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Gardiner Bach Cantatas

Gardiner Bach Cantatas

"When we embarked on the Bach Cantata Pilgrimage in Weimar on Christmas Day 1999 we had no real sense of how the project would turn out. There were no precedents, no earlier attempts to perform all Bach’s surviving church cantatas on the appointed feast day and all within a single year, for us to draw on or to guide us. Just as in planning to scale a mountain or cross and ocean, you can make meticulous provision, calculate your route and get all the equipment in order, in the end you have to deal with whatever the elements - both human and physical - throw at you at any given moment.

"With weekly preparations leading to the performances of these extraordinary works, a working rhythm we sustained throughout a whole year, our approach was influenced by several factors: time (never enough), geography (the initial retracing of Bach’s footsteps in Thuringia and Saxony), architecture (the churches both great and small where we performed), the impact of one week’s music on the next and on the different permutations of players and singers joining and rejoining the pilgrimage, and inevitably, the hazards of weather, travel and fatigue. Compromises were sometimes needed to accommodate the quirks of the liturgical year (Easter falling exceptionally late in 2000 meant that we ran out of liturgical slots for the late Trinity season cantatas, so that they needed to be redistributed among other programmes). Then to fit into a single evening cantatas for the same day composed by Bach over a forty-year span meant deciding on a single pitch (A = 415) for each programme, so that the early Weimar cantatas written at high organ pitch needed to be performed in the transposed version Bach adopted for their revival, real or putative, in Leipzig. Although we had commissioned a new edition of the cantatas by Reinhold Kubik, incorporating the latest source findings, we were still left with many practical decisions to make over instrumentation, pitch, bass figuration, voice types, underlay and so on. Nor did we have the luxury of repeated performances in which to try out various solutions: at the end of each feast-day we had to put the outgoing trio or quartet of cantatas to the back of our minds and move on the the next clutch - which came at us thick and fast at peak periods such as Whitsun, Christmas and Easter."

John Eliot Gardiner

Showing 1 - 10 of 29 results
Showing 1 - 10 of 29 results
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    This release includes a digital booklet

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    This release includes a digital booklet

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    This release includes a digital booklet

  • Purchase product

    2 CDs

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    This release includes a digital booklet

  • 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

    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...BBC Music Magazine, Christmas 2010, 4 out of 5 starsMore…

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    No digital booklet included

  • Cantatas for the Fourth and Fifth Sundays after Trinity

    Magdalena Kozená, Nathalie Stutzmann, Paul Agnew, Nicolas Teste, Joanne Lunn, William Towers, Kobie van Rensburg, Peter Harvey

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

    Gardiner is a master of delivering these hard enigmatic pieces with renewed logic and understanding.Gramophone Magazine, May 2008More…

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  • Cantatas for the Third and Fourth Sundays after Easter

    Brigitte Geller, William Towers, Mark Padmore, Julian Clarkson, Robin Tyson, James Gilchrist, Stephen Varcoe

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

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  • Christmas Cantatas II

    Gillian Keith, Katharine Fuge, Joanne Lunn, Robin Tyson, William Towers, James Gilchrist & Peter Harvey

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

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  • Cantatas for the 17th Sunday after Trinity & Cantatas for the 18th Sunday after Trinity

    Katharine Fuge (soprano), Frances Bourne (alto), Mark Padmore (tenor) & Stephan Loges (bass), Humphries (alto), Robin Tyson (alto), Nathalie Stutzmann (alto), Christoph Genz (tenor) & Gotthold Schwarz (bass)

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

    …the opening chorus of BWV 148… It's just the kind of piece at which the Monterverdi Choir surpasses its rivals, and the instrumental support from the English Baroque Soloists is splendid....BBC Music Magazine, November 2009, 5 out of 5 starsMore…

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    This release includes a digital booklet

  • Cantatas for the Twenty-second Sunday after Trinity & Cantatas for the Twenty-third Sunday after Trinity

    Susan Hamilton, Gillian Keith, Joanne Lunn (sopranos), Hilary Summers (alto), Robin Tyson (countertenor), James Gilchrist, William Kendall (tenors), Peter Harvey (bass)

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

    Gardiner with his characteristic sense of theatre imbues [the opening of BWV140] with urgency and anticipation. BWV 115 is masterly throughout.BBC Music Magazine, Christmas 2010, 5 out of 5 starsMore…

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    2 CDs

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