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Johann Sebastian Bach, Ton Koopman, Christoph Prégardien
Bach Complete Cantatas Vol. 11 / Amsterdam Baroque Orchestra · Koopman
Genre: Classical

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CD Details

All Artists: Johann Sebastian Bach, Ton Koopman, Christoph Prégardien, Klaus Mertens, Amsterdam Baroque Orchestra and Chorus, Annette Markert
Title: Bach Complete Cantatas Vol. 11 / Amsterdam Baroque Orchestra · Koopman
Members Wishing: 1
Total Copies: 0
Label: Elektra / Wea
Release Date: 4/17/2001
Genre: Classical
Styles: Opera & Classical Vocal, Historical Periods, Baroque (c.1600-1750)
Number of Discs: 3
SwapaCD Credits: 3
UPC: 685738021529

Synopsis

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These nine cantatas--performed here as part of Ton Koopman's complete series for Erato--were written in 1724-25, during Bach's second year in Leipzig, for specific feast days of the Church calendar. All are constructed on the same plan: an opening contrapuntal chorus supported by full orchestra; recitatives and often florid arias, many partnered by solo wind and string instruments; and a simple closing chorale. The texts, by unknown authors, are literary dross, which Bach miraculously turned into musical gold. However, even Bach, under constant pressure of time and work, could not always write music of unvaryingly high quality, and these cantatas seem to grow in substance, cohesion, depth, and expressiveness. The first three (CD 1) are somewhat elusive and unsettled--dark, fearful, and death-oriented--but they always end in a serene, resigned chorale. The mood changes on CD 2 in a cantata for the New Year, which is serene, full of thanks, hope, and prayers, and opens and closes with brilliant trumpets and drums. The next, for the Feast of St. John the Baptist, extols the mystery of baptism; it is followed by a hymn of praise, gratitude, and love. From here on, the music bears the stamp of Bach at his greatest and most glorious. Of the last three cantatas, one is in Bach's special key of B minor. All offer warm reassurances of God's grace and mercy and overflow with wonderful instrumental solos, grand orchestral writing, complex dramatic choruses, and meltingly beautiful arias. The singing and playing are exemplary: pure in sound, transparent in texture, and deeply expressive, with moderate, expansive, yet flowing tempos. --Edith Eisler

CD Reviews

Koopman Continues Excellence

Daniel Long | San Antonio, TX United States | 05/12/2001

(5 out of 5 stars)

"Volume 11 of the Koopman Bach Cantata Series confirms what many of us in early music already believe; this CD series will become a standard of excellence in early music discography. I hope when all 20 volumes are finished and pressed, we will be wise enough to break the proverbial mold for recording Bach cantatas. Inconsistency can be the bane of any long reaching project, yet Volume 11 never disappointed me. In fact, if possible, it may be better than a good number of previous volumes. Koopman continues to fuse historically accurate and informed performances with virtuosity, spiritual and symbolic appropriateness to each individual movement, and personal expression in this CD project. Even though these are choral music CDs, the Amsterdam Baroque Orchestra may actually be its strength. Solo violin Margaret Faultless lived up to her last name in BWV 7 and 139. The venerable Wilbert Hazelzet played youthful virtuoso flute parts in BWV 94. Steven Keavy played the trumpet parts in BWV 5 and 41 with "laser-lock" accuracy. The continuo playing kept my interest throughout the vocal solos. The vocal soloists sound "upgraded" from some of the previous volume. Christoph Pregardien may be the best early music tenor today, as displayed in BWV 139. Excellent readings by Sibylla Rubens, soprano, and Klaus Mertens, bass, reminded me of Emma Kirby and Max van Egmond, respectively. I enjoyed the depth and expression of alto Annette Markert, but would prefer Koopman to use a countertenor for the alto solos. The choir sang with precision. The blend in the sopranos is better in this volume than previous ones. The basses displayed good presence and the use of mixed gender in the altos bonded with the sound of the tenors. As always in this series, program notes by Christoph Wolff, the world's leading Bach scholar, were comprehensive and interesting reading. One complaint: this is the third volume out of the eleven where the hinge on the CD jewel box has broken with ordinary use. You would think Erato would spend a nickel more on having a higher quality jewel box for a fifty dollar product."