in Early Music Today (Dec, 2011)
Only nine cantatas survive from the annual cycle Bach supposedly composed on texts published by Picander during 1728-29. Three of the four here are typical in their liberal use of parody: the Sinfonias that open BWV 188 and BWV 156 rework movements from lost concertos, while the ‘New Year’ cantata BWV 171 includes a jubilant soprano/violin dialogue (performed with cavorting elation by Rachell Nicholls and Natsumi Wakamatsu) that derives from the secular cantata Aeolus Appeased, BWV 205. The remaining work, BWV 159, a meditation on suffering and salvation, recalls the past in very different fashion: its bass aria, tenderly shaped by Peter Kooij and oboist Masamitsu San’nomiya, quotes Christ’s words, ‘Es …
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Johann Sebastian Bach : Cantatas Vol.49
Johann Sebastian Bach (1685-1750)
Cantate n° 188, Ich habe meine Zuversicht, BWV 188 (BC A154)
Cantate n° 156, Ich steh mit einem Fuss im Grabe, BWV 156 (BC A38)
Cantate n° 159, Sehet, wir gehn hinauf gen Jérusalem, BWV 159 (BC A50)
Cantate n° 171, Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (BC A24)
Natsumi Wakamatsu (violon)
Masamitsu San’nomiya (hautbois)
Masato Suzuki (orgue)
Bach Collegium Japan
Masaaki Suzuki
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