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  • Bach Cantatas Volume 51 (Bwv 195/ 192/ 157/ 120A) (Bach Collegium Japan/ Masaaki Suzuki) (BIS: BIS1961)
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Bach Cantatas Volume 51 (Bwv 195/ 192/ 157/ 120A) (Bach Collegium Japan/ Masaaki Suzuki) (BIS: BIS1961) SACD

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Frequently Bought Together

Bach Cantatas Volume 51 (Bwv 195/ 192/ 157/ 120A) (Bach Collegium Japan/ Masaaki Suzuki) (BIS: BIS1961) + Bach: Cantatas Volume 52 (Masaaki Suzuki, Hana Blaiková, Robin Blaze, Gerd Türk, Bach Collegium Japan) (BIS: BIS1981) + Bach: Cantatas Volume 53 [BWV97/ 177/ 9] [Masaaki Suzuki] [BIS: BIS1991]
Price For All Three: £46.56

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Product details

  • Audio CD (1 Oct. 2012)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: SACD
  • Label: Bis
  • ASIN: B008HXXK5Y
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 167,336 in Music (See Top 100 in Music)

1. Dem Gerechten muss das Licht immer wieder aufgehen, BWV195
2. Nun danket alle Gott, BWV192
3. Ich lasse dich nicht, du segnest mich denn, BWV157
4. Herr Gott, Beherrscher aller Dinge, BWV120a

Product Description

Product Description

Bach Collegium Japan and Masaaki Suzuki return to their cantatas cycle with four cantatas composed for specific events. These sacred occasional pieces are independent works and did not form part of his cantata cycles for the Sundays and feast days of the church year. Two of cantatas (BWV 195 and BWV 120a) were intended for wedding ceremonies, and one for a funeral (Ich lasse dich nicht BWV 157), but the setting for the fourth piece, Nun danket alle Gott, BWV 192, is unknown. The cycle of cantatas initiated by Masaaki Suzuki and Bach Collegium Japan in 1995 is nearing completion, with four volumes to come. Volume 50 was acclaimed by reviewers who praised the continued high quality of interpretation and performance.

BBC Review

Bach Collegium Japan's deservedly acclaimed project to record all of Bach's cantatas has reached volume 51, which turns out to be an especially vibrant and generously filled collection of sacred occasional works.

These sit outside the bulk of Bach's sacred cantatas, not part of the cycles for Sundays and feast days of the church year. But, though little is known about the circumstances of their original performances other than that they were privately commissioned by wealthy patrons, conductor Masaaki Suzuki and his well-honed forces lavish at least as much loving attention on them as usual.

Fluently stylish and idiomatic, the performers live and breathe Bach's music with as much immediacy as if it had been composed yesterday.

The first cantata on the album, BWV 195, is a joyous trumpet-and-drums affair, written in the last years of Bach's life for what must have been particularly sumptuous wedding celebrations. The orchestra is one of Bach's biggest, including pairs of flutes and oboes as well as three trombones.

Suzuki and company revel in the grand forces – the opening and closing movements brim with festive ebullience – while retaining their customary crispness and buoyancy and clean, unfussy choral singing.

BWV 195 is also notable for a bass aria that is remarkably forward-looking in style. With rich, oboe d'amore-infused scoring and jovial scotch-snap rhythms, the late-1740s musical language sounds uncannily like that of Bach's sons. Listen out, too, for the wonderful effect of cascading flutes in a soprano recitative.

At the other end of the scale, the gently meditative funeral cantata BWV 157 is scored for modest chamber forces with one-to-a-part quartet of singers – a subtle and delicate combination realised by the Japan players with radiant beauty.

There are no standout stars among the vocal soloists – soprano Hana Blazikova, counter-tenor Damien Guillon, tenor Christoph Genz and veteran bass Peter Kooij – but neither are there any weak links. Each delivers solid performances, taking solos with aplomb and working well as a team.

The accounts of the two other cantatas here, BWV 192 and 120a, are equally delightful, making this latest volume one of the very best and most joyful in the series so far.

--Graham Rogers

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Most Helpful Customer Reviews

5 of 6 people found the following review helpful By Stephen Midgley TOP 500 REVIEWER on 24 Nov. 2012
Format: Audio CD
..... or still seeking the perfect 200? I don't know about you, but I've had a hell of a job over the years trying to collect a satisfactory complete set of Bach's cantatas. Harnoncourt/Leonhardt, Suzuki, Gardiner and Koopman all have their considerable merits, with only the pedestrian Rilling being completely out of contention as far as I'm concerned - although I see some reviewers are happy enough with it. But the trouble is that, every time you decide to take the plunge and start collecting one particular series, two things happen - first, you discover your new best friend is not perfect after all, and second, someone else comes along with another version, just as good or even better, of some of these endlessly fascinating works. Or perhaps it's simply a case of the grass being greener.

Having said that, I've been finding Masaaki Suzuki's Bach Collegium Japan series consistently more satisfying than most, and this volume 51 is a very good example for two reasons. Firstly, it contains some very fine works which will be among the least familiar to many cantata enthusiasts, including me - a point I'll come back to in a moment; and secondly, Suzuki's performers seem to get better and better, and for this CD they are outstanding. The four works here were all commissioned or occasional pieces, composed for special events such as weddings. That's the case, for example, with the richly scored BWV 195, "Dem Gerechten muss das Licht immer wieder aufgehen". Its treasures include an uplifting opening chorus with some lovely instrumental interventions; a fine bass aria, again with nicely pointed playing; and another fine accompanied chorus in "Wir kommen, deine Heiligkeit".
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