Johann Sebastian Bach – Secular Cantatas, Vol. 5 ‘Birthday Cantatas’ – Bach Collegium Japan, Masaaki Suzuki (2015) [Official Digital Download 24bit/96kHz]

Johann Sebastian Bach – Secular Cantatas, Vol. 5 ‘Birthday Cantatas’ – Bach Collegium Japan, Masaaki Suzuki (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:13:17 minutes | 1,35 GB | Genre: Classical
Official Digital Download – Source: eClassical | Digital Booklet | ©B IS Records
Recorded: September/October 2014 at the Saitama Arts Theater Concert Hall, Japan

Continuing their exploration of Bach’s vocal music, Bach Collegium Japan and Masaaki Suzuki have now reached the fifth volume of secular cantatas, with the previous instalment being ‘urgently recommended’ by the reviewer in Fanfare, and its contents described as ‘unusually colourful and vivid performances, even by the standards so far set by Suzuki’s Collegium Japan’ (International Record Review). Both cantatas on the present disc were first performed in 1733 by Bach and his Collegium Musicum at public concerts in Leipzig. They were also part of what almost appears to have been a campaign by Bach to be appointed Court Composer by the Saxon Prince-Elector Friedrich August II, something which took place three years later. Lasst uns sorgen, lasst uns wachen, BWV 213, also known as Hercules at the crossroads, was composed for the 11th birthday of the Prince-Elector’s oldest son, and Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 in a similar manner celebrated the birthday two months later of his wife, Maria Josepha of Saxony. Both works are so-called ’dramma per musica’, in which the vocal soloists are embodying dramatic characters – in the present cantatas these are taken from Greek mythology. Needless to say, Bach rose to the festive occasions, deploying trumpets and timpani (as implied in the title of BWV 214) and horns (in BWV 213) to great effect. A year later, he would reuse much of the music from the two cantatas in a similarly jubilant but otherwise quite different context – admirers of the Christmas Oratorio will for instance recognize the opening chorus of that work (Jauchzet, frohlocket) in the first movement of BWV 214 as well as the celebrated alto aria Bereite dich, Zion as an artfully transformed version of Hercules brusque rejection of Wohlust (Lust) in the ninth movement of BWV 213.

Johann Sebastian Bach (1685–1750)
Lasst uns sorgen, lasst uns wachen, BWV 213
1. 1. Chorus. Lasst uns sorgen, lasst uns wachen … 6’00
2. 2. Recitativo (Alto). Und wo? Wo ist die rechte Bahn … 0’43
3. 3. Aria (Soprano). Schlafe, mein Liebster, und pflege der Ruh … 10’58
4. 4. Recitativo (Soprano, Tenore). Auf! folge meiner Bahn … 1’16
5. 5. Aria (Alto). Treues Echo dieser Orten … 5’58
6. 6. Recitativo (Tenore). Mein hoffnungsvoller Held! … 0’53
7. 7. Aria (Tenore). Auf meinen Flügeln sollst du schweben … 4’21
8. 8. Recitativo (Tenore). Die weiche Wollust locket zwar … 0’39
9. 9. Aria (Alto). Ich will dich nicht hören … 4’02
10. 10. Recitativo (Alto, Tenore). Geliebte Tugend, du allein … 0’46
11. 11. Aria Duetto (Alto, Tenore). Ich bin deine … 7’36
12. 12. Recitativo accompagnato (Basso). Schaut, Götter … 1’18
13. 13. Chorus [e Arioso (Basso)]. Lust der Völker, Lust der Deinen … 2’42
Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
14. 1. Chorus. Tönet, ihr Pauken! Erschallet, Trompeten! … 7’57
15. 2. Recitativo (Tenore). Heut ist der Tag … 0’58
16. 3. Aria (Soprano). Blast die wohlgegriffnen Flöten … 3’16
17. 4. Recitativo (Soprano). Mein knallendes Metall … 0’55
18. 5. Aria (Alto). Fromme Musen! meine Glieder! … 3’40
19. 6. Recitativo (Alto). Unsre Königin im Lande … 0’58
20. 7. Aria (Basso). Kron und Preis gekrönter Damen … 4’21
21. 8. Recitativo (Basso). So dringe in das weite Erdenrund … 1’15
22. 9. Chorus. Blühet, ihr Linden in Sachsen, wie Zedern! … 1’58

Bach Collegium Japan, orchestra and chorus
Joanne Lunn, soprano
Robin Blaze, alto
Makoto Sakurada, tenor
Dominik Wörner, bass
Masaaki Suzuki, conductor


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