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Bach J.S: Cantatas Vol 26
 
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Bach J.S: Cantatas Vol 26

~ Panajotis Iconomou (Bass), Johann Sebastian Bach (Composer), John Eliot Gardiner (Conductor), English Baroque Soloists (Orchestra), Lisa Larsson (Soprano), et al.
5.0 out of 5 stars  See all reviews (1 customer review)
Price: £17.59 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

  • Orchestra: English Baroque Soloists
  • Conductor: John Eliot Gardiner
  • Composer: Johann Sebastian Bach
  • Audio CD (2 May 2006)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: SDG
  • ASIN: B000F9SZR6
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 46,008 in Music (See Bestsellers in Music)

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Disc: 1
1. (Coro)Erschallet,ihr Lieder, erklinget,ihr Salten!
2. (Recitatio: Bass)Wer micha liebet, der wird mein Wort halten
3. (Aria: Bass) Heiligste Dreiengkeit
4. (Aria: Tenor) O Seelenparadies
5. (Aria- Deuetto- con Choral Soprano & Alto) Komm, lass
6. (Choral) Von gott kommt mir ein Freudenschein
7. (Coro)Erschallet, ihr Lieder, erkinget, ihr Saiten!
8. (Deuetto- Soprano & Bass) Wer mich leibet, der wird mein Wort halten BWV59
9. (Recitativo- Soprano) O, was sind das fur Ehren
10. Choral) Komm, Heileger Geist, Here Gott
See all 25 tracks on this disc
Disc: 2
1. (Recitativo: Tenor) Erhohtes Fleisch und Blut BWV173
2. (Aria: Tenor) Ein geheiligtes Gemute
3. (Aria: Alto) Gott will, o ihr Menschenkinder
4. (Aria- Duetto- Soprano, Bass) So hat Gott die Welt geilebt
5. (Recitativo- Duetto- Soprano, Tenor) Unendlichster,den man doch Vater nennt
6. (Coro) Ruhre, Hochster, unsern Geist
7. (Coro) Also hat Gott die Welt geliebt BWV 68
8. (Aria: Soprano) Mein glaubiges Herze
9. (Recitativo: Bass) Ich bn mit Petro nicht vermessen
10. (Aria: Bass) Du bist geboren mir zugute
See all 16 tracks on this disc

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7 of 7 people found the following review helpful:
5.0 out of 5 stars LONG MELFORD, SHORT CANTATAS, 7 Sep 2007
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
This set comprises four cantatas for Pentecost Sunday on the first disc and three more for the Monday on the second. Generous measure indeed, but in fact the first disc lasts just under 70 minutes, and the second clocks out after not much more than three quarters of an hour. If that suggests in any way that these might be `minor' cantatas, then to quote an advertisement lately popular `it doesn't work like that'. The unswerving and optimistic faith that inspires Bach's cantatas is the same faith be they long or short, and the inspiration is the same inspiration. There are even a couple of well-known numbers here, one being the soprano aria `Mein glaeubiges Herze' in cantata 68, sometimes known in English as `My ever-faithful heart'; and the other is the first movement of the third Brandenburg concerto slightly modified as the opening sinfonia to cantata 174.

This leg of the pilgrimage through the Bach cantatas has taken Gardiner and his colleagues to the beautiful perpendicular church of the Holy Trinity at Long Melford in Suffolk, and two photographs are provided. No difference in the acoustics of the various locations seems to give the technicians of this series any problems, and the sound is admirably sympathetic and appropriate again. No hint of fatigue or routine affects the performers either, and the stylistic sense as well as the technical accomplishment is as admirable as ever. The alto is female this time, Nathalie Stutzmann, and that is how I prefer altos in general, but if there is a particular star among the four vocal soloists it is perhaps the tenor Christoph Genz who also contributes the short essay at the back of the set. Some of his music, such as the aria O Seelenparadies that he himself highlights in cantata 172, is exceptionally vivid, and he has the voice for that. Much of the instrumental work is exuberant in tone, as befits this stage of the liturgical year, and the playing is distinguished by both tact and gusto.

The production is to the standard format of this series, presented as a sort of book - an attractive format but one that calls for care in removing the discs. There is Gardiner's standard introduction as always, and another of the long and illuminating essays that he wrote for himself by way of a journal of the project's progress. One very odd sign of what may have been strain has crept in this time however. He protests in understandable exasperation at commentaries which make a foolish fuss over Bach's self-borrowings, but adds the quite gratuitous statement `You'd have thought that Handel, with his habit of plagiarising other men's themes as starter fuel when the muse refused to co-operate, would have presented a juicier target.' We are not supporting rival football teams in the first place. In the second place, it can hardly be news to this erudite musician that for half a century and more there was an entire industry dedicated to identifying Handel's borrowings, real or supposed, toiled at by writers who had little or no opportunity to hear either the Handel works in question or the alleged sources of this or that `theme'. Gardiner must know better than I do that there has been competent and methodical modern scholarship that makes sense of this issue, and that the matter is not properly expressed in these terms, which would have been unperceptive in 1900 let alone 2000.

That, plus the error in describing the duet Nichts kann mich erretten in cantata 74 as an alto aria, are the only two trifling faults that I find with this set. The whole series is a great and awe-inspiring labour of love, undertaken in support of a greater. These artists' pilgrimage is one in whose steps I feel honoured to follow.
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