizenkörnlein bringt" |
2' 14" |
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D4 |
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- 5.
Aria (Alto): "Du machst, o Tod, mir nun
nicht ferner bange" |
5' 17" |
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D5 |
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- 6.
Recitativo (Tenore): "Indes bedenke deine
Seele" |
0' 45" |
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D6 |
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- 7.
Choral: "Wir wachen oder schlafen ein" |
0' 58" |
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D7 |
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Sebastian
Hennig (Solist des Knabenchores
Hannover), Sopran (BWV 113, 114)
Detlef Bratschke (Solist des Knabenchores
Hannover), Alt (BWV 113)
René Jacobs, Alt
Kurt Equiluz, Tenor
Max van Egmond, Baß
Knabenchor Hannover |
Heinz Hennig, Leitung
Collegium Vocale Gent | Philippe
Herreweghe, Leitung
Das verstärkte LEONHARDT-CONSORT mit
Originalinstrumenten
- Don Smithers, Corno
- Frans Brüggen, Querflöte
- Ku Ebbinge, Bruce Haynes, Oboen
- Ku Ebbinge,
Bruce Haynes, Oboen d'amore
- Marie Leonhardt, François
Fernandez, Alda Stuurop, Antoinette van den
Hombergh, Nicolette Moonen, Violinen
- Staas Swiestra, Ruth Hesseling, Violen
- Wouter Möller, Lindewij Schijfes, Violoncelli
- Nicholas Pap, Violone
- Gustav Leonhardt, Bob van Asperen (BWV
113,1,2,6,8; 114,1,5,7), Orgel
Gustav Leonhardt, Gesamtleitung
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Luogo
e data di registrazione |
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Casino Zögernitz,
Vienna (Austria) - 1/5 Novembre
1980
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Registrazione: live
/ studio |
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studio |
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Producer |
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Wolf Erichson
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Prima Edizione LP |
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Telefunken "Das Alte
Werk" | 6.35573 EX | 2 LPs -
durata 30' 59" - 50' 00" | (p)
1981 | ANA
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Edizione CD |
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Teldec Classics |
LC 6706 | 242 606-2 ZL | 2 CDs -
durata 30' 59" - 50' 00" | (c)
1989 | ADD |
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Cover
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Johann Sebastian
Nach, einige Jahre vor seiner
Ernennung zum Kantor in Leipzig.
Gemälde con JJ. Ihle (1720) Bach
Museum Eisenach.
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Note |
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In questo volume sono
presenti anche La Cantate BWV 111
e BWV 112 a cura del Concentus
Musicus Wien diretto da Nikolaus
Harnoncourt.
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INTRODUCTION
by Ludwig Finscher
»Herr Jesu Christ, du
höchstes Gut« (BWV 113)
is also part of the second
Leipzig annual cycle and was
written for the Eleventh
Sunday after Trinity (20th
August 1724). The hymn has
eight stanzas and the
cantata eight movements; the
texts of stanzas 1, 2, 4 and
8 are set verbatim, the
others are paraphrased. Even
more profound and varied use
is made of the hymn tune.
Stanza
1: Extended arrangement of
the hymn tune
Stanza
2: Three-part setting (in
the manner of an organ
trio), with the hymn tune
in the middle voice
Stanza
3: The first line related
to the chorale, thereafter
free
Stanza
4: Chorale with continuo;
interpolated recitatives
Stanza
5: Free setting except for
the last line of the text,
in which the last line of
the hymn tune is quoted
with decorations
Stanza
6: Free setting
Stanza
7: The odd lines of the
text are set to the hymn
tune and decorated, the
even ones are set freely;
in the style of a sacred
concerto with continuo
Stanza
8: Four-part chorale
setting.
Both
the stress on strict, indeed
archaic settings and forms
(organ trio, sacred
concerto) and the discreet
orchestration are in keeping
with the serious nature of
this penitential hymn.
Conversely, it is
appropriate that the only
movement which is cheerful
throughout - the paraphrase
in the fifth stanza - should
also be the only one that is
consciously »modern« (free
da capo form, long solo
passages for the flute, the
key of D major).
»Ach lieben Christen,
seid getrost« (BWV 114)
written for the 17th Sunday
after Trinity in 1724 (1st
October) is yet another
chorale cantata. Three
stanzas of the hymn (Nos. 1,
3 and 6) are retained
unchanged as regards both
tune and words, although
different settings are
employed for each one. On
the other hand in stanzas
2/3 and 5/6, which are
treated as aria and
recitative in each case, the
texts are paraphrased and
the melody is quite free.
The resulting format is
completely symmetrical and
the key structure is also
remarkably consistent:
Stanza
1: Extended arrangement of
the hymn tune G minor
Stanza
2: Tenor aria with flute
obbligato D minor
Stanza
3: Bass recitative G
minor, changing to D minor
Stanza
4: Hymn tune in the
soprano, with continuo G
minor
Stanza
5: Alto aria with oboe and
strings B flat minor
Stanza
6: Tenor recitative G
minor
Stanza
7: Four-part chorale
setting G minor
However,
this rigid framework
contains a remarkable degree
of rich and differentiated
detail and interpretation of
the text. In the opening
chorus two motifs from the
first line of the hymn are
elaborated into an
orchestral ritornello while
the lower voices illustrate
the details of the text
(»getrost« - good cheer;
»heimsuchen« - afflict;
»bekennen« - confess), their
unification and simultaneous
differentiation achieving a
positively dialectical
interpenetration. In the
tenor aria the question and
answer contained in the
words is heightened by the
clearly contrasting
emotions, keys, metres and
tempi. Although the alto
aria is in the major,
occasional glimpses of the
minor mode and chromatic
steps in the melodic line
impart an almost frightening
intensity to the
interpretation of the words.
In the first line, for
example, the A flat on »Tod«
(death) is virtually negated
by the A natural on »nicht«
(not); equally telling are
the triumphant turn of
phrase on odie Freiheit mir
erlange« (I am set free) and
the chilling touches of B
flat minor and E flat minor
on the words »es muß ja so
einmal gestorben sein«
(since death comes in the
end). Even the final
chorale, in which the hymn
tune is reinforced by a
horn, as in the opening
chorus, expresses the
meaning of the words in
greater detail than is
usually the case.
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