J.S. Bach: Cantatas for the complete liturgical year Vol 17 - Widerstehe doch der Sünde, BWV186, 168, 134, 54 Hybrid SACD
|Price:||£14.35 & FREE Delivery in the UK on orders over £20. Details|
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently Bought Together
Customers Who Viewed This Item Also Viewed
In the beginning there was great scepticism towards the thesis that Bach s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more. With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it with their excellent performances. This Vol. 17 of 18 offers four cantatas: one for the Seventh Sunday after Trinity, Ninth Sunday after Trinity, third day of Easter and Oculi.
Top Customer Reviews
"Your bill, Sir" - it hits you like a thunderbolt.
So begins the text of Bach's Cantata 168, "Tue Rechnung - Donnerwort". It sounds ludicrous to us, and more so as the details of moral capital and interest are described, but it spoke volumes to consciences of the merchants and bankers of Leipzig in the Thomankirche in July 1725. They took it seriously, and so did Bach, setting it to dramatic and powerful music, but music which only makes sense to us now if we are prepared to suspend our cynicism and attend to its text.
This is the point Sigiswald Kuijken has sought to make throughout this cantata series. Bach's church music is rhetorical, it expresses the text, and to perform it in a way that deflects attention from the text - as very often happens - is to betray it. Kuijken therefore avoids exaggerated speeds or aggressive phrasing, and always aims at clarity of expression.
We can hear this tendency clearly in Cantata 54 "Widerstehe doch der Sünde". It's the most familiar work here because it often figures in solo Bach albums by altos who perform its fine first aria lyrically, with rich full tone. Petra Noskaiova by contrast, though she sings musically, makes no attempt at a beautiful sound, indeed she resembles an angry schoolteacher; but that is entirely appropriate to the text: "Stand up against sin!".
This is the third volume of the series to appear since January, after a two-year pause.Read more ›