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Bach - BWV 90-99_Cantatas_MP3_256kbs
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BWV 90-99;Johan Sebastian Bach Cantatas; Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantatas
BWV 90: Es reißet euch ein schrecklich Ende - A terrifying end sweeps you away
For the 25th Sunday after Trinity.
Bach composed it in Leipzig in 1723.
The cantata is scored for Vocal — Soloists (ATB), Chorus (SATB) Orchestra — [Unknown Obbligato], Strings, BC
List:
1-Aria (Tenor): Es reißet euch ein schrecklich Ende. An "impassioned tenor aria, rich in coloraturas, in which the lively figuration and rapid scale passages of the first violin...illustrate the threat of punishment for sinners." d minor
2-Recitativo (Alto): Des Höchsten Güte wird von Tag zu Tag neu. Secco recitative. B? Major-d minor
3-Aria (Bass): So löschet im Eifer der rächende Richter. The obbligato instrument is unmarked, but probably a brass instrument. Whatever it is, it is highly virtuosic. B? Major
4-Recitativo (Tenor): Doch Gottes Aufe sieht auf uns als Auserwählte. Secco recitative. g minor-d minor
5-Choral: Leit uns mit deiner rechten Hand. A plain chorale setting (=Vater unser in Himmelreich). d minor
BWV 91: Gelobet seist du, Jesu Christ - May You be praised, O Jesus Christ
For Christmas Day.
Bach wrote the Christmas cantata on Luther's chorale in Leipzig in 1724 for Christmas Day and first performed it on 25 December 1724.
The cantata is festively scored for soprano, alto, tenor, and bass, a four-part choir, two horns, timpani, three oboes, two violins, viola and basso continuo
List:
1-[Chorale]: Gelobet seist du, Jesu Christ. A festive opening chorus, although rather short. G Major
2-Recitativo (Soprano): Der Glanz der höchsten Herrlichkeit. Secco recitative with bits of chorale interspersed. e minor
3-Aria (Tenor): Gott, dem der Erden Kreis zu klein. Three baroque oboes (tuning!) are the only other instruments aside from continuo here. a minor
4-Recitativo (Bass): O Christenheit! Recitative with string accompaniment. G Major-C Major
5-Aria (Soprano, Alto): Die Armut, so Gott auf sich nimmt. The marked contrasts of the text are here illustarted. e minor
6-Choral: Das hat er alles uns getan. A plain chorale setting with independent horn parts. G Major
BWV 92: Ich hab in Gottes Herz und Sinn - I have to God's heart and mind
For Septuagesima Sunday
Bach composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725.
The cantata is scored for Soloists (SATB), Chorus (SATB), two oboes d'amore, strings, and basso continuo
List:
1-Chorale: Ich hab in Gottes Herz und Sinn. The longest movement by far. The opening ritornello is a beautiful alternation of oboes d'amore (in their favorite key) and strings. The themes are not derived from the chorale this time. b minor
2-Recitativo (Bass): Es kann mir fehlen nimmermehr! A strange movement, blending the bass singing the chorale with arioso-recitative passages. The continuo players get plenty of work in this movement. e minor
3-Aria (Tenor): Seht, seht! wie reißt, wie bricht, wie fällt. An animated, "passionate" aria with strings1. Overall, the "jumpy" nature of the tenor line adds to the nervous energy. b minor
4-Choral (Alto): Zudem ist Weisheit und Verstand. The alto now gets to sing the chorale, with two oboes d'amore to lead the way. f? minor
5-Recitativo (Tenor): Wir wollen nun nicht länger zagen. Secco recitative. D Major-b minor
6-Aria (Bass): Das Brausen/Stürmen von den rauhen Winden. A continuo aria, also with a "busy" continuo part. In contrast to the tenor aria, long melismatic runs dominate the movement. D Major
7-Recitativo (SATB): Ei nun, mein Gott, so fall ich. Akin to the second movement, the entire soloistic ensemble delivers verses of the chorale as a unit, while each in turn gives a recitative interjection. b minor-D Major
8-Aria (Soprano): Meinem Hirten belieb ich treu. For an inspired instrumentation of oboe d'amore and plucked cellos and basses (no organ, presumably no harpsichord). The lilt of this movement gives it a dancing quality. D Major
9-Choral: Soll ich denn auch des Todes weg. A plain chorale setting. b minor
BWV 93: Wer nur den lieben Gott lässt walten - If you but permit God to prevail
For the 5th Sunday after Trinity
Bach wrote in Leipzig for the fifth Sunday after Trinity, first performed on 9 July 1724.
The cantata is written for soprano, alto, tenor and bass soloists, choir, a pair of oboes, strings and basso continuo
List:
1-Chorus: Wer nur den lieben Gott läßt walten. A simple, but lengthy opening chorus in Bar form. c minor
2-Recitativo (Bass): Was helfen uns die schweren Sorgen? The chorale is delivered first, then recitative, then more chorale, etc. g minor
3-Aria (Tenor): Man halte nur ein wenig stille. A joyous, virtuosic (quite high) tenor aria with strings in 3/8. E? Major
4-Aria Duetto (Soprano, Alto): Er kennt die rechten Freudesstunden. This was later arranged as BWV 647, the 3rd Schübler Chorale. c minor
5-Recitativo (Tenor): Denk nicht in deiner Drangsalhitze. The chorale is delivered first, then recitative, then more chorale, etc. e? minor-g minor
6-Aria (Soprano): Ich will auf den Herren schaun. Obbligato oboe here takes on a concertante part. The music is full of expressive "sigh" motives. g minor
7-Choral: Sing, bet und geh auf Gottes Wegen. A plain chorale setting. c minor
BWV 94: Was frag ich nach der Welt - What need I of this world
For the 9th Sunday after Trinity
Bach composed it Leipzig for the ninth Sunday after Trinity and first performed it on 6 August 1724.
The cantata is scored for four soloists and a four-part choir, flauto traverso, two oboes, two violins, viola, organ and basso continuo
List:
1-Chorus: Was frag ich nach der Welt. The virtuoso flute figuration takes over the texture immediately; this could almost be Bach's only flute concerto movement. This is a lively, active movement, full of running semiquavers and triplets. D Major
2-Aria (Bass): Die Welt ist wie ein Rauch und Schatten. A continuo aria, with lines that come to the fore and recede, to match the text. b minor
3-Chorale e recitativo (Tenor): Die Welt sucht Ehr und Ruhm. The tenor sings the chorale, and then lapses into recitative. G Major
4-Aria (Alto): Betörte Welt, betörte Welt! Obbligato flute again comes to the fore, displaying "a remarkable bitter beauty." e minor
5-Chorale e recitativo (Bass): Die Welt bekümmert sich. Secco recitative. D Major
6-Aria (Tenor): Die Welt kann ihre Lust und Freud. A very "string-y" aria , beautiful and relaxed in 12/8. A Major
7-Aria (Soprano): Es halt es mit der blinden Welt. A bourrée1 with obbligato oboe d'amore. f? minor
9-Choral: Was frag ich nach der Welt! A plain chorale setting. D Major
BWV 95: Christus, der ist mein Leben - Christ, He is my Life
For the 16th Sunday after Trinity.
Bach composed it in Leipzig for the 16th Sunday after Trinity and first performed it on 12 September 1723.
The cantata is scored for three soloists, soprano, tenor and bass soloists, four part choir, horn, two oboe d'amore, two violins, viola, violoncello piccolo and basso continuo
List:
1-[Chorale + Recitative (Tenor)]: Christus, der ist mein Leben. Beginning with "an intimate melody of yearning for death,"1 the movement is an intense reflection of the text. The chorus then lapses into secco recitative. G Major
2-Recitativo (Soprano): Nun, falsche Welt! Secco recitative. d minor-b minor
3-Chorale (Soprano): Valet will ich dir geben. The soprano sings the plain chorale melody over continuo alone at first, and then oboes d'amore. D Major
4-Recitativo (Tenor): Ach könnte mir doch bald so wohl geschehn. Secco recitative. b minor-A Major
5-Aria (Tenor): Ach, schlage doch bald, selge Stunde. For obbligato oboe d'amore and pizzicato strings. The voice and the oboe are highly contrasted in nature. D Major
6-Recitativo (Bass): Denn ich weiß dies. Secco recitative/ b minor-G Major
7-Choral: Weil du vom Tod erstanden bist. A plain chorale setting, with an expressive first violin part. G Major
BWV 96: Herr Christ, der einge Gottessohn - Lord Christ, the only Son of God
For the 18th Sunday after Trinity
Bach composed it in 1724 in Leipzig for the 18th Sunday after Trinity.
The cantata is scored for soprano, alto, tenor and bass soloists, a four-part choir, flauto traverso, flauto piccolo or (later) violino piccolo, two oboes, horn or (later) trombone, two violins, viola, and basso continuo
List:
1-[Chorale]: Herr Christ, der einge Gottessohn. Unusually, the alto has the chorale theme, thus making it harder to distinguish. The extra-high sopranino recorder also shrieks enough to distract from the chorale theme. F Major
2-Recitativo (Alto): O Wunderkraft der Liebe. Secco recitative. B? Major-F Major
3-Aria (Tenor): Ach, ziehe die Seele mit Seilen der Liebe. A virtuoso recorder part is here brought to the fore in this otherwise rather lackluster aria. C Major
4-Recitativo (Soprano): Ach, führe mich, o Gott, zum rechten Wege. Secco recitative. F Major
5-Aria (Bass): Bald zur Rechten, bald zur Linken. Illustration of the text is prominent here. The changes in harmonic motion are here very interesting. d minor
6-Choral: Ertöt uns durch dein Güte. A plain chorale setting. F Major
BWV 97: In allen meinen Taten - In all my deeds
Bach composed the chorale cantata in Leipzig in 1734 for an unspecified occasion.
The cantata is scored for four soloists, soprano, alto, tenor, and bass, a four-part choir, two oboes, bassoon, two violins, viola, and basso continuo
List:
1-Versus 1 Chorus: In allen meinen Taten. A french overture to begin. The slow section at the beginning is instrumental; the chorale is then added to the fugal section. B? Major
2-Versus 2 Aria (Bass): Nichts ist es spat und frühe. A continuo aria with a rather vocal main theme. g minor
3-Versus 3 Recitativo (Tenor): Es kann mir nichts geschehen. Secco recitative. E? Major-d minor
4-Versus 4 Aria (Tenor): Ich traue seiner Gnaden. A highly concertante solo violin part adds vigour to this movement. B? Major
5-Versus 5 Recitativo (Alto): Er wolle meiner Sünden. Recitative with string accompaniment. g minor-c minor
6-Versus 6 Aria (Alto): Leg ich mich späte nieder. Fully concerned with illustrating the text, this movement is full of the contrasts contained therein. c minor
7-Versus 7 Duetto (Soprano, Bass): Hat er es denn beschlossen. A duet with continuo alone. One of the more relaxed and "enjoyable" movements in the piece. E? Major
8-Versus 8 Aria (Soprano): Ihm hab ich mich ergeben. Two obbligato oboes with rather difficult parts accompany another relaxed movement. F Major
9-Versus Ultimus Choral: So sei nun, Seele, deine. A plain chorale setting with obbligato strings. B? Major
BWV 98: Was Gott tut, das ist Wohlgethan - Whatever God deals is dealt bountifully
For the 21st Sunday after Trinity
Bach composed it in Leipzig for the 21st Sunday after Trinity and first performed it on 10 November 1726.
The cantata is intimately scored for four solists, soprano, alto, tenor and bass, a four-part choir, two oboes, taille (tenor oboe), two violins, viola, and basso continuo
List:
1-Chorale: Was Gott tut, das ist Wohlgethan. A plain chorale setting, around which instrumental parts play separate material. Also, the first violin is the only "real" string part. B? Major
2-Recitativo (Tenor): Ach Gott! ween wirst du mich einmal. Secco recitative. g minor-E? Major
3-Aria (Soprano): Hört, ihr Augen, auf zu weinen. Obbligato oboe underlines the mournful air of the movement. However, the 3/8 time gives a lilt that would otherwise be sorely lacking. c minor
4-Recitativo (Alto): Gott hat ein Herz, das des Erbarmens überfluß. Secco recitative. g minor- d minor
5-Aria (Bass): Meinen Jesum laß ich nicht. Unison violins are the obbligato to this energetic aria. B? Major
BWV 99: Was Gott tut, das ist Wohlgethan - What God deals is dealt bountifully
For the 15th Sunday after Trinity
Bach composed the chorale cantata in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724.
The cantata is scored for four soloists, soprano, alto, tenor and bass soloists, four part choir, horn, flauto traverso, oboe d'amore, two violins, viola, and basso continuo
List:
1-Chorale: Was Gott tut, das ist wohlgethan. A typical opening chorus, although the ritornello begins first with strings, and only later lets on that there are woodwinds in the orchestra. G Major
2-Recitativo (Bass): Sein Wort der Wahrheit stehet fest. Secco recitative. b minor
3-Aria (Tenor): Erschüttre dich nur nicht, verzagte Seele. A virtuoso flute part gives a striking expessive figuration to this fast-moving aria in 3/8. e minor
4-Recitativo (Alto): Nun, der von Ewigkeit geschloßne Bund. Secco recitative. b minor-D Major
5-Aria Duetto (Soprano, Alto): Wenn des Kreuzes Bitterkeiten. Another obbligato flute part, although with oboe d'amore. Imitation abounds between the voices. b minor
6-Choral: Was Gott tut, das ist wohlgetan. A plain chorale setting. G Major
