Collegium Vocale Gent, Philippe Herreweghe - J.S. Bach: "Christus, der ist mein Leben" (2008)
BAND/ARTIST: Collegium Vocale Gent, Philippe Herreweghe
- Title: J.S. Bach: "Christus, der ist mein Leben"
- Year Of Release: 2008
- Label: harmonia mundi
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:02:35
- Total Size: 278 mb
- WebSite: Album Preview
Tracklist
01. 1.Recitativo "Wer weiß, wie nahe mir mein Ende?"
02. 2. Recitativo "Mein Leben hat kein ander Ziel"
03. 3. Aria "Willkommen! will ich sagen"
04. 4. Recitativo "Ach, wer doch schon im Himmel wär!"
05. 5. Aria "Gute Nacht, du Weltgetümmel!"
06. 6. Choral "Welt, ade! Ich bin dein müde"
07. 1. Aria "Ich bin vergnügt mit meinem Glücke"
08. 2. Recitativo "Gott ist mir ja nichts schuldig"
09. 3. Aria "Ich esse mit Freuden mein weniges Brot"
10. 4. Recitativo "Im Schweiße meines Angesichts"
11. 5. Choral "Ich leb indes in dir vergnüget"
12. 1. [Choral + Recitativo] "Christus, der ist mein Leben"
13. 2. Recitativo "Nun, falsche Welt!"-3. Chorale "Valet will ich dir geben"
14. 4. Recitativo "Ach könnte mir doch bald sowohl geschehn"
15. 5. Aria "Ach, schlage doch bald, selge Stunde"
16. 6. Recitativo "Denn ich weiß dies"
17. 7. Choral "Weil du vom Tod erstanden bist"
18. 1. Aria "Komm, du süße Todesstunde"
19. 2. Recitativo "Welt! deine Lust ist Last!"
20. 3. Aria "Mein Verlangen"
21. 4. Recitativo "Der Schluß ist schon gemacht"
22. 5. Chor "Wenn es meines Gottes Wille"
23. 6. Choral "Der Leib zwar in der Erden"
Although Bach had dreamt of establishing a ‘well-regulated church music’ since his early days, it was only between 1723 and 1750 that he finally had the chance to do so, as Kantor and Director Musices in Leipzig. Here he invented the ‘modern’ cantata, combining chorales and traditional biblical texts with arias and recitatives on freely composed texts.
The four cantatas recorded by Philippe Herreweghe offer a magisterial demonstration of the transition from cantatas initially judged ‘too theatrical’ to a perfectly achieved form - as in the cantata BWV 84, among the very last to be written.
The four works assembled on this recording document by Philippe Herreweghe offer a magisterial demonstration of the musical development of the Bach church cantata over a period of some twelve years. The cantata Komm, du süße Todesstunde BWV161 was probably written for a performance in Weimar on 27 September 1716. Its libretto comes from a cycle of poems published in 1715 by the Weimar court poet Salomon Franck, and was appointed for the 16th Sunday after Trinity. Christus, der ist mein Leben BWV95 belongs to Bach's first Leipzig Jahrgang, and was written for performance on 12th September 1723; it is associated with the same Sunday as its Weimar sister work BWV161.A third work conceived for the 16th Sunday after Trinity is the cantata Wer weiß, wie nahe mir mein Ende BWV 27, written in the framework of
Bach's third Leipzig cycle for a performance on 6th October 1726; here again the central focus is on the themes of yearning for death and the certainty of resurrection.
Ich bin vergnügt mit meinem Glücke BWV84, is a virtuoso bravura piece for solo soprano, probably written for performance on 9th February 1727, and therefore stands at the end of Bach's third cycle for Leipzig, with which the composer ceased his regular output of cantatas.
01. 1.Recitativo "Wer weiß, wie nahe mir mein Ende?"
02. 2. Recitativo "Mein Leben hat kein ander Ziel"
03. 3. Aria "Willkommen! will ich sagen"
04. 4. Recitativo "Ach, wer doch schon im Himmel wär!"
05. 5. Aria "Gute Nacht, du Weltgetümmel!"
06. 6. Choral "Welt, ade! Ich bin dein müde"
07. 1. Aria "Ich bin vergnügt mit meinem Glücke"
08. 2. Recitativo "Gott ist mir ja nichts schuldig"
09. 3. Aria "Ich esse mit Freuden mein weniges Brot"
10. 4. Recitativo "Im Schweiße meines Angesichts"
11. 5. Choral "Ich leb indes in dir vergnüget"
12. 1. [Choral + Recitativo] "Christus, der ist mein Leben"
13. 2. Recitativo "Nun, falsche Welt!"-3. Chorale "Valet will ich dir geben"
14. 4. Recitativo "Ach könnte mir doch bald sowohl geschehn"
15. 5. Aria "Ach, schlage doch bald, selge Stunde"
16. 6. Recitativo "Denn ich weiß dies"
17. 7. Choral "Weil du vom Tod erstanden bist"
18. 1. Aria "Komm, du süße Todesstunde"
19. 2. Recitativo "Welt! deine Lust ist Last!"
20. 3. Aria "Mein Verlangen"
21. 4. Recitativo "Der Schluß ist schon gemacht"
22. 5. Chor "Wenn es meines Gottes Wille"
23. 6. Choral "Der Leib zwar in der Erden"
Although Bach had dreamt of establishing a ‘well-regulated church music’ since his early days, it was only between 1723 and 1750 that he finally had the chance to do so, as Kantor and Director Musices in Leipzig. Here he invented the ‘modern’ cantata, combining chorales and traditional biblical texts with arias and recitatives on freely composed texts.
The four cantatas recorded by Philippe Herreweghe offer a magisterial demonstration of the transition from cantatas initially judged ‘too theatrical’ to a perfectly achieved form - as in the cantata BWV 84, among the very last to be written.
The four works assembled on this recording document by Philippe Herreweghe offer a magisterial demonstration of the musical development of the Bach church cantata over a period of some twelve years. The cantata Komm, du süße Todesstunde BWV161 was probably written for a performance in Weimar on 27 September 1716. Its libretto comes from a cycle of poems published in 1715 by the Weimar court poet Salomon Franck, and was appointed for the 16th Sunday after Trinity. Christus, der ist mein Leben BWV95 belongs to Bach's first Leipzig Jahrgang, and was written for performance on 12th September 1723; it is associated with the same Sunday as its Weimar sister work BWV161.A third work conceived for the 16th Sunday after Trinity is the cantata Wer weiß, wie nahe mir mein Ende BWV 27, written in the framework of
Bach's third Leipzig cycle for a performance on 6th October 1726; here again the central focus is on the themes of yearning for death and the certainty of resurrection.
Ich bin vergnügt mit meinem Glücke BWV84, is a virtuoso bravura piece for solo soprano, probably written for performance on 9th February 1727, and therefore stands at the end of Bach's third cycle for Leipzig, with which the composer ceased his regular output of cantatas.
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads