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  • Bach: Ascension Oratorio BWV 11; Cantatas 43, 44 /Hereweghe
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Bach: Ascension Oratorio BWV 11; Cantatas 43, 44 /Hereweghe Import

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1. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, I Teil: 1. [Chor]: Gott Fahret Auf Mit Jauchzen - Coll Vocale/Philippe Herreweghe
2. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, I Teil: 2. Recitativo: Es Will Der Hochste - Christoph Pregardien
3. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, I Teil: 3. Aria: Ja Tausendmal Tausend Begleiten Den... - Christoph Pregardien
4. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, I Teil: 4. Recitativo: Und Der Herr - Barbara Schlick
5. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, I Teil: 5. Aria: Mein Jesus Hat Nunmehr - Barbara Schlick
6. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 6. Recitativo: Es Kommt Der Helden Held - Peter Kooy
7. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 7. Aria: Er Ists, Der Ganz Allein - Peter Kooy
8. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 8. Recitativo: Der Vater Hat Ihm Ja Ein... - Catherine Patriasz
9. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 9. Aria: Ich Sehe Schon Im Geist - Catherine Patriasz
10. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 10. Recitativo: Er Will Mir Neben Sich Die... - Barbara Schlick
11. Cant 'Gott Fahret Auf Mit Jauchzen', BWV 43, II Teil: 11. Chor: Du Lebensfurst, Herr Jesu Christ - Coll Vocale/Philippe Herreweghe
12. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 1.2. [Duetto]: Sie Werden Euch In Der Bann Tun - Christoph Pregardien/Peter Kooy/Coll Vocale/Philippe Herreweghe
13. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 3. Aria: Christen Mussen Auf Der Erden - Catherine Patriasz
14. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 4. Chor: Ach Gott, Wie Manches Herzeleid - Christoph Pregardien
15. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 5. Recitativo: Er Sucht Der Antichrist - Peter Kooy
16. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 6. Aria: Es Ist Und Bleibt Der Christen Trost - Barbara Schlick
17. Cant 'Sie Werden Euch In Den Bann Tun' BWV 44: 7. Chor: So Sei Nun, Seele, Deine - Coll Vocale/Philippe Herreweghe
18. Ascension Oratorio, BWV 11: 1. Chor: Lobet Gott In Seinen Reichen - Coll Vocale/Philippe Herreweghe
19. Ascension Oratorio, BWV 11: 2. Evangelista: Der Herr Jesu Hub Seine Hande Auf - Christoph Pregardien
20. Ascension Oratorio, BWV 11: 3. Recitativo: Ach Jesu, Ist Dein Abschied Schon So Nah? - Peter Kooy
See all 28 tracks on this disc

Product Description

Lobet Gott in seinen Reichen, BWV 11, often gets called a cantata (like most Bach church cantatas, it is less than half an hour long), yet its nickname--the "Ascension Oratorio"--fits much better: just like Bach's Passion oratorios, the St. Matthew and St. John, Lobet Gott narrates a Gospel story using a tenor Evangelist and a bass Jesus. Just like Part 6 of the Christmas Oratorio, BWV 11 has an ebullient opening chorus and a closing chorale fantasy using full orchestra with trumpets and timpani; one of its arias was to become the Agnus Dei of the Mass in B minor. With the "Ascension Oratorio" so short, there is room on the CD for two Ascensiontide cantatas: the merry, even rollicking Gott fähret auch mit Jauchzen, BWV 43, and the more sober Sie werden euch in den Bann BWV 44. Soprano Barbara Schlick and alto Catherine Patriasz have a cool, monochromatic tone and a technique better suited to Schumann than to Bach, but they sing with both taste and emotion. Tenor Christoph Prégardien and bass Peter Kooy are as reliable Bach singers as you'll find and among the high points of the disc are their two duets, one in the oratorio and the other at the opening of BWV 44. As you would expect from Philippe Herreweghe, the lyrical and devotional qualities of the music are beautifully captured. More surprisingly, he and his musicians bring real excitement to the "Ascension Oratorio", and, in BWV 43, he and his colleagues appear to be having a lot of fun. --Matthew Westphal

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Most Helpful Customer Reviews on (beta) 2 reviews
5 of 5 people found the following review helpful
excellent! 23 May 2000
By D. Held - Published on
Another fine addition to Herreweghe's series of cantatas with excellent singing and crisp fine instrumental playing throughout. Mr. Herreweghe uses female singers for the soprano and alto parts, instead of the boy soloists that were used in Bach's time. Unlike some authentic performance artists, they sound distinctively feminine and full-bodied, not imitational of the "boy" sound. Of particular note is the fine trumpet playing in the chorus of both Cantata 43 and 11. Peter Kooy is my favorite Bass for Bach Cantatas and displays his art masterfully in the bass aria "Er ists, der ganz allein" along with the above mentioned trumpet.
6 of 7 people found the following review helpful
A satisfying performance 3 July 2000
By "hcf" - Published on
This CD is devoted to the feast of the Ascension. Of the three works on this CD, one is an oratorio (BWV 11) and two are cantatas, but the oratorio is so short that it could have been called a cantata, and one of the cantatas (BWV 43) is so long that it could have been called an oratorio. Ultimately, however, terminology doesn't matter. Bach's sacred music is not an art for its own sake: the main determinant here is the spiritual function of the music. If Bach's approach to music wasn't functional, it would have been unthinkable for him to reuse previously written material in new works, but, as we know, Bach did so frequently. On this CD, an example of such self-borrowing is an alto aria "Ach bleibe doch" from the Ascension Oratorio (Catherine Patriasz sings it quite well). Bach reused this aria as an instrumental accompaniment to "Agnus Dei" in B-Minor Mass. The Ascension Oratorio is structured as a "historia," i.e., a narrative of an event. Christoph Pregardien is a marvelous evangelist. You should also hear him doing the evangelist on the recording of St. Matthew's Passion/Max. BWV 43 also has an interesting structure. It is based on a lengthy six-stanza poem from the scripture. Bach adds variety to the lengthy piece by alternating short arias and recitatives, binding them together by the symmetrical use of solo voices throughout the cantata. The third cantata, BWV 44, is remarkable for its opening section, which combines an AT canon with a homophonic choral line. The soloists here are very good. Christoph Pregardien and Peter Kooy are as good as they get, but the female singers, especially, Barbara Schlick, are also very competent.
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