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Bach Cantatas Volume 18

Cantatas for Christmas Day, Cantatas for the First Sunday after Epiphany & Cantatas for the Feast of Epiphany

Claron McFadden (soprano), Bernarda Fink (mezzo), Sally Bruce-Payne (alto), Michael Chance (countertenor), James Gilchrist (tenor), Christopher Genz, Dietrich Henschel (baritones)

The Monteverdi Choir & The English Baroque Soloists, John Eliot Gardiner

Bach Cantatas Volume 18

Awards:

The two strongly contrasting arias [of BWV 63], both duets, are expressively sung but it is Bernarda Fink's beautifully controlled, extended recitative which stands out for its tender articulation...James...

Bach Cantatas Volume 18

Cantatas for Christmas Day, Cantatas for the First Sunday after Epiphany & Cantatas for the Feast of Epiphany

Claron McFadden (soprano), Bernarda Fink (mezzo), Sally Bruce-Payne (alto), Michael Chance (countertenor), James Gilchrist (tenor), Christopher Genz, Dietrich Henschel (baritones)

The Monteverdi Choir & The English Baroque Soloists, John Eliot Gardiner

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Awards:

The two strongly contrasting arias [of BWV 63], both duets, are expressively sung but it is Bernarda Fink's beautifully controlled, extended recitative which stands out for its tender articulation...James...

About

Recording locations: Recorded live in Weimar/ Leipzig/ Hamburg, December 1999/ January 2000.

SDG174 is the much awaited last volume of the Bach Cantatas Pilgrimage, one of the most talked about musical events of the last decade.

This is an anthology of the Christmas period, combining cantatas for Christmas Day and the Epiphany.

It features ten acclaimed soloists, including Magdalena Kožená, Bernarda Fink, Michael Chance, James Gilchrist and Christopher Genz.

The album opens with Christen, ätzet diesen Tag (“Christians, engrave this Day”), which was performed on Christmas Day 1999 to launch the year-long pilgrimage. This is one of Bach’s best known cantatas. The accompagnato recit was sung by Bernarda Fink to great acclaim.

Gloria in Excelsis Deo, the song of the angels at the birth of baby Jesus, is best known as the Gloria in the B Minor Mass.

Sie werden aus Saba alle kommen (“All they from Sheba shall come”) describes the procession of the three magi. Bach conveys the majesty of the scene by using high horns, and the recorders and oboes da caccia create an Eastern-like atmosphere.

The cantatas on this album display a great variety of dramatic expression. Both Mein Liebster Jesus ist verloren (“My dearest Jesus is lost”) and Liebster Jesu, mein Verlangen (”Beloved Jesus, my Desire“) tell the same story, but in a different style, expressing different emotions.

This album was recorded at Weimar’s Herderkirche, Leipzig’s Nikolaikirche and Hamburg’s Hauptikirche St Jakobi.

SDG174 is packaged with a separate index sheet of the Cantata series.

“This ongoing recording project ranks as one of the musical events of the decade.” The Observer

“One of the most ambitious musical projects of all time” Gramophone

Contents and tracklist

Chorale. Christen, atzet diesen Tag (Chorus)
Track length4:48
Recitative. O selger Tag! O ungemeines Heute! (Alto)
Track length3:12
Aria. Gott, du hast es wohl gefuget (Soprano, Bass)
Track length7:02
Recitative. So kehret sich nun heut das bange Leid (Tenor)
Track length0:41
Aria. Ruft und fleht den Himmel an (Alto, Tenor)
Track length3:14
Recitative. Verdoppelt euch demnach (Bass)
Track length0:53
Chorale. Hochster, schau in Gnaden an (Chorus)
Track length6:34
Gloria in excelsis Deo (Chorus)
Track length5:49
Duet. Gloria Patri et Filio et Spiritui sancto (Soprano, Tenor)
Track length3:54
Sicut erat in principio (Chorus)
Track length3:57
Sie werden aus Saba alle kommen (Chorus)
Track length4:11
Chorale. Die Kon'ge aus Saba kamen dar (Chorus)
Track length0:36
Recitative. Was dort Jesaias vorhergesehn (Bass)
Track length1:41
Aria. Gold aus Ophir ist zu schlecht (Bass)
Track length2:52
Recitative. Verschmahe nicht, du meiner Seele Licht (Tenor)
Track length1:20
Aria. Nimm mich dir zu eigen hin (Tenor)
Track length3:21
Chorale. Ei nun, mein Gott, so fall ich dir (Chorus)
Track length1:17
Liebster Immanuel, Herzog der Frommen (Chorus)
Track length5:09
Recitative. Die Himmelssussigkeit, der Auserwahlten Lust (Alto)
Track length0:46
Aria. Auch die harte Kreuzesreise (Tenor)
Track length7:02
Recitative. Kein Hollenfeind kann mich verschlingen (Bass)
Track length0:37
Aria. Lass, o Welt, mich aus Verachtung (Bass)
Track length8:36
Chorale. Drum fahrt nur immer hin, ihr Eitelkeiten (Chorus)
Track length1:09
Aria. Mein liebster Jesus ist verloren (Tenor)
Track length3:27
Recitative. Wo treff ich meinen Jesum an (Tenor)
Track length0:37
Chorale. Jesu, mein Hort und Erretter
Track length1:07
Aria. Jesu, lass dich finden (Alto)
Track length3:10
Arioso. Wisset ihr nicht, dass ich sein muss (Bass)
Track length1:12
Recitative. Dies ist die Stimme meines Freundes (Tenor)
Track length1:54
Aria. Wohl mir, Jesus ist gefunden (Alto, Tenor)
Track length3:29
Chorale. Meinen Jesum lass ich nicht
Track length1:00
Meinen Jesum lass ich nicht (Chorus)
Track length3:17
Recitative. Solange sich ein Tropfen Blut (Tenor)
Track length0:42
Aria. Und wenn der harte Todesschlag (Tenor)
Track length3:07
Recitative. Doch ach! Welch schweres Ungemach (Bass)
Track length0:53
Aria. Entziehe dich eilands, mein Herze, der Welt (Soprano, Alto)
Track length4:14
Chorale. Jesum lass ich nicht von mir (Chorus)
Track length1:04
Aria. Liebster Jesu, mein Verlangen (Soprano)
Track length5:21
Recitative. Was ist's, dass du mich gesuchet? (Bass)
Track length0:23
Aria. Hier, in meines Vaters Statte (Bass)
Track length8:12
Recitative. Ach! Heiliger und grosser Gott (Soprano, Bass)
Track length2:24
Aria. Nun verschwinden alle Plagen (Soprano, Bass)
Track length5:19
Chorale. Mein Gott, offne mir die Pforten (Chorus)
Track length1:13

Awards and reviews

  • Gramophone Magazine
    December 2010
    Editor's Choice

Christmas 2010

The two strongly contrasting arias [of BWV 63], both duets, are expressively sung but it is Bernarda Fink's beautifully controlled, extended recitative which stands out for its tender articulation...James Gilchrist makes a fine contribution...notably in the solo tenor cantata 'Ich armer Mensch'

February 2011

Bernarda Fink brings a moving sense of wonder to her accompanied recitative. From time to time, you feel that the performers are flying by the seat of their pants, but the commitment and enjoyment shine through.

December 2010

There are countless highlights in the final two volumes. The duet-singing in BWV32 between Claron McFadden and Peter Harvey is memorably rewarding. Similarly cathartic is the peerless, reassuring expression of eternal union in the great duet of BWV154 with Michael Chance and James Gilchrist.

10th October 2010

The variety of these works for Christmas and Epiphany is astonishing, and the singing, from the Monteverdi Choir and soloists including Magdalena Kozena, fully matches it.

26th November 2010

As before, performances offer the zinging energy, heartfelt beauty and occasional warts of the best live music-making...Christmas jubilation never turns strident. Elsewhere, Gardiner’s forces radiate quiet intensity in the tragedy and pathos of BWV 123, Liebster Immanuel — music of simple sobriety, powerful enough to stop the world turning.

The Independent on Sunday 31st October 2010

With 10 top-flight soloists, it brings this awe-inspiring project to a powerful end.
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