TELEFUNKEN
2 LPs - 6.35573 EX - (p) 1981
2 CDs - 242-602-2 ZL - (c) 1989

DAS KANTATENWERK - Volume 28






Johann Sebastian BACH (1685-1750) Kantate "Herr Jesu Christ, du höchstes Gut", BWV 113

25' 41"

Kantate am 11. Sonntag nach Trinitatis (Dominica 11 post Trinitatis)




Text: 1., 2., 4., 8. Bartholomäus Ringwaldt 1588; 3.-7. Umdichtung eines unbekannten Verfassers




Solo: Sopran, Alt, Tenor, Baß - Chor; Querflöte, Oboe d'amore I, II; Streicher; B.c. (Violoncello, Violone, Organo)




- 1. Chor: "Herr Jesu Christ, du höchstes Gut" 3' 58"
C1

- 2. Aria (Alto): "Erbarm dich mein in solcher Last" 5' 13"
C2

- 3. Aria (Basso): "Fürwahr, wenn mir das kömmet ein" 3' 13"
C3

- 4. Recitativo (Basso): "Jedoch dein heilsam Wort, das macht" 2' 04"
C4

- 5. Aria (Tenore): "Jesus nimmt die Sünder an" 4' 52"
C5

- 6. Recitativo (Tenore): "Der Heiland nimmt die Sünder an" 2' 12"
C6

- 7. Duetto (Soprano, Alto): "Ach Herr, mein Gott, vergib mirs doch" 2' 52"
C7

- 8. Choral: "Stärk mich mit deinem Freudengeist" 0' 57"
C8






Kantate "Ach, lieben Christen, seid getrost", BWV 114
24' 05"

Kantate am 17. Sonntag nach Trinitatis (Dominica 17 post Trinitatis)



Text: 1., 4., 7. Johannes Gigas 1561; 2., 3., 5., 6. Umdichtung eines unbekannten Verfassers



Solo: Sopran, Alt, Tenor, Baß - Chor; Corno, Querflöte, Oboe I, II; Streicher; B.c. (Violoncello, Violone, Organo)



- 1. Chor: "Ach, lieben Christen, seid getrost" 3' 53"
D1

- 2. Aria (Tenore): "Wo wird in diesem Jammertale" 9' 08"
D2

- 3. Recitativo (Basso): "O Sünder, trage mit Geduld" 1' 35"
D3

- 4. Aria (Soprano): "Kein Frucht das Weizenkörnlein bringt" 2' 14"
D4

- 5. Aria (Alto): "Du machst, o Tod, mir nun nicht ferner bange" 5' 17"
D5

- 6. Recitativo (Tenore): "Indes bedenke deine Seele" 0' 45"
D6

- 7. Choral: "Wir wachen oder schlafen ein" 0' 58"
D7





 
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
 






Luogo e data di registrazione
Casino Zögernitz, Vienna (Austria) - 1/5 Novembre 1980


Registrazione: live / studio
studio

Producer
Wolf Erichson


Prima Edizione LP
Telefunken "Das Alte Werk" | 6.35573 EX | 2 LPs - durata 30' 59" - 50' 00" | (p) 1981 | ANA


Edizione CD
Teldec Classics | LC 6706 | 242 606-2 ZL | 2 CDs - durata 30' 59" - 50' 00" | (c) 1989 | ADD

Cover

Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.


Note
In questo volume sono presenti anche La Cantate BWV 111 e BWV 112 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.














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.