Bach Collegium Japan & Masaaki Suzuki - Secular Cantatas, Vol. 6: J.S. Bach: Trauerode, BWV 19 (2016) [Hi-Res]
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: Secular Cantatas, Vol. 6: J.S. Bach: Trauerode, BWV 19
Year Of Release: 2016
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-44.1kHz FLAC (tracks+booklet)
Total Time: 01:18:43
Total Size: 376 / 758 MB
WebSite: Album Preview
Tracklist:Title: Secular Cantatas, Vol. 6: J.S. Bach: Trauerode, BWV 19
Year Of Release: 2016
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-44.1kHz FLAC (tracks+booklet)
Total Time: 01:18:43
Total Size: 376 / 758 MB
WebSite: Album Preview
1. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 1, Laß, Fürstin, laß noch einen Strahl (5:42)
2. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 2, Dein Sachsen, dein bestürztes Meißen (1:32)
3. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 3, Verstummt, verstummt, ihr holden Saiten! (3:46)
4. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 4, Der Glocken bebendes Getön (0:50)
5. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 5, Wie starb die Heldin so vergnügt! (7:11)
6. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 6, Ihr Leben ließ die Kunst zu sterben (1:09)
7. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 1: No. 7, An dir, du Fürbild großer Frauen (1:56)
8. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 2: No. 8, Der Ewigkeit saphirnes Haus (3:41)
9. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 2: No. 9, Was Wunder ists? Du bist es wert (2:17)
10. Laß, Fürstin, laß noch einen Strahl, BWV 198, Pt. 2: No. 10, Doch, Königin! du stirbest nicht (5:33)
11. Schlage doch, gewünschte Stunde (7:09)
12. Tilge, Höchster, meine Sünden, BWV 1083: Tilge, Höchster, meine Sünden (4:25)
13. Tilge, Höchster, meine Sünden, BWV 1083: Ist mein Herz in Missetaten (2:08)
14. Tilge, Höchster, meine Sünden, BWV 1083: Missetaten, die mich drücken (2:31)
15. Tilge, Höchster, meine Sünden, BWV 1083: Dich erzürnt mein Tun und Laßen (2:02)
16. Tilge, Höchster, meine Sünden, BWV 1083: Wer wird seine Schuld verneinen (2:11)
17. Tilge, Höchster, meine Sünden, BWV 1083: Siehe! Ich bin in Sünd empfangen (0:45)
18. Tilge, Höchster, meine Sünden, BWV 1083: Sieh, du willst die Wahrheit haben (2:50)
19. Tilge, Höchster, meine Sünden, BWV 1083: Wasche mich doch rein von Sünden (2:00)
20. Tilge, Höchster, meine Sünden, BWV 1083: Laß mich Freud und Wonne spüren (2:19)
21. Tilge, Höchster, meine Sünden, BWV 1083: Schaue nicht auf meine Sünden (5:56)
22. Tilge, Höchster, meine Sünden, BWV 1083: Öffne Lippen, Mund und Seele (3:32)
23. Tilge, Höchster, meine Sünden, BWV 1083: Denn du willst kein Opfer haben (3:12)
24. Tilge, Höchster, meine Sünden, BWV 1083: Laß dein Zion blühend dauern (1:52)
25. Tilge, Höchster, meine Sünden, BWV 1083: Amen (2:26)
Although Bach's sacred cantatas span a huge expressive range and display a striking stylistic diversity, they were all composed for performance during a church service. In the case of the secular cantatas, on the other hand, their respective purpose is as varied as their subject matter and emotional content. They were usually commissions intended for occasions such as weddings, funerals and birthdays. As such they were sometimes performed in churches, and some of them have religious texts, but as the works gathered here exemplify, they were not related to the particular theme of the church service on a certain day. The cantata BWV 198, often called the Trauerode (funeral ode) was performed at an imposing ceremony in Leipzig's Paulinerkirche in 1727, held in order to mark the passing of Christiane Eberhardine, wife of Augustus the Strong, Elector of Saxony and King of Poland. The work adopts a suitably elevated style, but the text is resolutely secular, containing neither Bible quotations nor hymns. (A few years later, much of the music from the cantata did find its way into a thoroughly sacred context, however, as Bach reused it in his now lost St Mark Passion.) Compared to BWV 198, the circumstances surrounding Tilge, Höchster, meine Sünden, BWV 1083, are far more uncertain: why Bach at a late stage in his life (around 1746) decided to make an arrangement of Pergolesi's famous Stabat mater isn't known. In the case of the Pergolesi arrangement, the text is religious – a German paraphrase of the penitential Psalm 51 replaces the medieval sequence about Mary mourning Christ at the cross – but the work doesn't seem to have had any liturgical purpose. Bach's arrangement of this sequence of duets and arias for soprano and alto offers an intriguing opportunity to hear the ‘new music’ of the 1730’s, filtered through the sensibility of the great master of a style which was already becoming a thing of the past.
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