Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Famous Cantatas BWV 140, 56, 51, 147, 4, 202

Год издания : 1997

Компания звукозаписи : Deutsche Grammophon

Время звучания : 2:31:09

К-во CD : 2

Код CD : 453 094-2

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

1959 (BWV 51,202), 1964 (BWV 247), 1969 (BWV 4), 1970 (BWV 56), 1979 (BWV 140)

About BWV 140 on 'bach-cantatas.com'

About BWV 56 on 'bach-cantatas.com'

About BWV 51 on 'bach-cantatas.com'

About BWV 147 on 'bach-cantatas.com'

About BWV 4 on 'bach-cantatas.com'

About BWV 202 on 'bach-cantatas.com'

Munchener Bach-Chor & Orchester - Karl Richter

Ansbach Bach Festival Soloist (BWV 147)

========= from the cover ==========

Karl Richter's Bach

In the 1950s, when Karl Richter made his earliest recordings of sacred vocal music by Bach, his disciplined and vital approach was hailed as revelatory. But Richter's long association with the Munich Bach Choir and Orchestra, of which he was the founder, should not lead us to overlook a significant aspect of his musical background, that is to say his training as a Kapellmeister during the 1940s. Richter was a pupil of three great Cantors, Karl Straube and Gunther Ramin at Leipzig and Rudolf Mauersberger at Dresden; in 1947 at the age of 21 he was appointed organist of the church of which Bach himself had served as Cantor for over a quarter of a century, the Leipzig Thomaskirche. With a background such as this, it is not surprising that Richter's knowledge of Lutheran theology and ritual was both profound and deeply felt. Richter's recordings of Bach's Passions, oratorios and cantatas spanned a period of almost 30 years. At first he played continuo under Ramin, then he directed his own performances before becoming, in 1958, a major artist for the Archiv label. In the summer of that year Richter made the first of two recordings of Bach's St. Matthew Passion for Archiv and, in the following year, two outstanding discs of cantatas by Bach. Had he recorded nothing subsequently, these performances would have established Richter's reputation as an important interpreter of Bach's vocal music.

During the 1960s Richter made several more , Bach cantata recordings as well as a Christmas Oratorio, a Mass in B minor and a St. John Passion. But it was in the early 1970s that Archiv provided him with all opportunity of recording a cantata for every Sunday and Feast Day of the Lutheran church year. The project, embracing 64 cantatas, most of them newly recorded for the Archiv cycle, was one which gave Richter particular pride and deep satisfaction; and it is here, above all, at the very heart of Bach's creative world, that we can admire Richter's skill in blending component parts to form a unifying whole. The most important of these were his meticulously trained choir of women's and men's voices, his handpicked group of instrumental obbligato players (among whom we might mention the flautist Aurele Nicolet, the oboists Edgar Shann and Manfred Clement, and the violinist Otto Buchner), and an outstanding line-up of soloists to whom he expressed the strongest artistic commitment and for whom he demonstrated undying loyalty.

Among the first generation of singers were the sopranos Ursula Buckel and Maria Stader, the contralto Hertha Topper, the tenor Ernst Haefliger and the bass Kieth Engen. These, in turn, were followed by a younger generation which included the soprano Edith Mathis, the contraltos Anna Reynolds, Julia Hamari and Trudeliese Schmidt, the tenor Peter Schreier and the bass-baritone Dietrich Fischer-Dieskau. With names like these, and others, too, Richter's Bach cantata cycle has become additionally a precious document of singing, spanning a period of some 20 years.

Karl Richter's firm grounding in Lutheran theology, his intuitive feeling for the nobility of Bach's music and his pronounced gift for eloquent phrasing all contribute to a performing style which possesses not only a warmth of sentiment and a distinctive expressive fervour but also a supple inner strength, strikingly evident in the chorale-based choruses which, in so many instances, provide the focal point of Bach's

-Nicholas Anderson

  Соисполнители :

Dietrich Fischer-Dieskau (Bass Voice)
Edith Mathis (Soprano Voice)
Hertha Topper (Contralto Voice)
John Van Kesteren (Tenor Voice)
Kieth Engen (Bass Voice)
Maria Stader (Soprano Voice)
Peter Schreier (Tenor Voice)
Ursula Buckel (Soprano Voice)

№ п/п

Наименование трека



   1 01 I Chor: 'Wachet Auf, Ruft Uns Die Stimme'         0:09:39 Wachet Auf, Ruft Uns Die Stimme Cantata, BWV 140
   1 02 II Rezitativ: 'Er Kommt, Er Kommt, Der Brautigam Kommt!'         0:01:20 -"-
   1 03 III Arie (Duett): 'Wann Kommst Du, Mein Heil?'         0:06:55 -"-
   1 04 IV Choral: 'Zion Hort Die Wachter Singen'         0:05:58 -"-
   1 05 V Rezitativ: 'So Geh' Herein Zu Mir'         0:01:59 -"-
   1 06 VI Arie: 'Mein Freund Ist Mein!'         0:06:23 -"-
   1 07 VII Choral: 'Gloria Sei Dir Gesungen'         0:01:57 -"-
   1 08 I Aria: 'Ich Will Den Kreuzstab Gerne Tragen'         0:08:42 Ich Will Den Kreuzstab Gerne Tragen Cantata, BWV 56
   1 09 II Recitativo: 'Mein Wandel Auf Der Welt'         0:02:12 -"-
   1 10 II Aria: 'Endlich, Endlich Wird Mein Joch'         0:06:42 -"-
   1 11 IV Recitativo: 'Ich Stehe Fertig Und Bereit'         0:02:01 -"-
   1 12 V Choral: 'Komm, o Tod, Du Schlafes Bruder'         0:02:22 -"-
   1 13 I Aria: 'Jauchzet Gott In Allen Landen'         0:04:41 Jauchzet Gott In Allen Landen Cantata, BWV 51
   1 14 II Recitativo: 'Wir Beten Zu Dem Tempel An'         0:02:25 -"-
   1 15 III Aria: 'Hochster, Hochster Mache Deine Gute Ferner Alle Morgen Neu'         0:04:27 -"-
   1 16 IV Chorale: 'Sei Lob Und Preis Mit Ehren'         0:03:50 -"-
   1 17 V Aria: 'Alleluja'         0:02:24 -"-
   2 01 I. Coro: 'Herz Und Mund Und Tat Und Leben'         0:04:08 Herz Und Mund Und Tat Und Leben, Cantata BWV 147
   2 02 II. Recitativo (Tenor): 'Gebenedeiter Mund!'         0:02:07 -"-
   2 03 III. Aria (Contralto): 'Schame Dich, o Seele Nicht'         0:04:08 -"-
   2 04 IV. Recitativo (Basse): 'Verstockung Kann Gewaltige Verblenden'         0:02:15 -"-
   2 05 V. Aria (Soprano): 'Bereite Dir, Jesu'         0:04:28 -"-
   2 06 VI. Chorus: 'Wohl Mir, Dass Ich Jesum Habe'         0:03:33 -"-
   2 07 VII. Aria (Tenor): 'Hilf, Jesu, Hilf'         0:03:36 -"-
   2 08 VIII. Aria (Contralto): 'Der Hochsten Allmacht Wunderhand'         0:02:47 -"-
   2 09 IX. Aria (Basse): 'Ich Will Von Jesu Wundern Singen'         0:02:36 -"-
   2 10 X. Chorus: 'Jesus Bleibet Meine Freude'         0:03:40 -"-
   2 11 I. Sinfonia         0:01:38 Cantata "Christ Lag In Todesbanden", BWV 4
   2 12 II. Verset 1 (Chorus): 'Christ Lag In Todesbanden'         0:04:23 -"-
   2 13 III. Verset 2 (Chorus - Soprano, Contralto): 'Den Tod Niemand Zwingen Kunnt'         0:04:00 -"-
   2 14 IV. Verset 3 (Chorus - Tenor) : 'Jesus Christus, Gottes Sohn'         0:01:56 -"-
   2 15 V. Verset 4 (Chorus): 'Es War Ein Wunderlicher Krieg'         0:02:13 -"-
   2 16 VI. Verset 5 (Basse): 'Hier Ist Das Rechte Osterlamm'         0:04:36 -"-
   2 17 VII. Verset 6 (Chorus - Soprano, Tenor): 'So Feiern Wir Das Hohe Fest'         0:02:02 -"-
   2 18 VIII. Verset 7 (Chorus): 'Wir Essen Und Wir Leben Wohl'         0:01:24 -"-
   2 19 I. Aria: 'Weichet Nur, Betrubte Schatten'         0:06:54 Cantata "Weichet Nur, Betrubte Schatten" (Wedding Cantata), BWV 202
   2 20 II. Recitativo: 'Die Welt Wird Wieder Neu'         0:00:29 -"-
   2 21 III. Aria: 'Phobus Eilt Mit Schnellen Pferden'         0:03:20 -"-
   2 22 IV. Recitativo: 'D'rum Sucht Auch Amor Sein Vergnugen'         0:00:46 -"-
   2 23 V. Aria: 'Wenn Die Fruhlingslufte Streichen'         0:02:46 -"-
   2 24 VI. Recitativo: 'Und Dieses Ist Das Glucke'         0:00:45 -"-
   2 25 VII. Aria: 'Sich Uben Im Lieben'         0:04:27 -"-
   2 26 VIII. Recitativo: 'So Sei Das Band Der Keuschen Liebe'         0:00:29 -"-
   2 27 IX. Aria (Gavotte): 'Sehet In Zufriedenheit '         0:01:46 -"-


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