Sigiswald Kuijken - Widerstehe Doch Der: Cantatas 17 - BMV186 168 134 - SUPER-AUDIO CD [Super Audio CD (SACD)]
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Some musicologists have proposed that many of Bach's sacred vocal works were actually written for solo voices and not a choir. Accent's critically-acclaimed cantata series provides a strong justification for this theory. Each disc features one cantata for each Sunday and the great feasts of the ecclesiastical year. Here, Sigiswald Kuijken and La Petite Bande are joined by a quartet of superb soloists for volume seventeen, which features cantatas for the seventh and ninth Sundays after Trinity, the third day of Easter and the third Sunday in Lent, also know as Oculi.
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- GenreClassicalDescriptionSome musicologists have proposed that many of Bach's sacred vocal works were actually written for solo voices and not a choir. Accent's critically-acclaimed cantata series provides a strong justification for this theory. Each disc features one cantata for each Sunday and the great feasts of the ecclesiastical year. Here, Sigiswald Kuijken and La Petite Bande are joined by a quartet of superb soloists for volume seventeen, which features cantatas for the seventh and ninth Sundays after Trinity, the third day of Easter and the third Sunday in Lent, also know as Oculi.ArtistSigiswald KuijkenTitleWiderstehe Doch Der: Cantatas 17 - BMV186 168 134FormatSuper Audio CD (SACD)LabelAccent Records
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Bach Cantatas Bwv 67, 85, 12 / Kuijken, La Petite Bande, Bach, J.S. / La Petite Bande, Date 07/27/2010, Composer Johann Sebastian Bach, Performer Jan Van der Crabben, Conductor Sigiswald Kuijken, Orchestra/Ensemble La Petite Band, Number of Discs 1. Sigiswald Kuijken continues his series of cantatas for the liturgical year with music for the three Sundays after Easter. The most familiar, composed for Weimar, is BWV 12, with it's haunting sinfonia for oboe and strings, and the opening chorus, which formed the basis for the Crucifixus of the B-Minor Mass. Cantata 67 is typically atypical for Bach-seven movements, symmetrical laid out chorus, aria, recitative, chorale, recitative, aria, and chorale. The second aria is a dramatic scene in which the bass soloist represents the voice of Jesus and the chorus the voices of the faithful. Cantata 85 has no opening chorus; each of the four soloists has an aria before the work concludes with a simple chorale.
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Import Hybrid-SACD pressing. Bach Cantatas BWV 177, 93, & 135 (2006) Christoph Genz (tenor), Jan Van der Crabben (baritone), La Petite Bande, Petra Noskaiova (alto), Siri Karoline Thornhill (soprano). It's not that Bach wrote the same cantata several hundred times. Each and every cantata is scored for a unique ensemble, has a unique sequence of movements, sets a different text to a different chorale melody, and explores different musical and spiritual issues. It's that we, in our musical and spiritual puniness, can't begin to comprehend the height, the breadth, and the depth of Bach's achievement. Designed to be heard only once a week on Sunday, Bach's cantatas are still best appreciated one at a time. Take this disc by Sigiswald Kuijken leading La Petite Bande. One of their 20-disc survey of cantatas for the complete liturgical year, the disc contains three extraordinary works for the fourth, fifth, and sixth Sundays after Trinity Ich ruf zu dir, Herr Jesu Christ (I call to you, Lord Jesus Christ) in G minor; Wer nur den lieben Gott lässt walten (Who leaves the loving God to guide him) in C minor; and Ach Herr, mich armen Sünder (Oh, Lord, I am a poor Sinner) in D minor.
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