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Bach: Cantatas, Vol 8 /Gardiner [Double CD, Live]

John Eliot Gardiner Audio CD
4.6 out of 5 stars  See all reviews (5 customer reviews)
Price: 27.29 & FREE Delivery in the UK. Details
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The outstanding English conductor, John Eliot Gardiner, first took up the baton at the age of fifteen. As an undergraduate student at Cambridge University, he toured the Middle East conducting the Oxford and Cambridge Singers before founding the Monteverdi Choir in 1964. After graduating, he studied with Thurston Dart in London and with Nadia Boulanger in Paris.

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Bach: Cantatas, Vol 8 /Gardiner + Bach Cantatas Vol.9 + Bach J.S: Cantatas Vol 7
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Product details

  • Audio CD (22 Dec 2004)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Double CD, Live
  • Label: SDG
  • ASIN: B0006OR17U
  • Other Editions: MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 24,637 in Music (See Top 100 in Music)

Disc: 1
1. Warum betrubst du dich, mein Herz?
2. Ich Bin Veracht
3. Er kann und will dich lassen nicht
4. Ach, susser Trost!
5. Auf Gott Steht Meine Zuversicht
6. Ei nun!
7. Weil Du Mein Gott Und Vater Bist
8. Was Gott Tut, Das Ist Wohlgetan
9. Sein Wort der Wahrheit stehet fest
10. Erschuttre dich nur nicht, verzagte Seele
See all 24 tracks on this disc
Disc: 2
1. Komm, du susse Todesstunde
2. Welt, deine Lust ist Last
3. Mein Verlangen
4. Der Schluss Ist Schon Gemacht
5. Wenn es meines Gottes Wille
6. Der Leib zwar in der Erden
7. Wer weiss, wie nahe mir mein Ende?
8. Mein Leben Hat Kein Ander Ziel
9. Willkommen! Will Ich Sagen
10. Ach, Wer Doch Schon Im Himmel War!
See all 25 tracks on this disc

Customer Reviews

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4.6 out of 5 stars
4.6 out of 5 stars
Most Helpful Customer Reviews
9 of 9 people found the following review helpful
5.0 out of 5 stars BACK TO THE BEST 29 Dec 2008
Format:Audio CD
This issue looks likely to be one of the very best in this great series. For newcomers, Gardiner and his colleagues devoted the year 2000, which was the 250th anniversary of Bach's death, to a `pilgrimage', mainly in Europe but finishing in New York, in which they performed all the master's surviving cantatas on the liturgical dates for which he had composed them. For newcomers again, this set would be as good a place to start becoming familiar with the series as I have so far encountered in the 13 issues I have collected. All the works here find Bach at his most approachable, and one in particular, Jauchzet Gott BWV 51, is rather a famous one, and it's not hard to appreciate why. For some reason the last addition to my collection, numbered 3 in their inscrutable numbering system, was not the best. However 13 has turned out to be quite the opposite of an unlucky number for me.

In other respects the processes by which numbers have been allocated defeat my understanding. In the first place the BWV numeration of the cantatas is unrelated to their sequence of composition. BWV 99 dates from 11 years earlier than BWV 100, which is to the same basic text, to take an obvious case. The series number allocated by the editors to each set is completely at variance with the date of each performance and also, so far as I can see, with the order in which the sets have been released to the public. As a bonus here, Gardiner in his introductory essay seems to speak of BWV 99 and 100 as being the first and third of Bach's settings of the text in question, whereas when we come to the actual texts we find them referred to as `II' and `III'. Which is the one that is actually missing, and where has it got to anyway?
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12 of 13 people found the following review helpful
5.0 out of 5 stars Magnificent 3 May 2005
By A Customer
Format:Audio CD
I don't know how to praise this CD well enough! I've been a fan of Gardiner's recordings since buying his seminal version of The St. Matthew's - and he continues to bring his crisp dramatic style [which I adore] to another set of amazing Bach cantatas. I'm not sure whether to praise the music of Bach or the interpretation of Gardiner most, as both must contribute hugely to the amazing quality on display here!
What fantastic music, especially note the wonderful harmonies on display in the opening chorus of 'Wer weib, wie nahe mein Ende' along with Mark Padmore's amazingly powerful and heartbreaking solo, and can someone please tell me how the alto's pitch their note on the voice by voice entry in the opening chorus of 'Christus, der ist mein Leben' In addition the off beat oboe d'amour that comes in so shockingly, and beautifully, in the 3rd movement of the same cantata, paralyzed me with joy!!
Buy this, and bask in the glow of two geniuses. You'll catch something new every time!
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2 of 2 people found the following review helpful
5.0 out of 5 stars A musical feast 11 April 2008
By Jon Chambers VINE VOICE
Format:Audio CD|Verified Purchase
There are two excellent reasons to buy this CD - BWV99 and BWV8. If this doesn't sound very convincing, it may help to mention that the wonderfully melodious and up-beat opening to Walton's suite The Wise Virgins is based on the opening Choral of BWV99 (for 'based on', read lifted from). What's more, JSB himself was so taken by this one that he used it to open BWV100 (same text, trumpets and drums added, and included on CD1). No 99 in particular is full of delights, not just the first movement. Like the slinky chromaticism of the flute in the third number and the fifth number, for bass.

With its lyrical charm, the opening to BWV8 is of transcendent beauty. For me, it provides perhaps the most gorgeous Bach cantata moments of all (all of those I've heard, anyway) surpassing even BWV82. It shows Bach as a superb melodist, not just an exemplary formalist and technician. Ideas - of consistently high quality - come thick and fast, as in the Brandenburg Concertos or the Magnificat, for instance. The only false notes seem to appear in the third number of BWV27 which, with musical quotations from Vivaldi's Four Seasons and Bach's own BWV147 cantata, sounds something like Baroque pastiche.

This Pilgrimage recording of BWV8 is strikingly different from, say, Rifkin's version (L'Oiseau-Lyre). Whereas Rifkin uses a solo quartet of voices for the opening movement, Gardiner opts for a choral approach. Both are deeply satisfying. Another reviewer has mentioned the 'wet' sound quality of the recording, and wonders if another microphone, positioned closer, might have improved resolution. It is in BWV8 that this criticism seems most valid - the bass does seem rather distant and lacking definition. Overall, however, sound quality is fine, to my ears, at least.
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14 of 18 people found the following review helpful
3.0 out of 5 stars What happened? 16 Mar 2005
Format:Audio CD
I gave the first volume of Bach cantatas five stars. I did not hesitate to buy this second set. I must say that I am quite dissapointed. Starting with the orchestra, many of the fine qualities of volume one seems to have dissapeared. Such as the wonderful continuo playing, the perfect intonation and great precision. These recordings feels a lot more unsecure. The more established singers like Mark Padmore does a tremendous job as usual but there is a different story with the newcomers. For example the soprano Malin Hurtelius seems quite nervous and her intonation is way out in a duet on the first cd. The alto Robin Tyson is also terribly insecure in both the duet and a solo aria. This is sad to hear on such a fine an after all very ambitious production by the english Bach veterans. The two other singers Jame Gilchrist and Thomas Gunthrie are though very fine singers performing very well here. The acoustics in the Santiago recording is really to "wet". Closer microphones could probably have solved this. Let's hope that the first release was not a lucky strike and that we can expect more from future releases. Gardiner and Co. can do a lot better than this.
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