Bach - Easter Sunday Monday Tuesday Cantatas - BWV 4-31-66-6-158-134-145_MP3_256kbs

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Bach - Easter Sunday Monday Tuesday Cantatas - BWV 4-31-66-6-158-134-145_MP3_256kbsBach - Easter Sunday Monday Tuesday Cantatas - BWV 4-31-66-6-158-134-145_MP3_256kbs

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Bach - Easter Sunday Monday Tuesday Cantatas - BWV 4-31-66-6-158-134-145_MP3_256kbs.torrent
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Bach - Easter Sunday Monday Tuesday Cantatas - BWV 4-31-66-6-158-134-145_MP3_256kbs


BWV 4-31-66-6-158-134-145;Johan Sebastian Bach Cantatas; Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantatas


Easter Sunday
Christ lag in Todes Banden, BWV 4, probably 1707
Der Himmel lacht! Die Erde jubilieret, BWV 31, 21 April 1715

Easter Monday
Erfreut euch, ihr Herzen, BWV 66, 10 April 1724
Bleib bei uns, denn es will Abend werden, BWV 6, 2 April 1725

Easter Tuesday
Der Friede sei mit dir, BWV 158, after 1723
Ein Herz, das seinen Jesum lebend weiß, BWV 134, 11 April 1724
Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145, ?1729

BWV 4: Christ lag in Todesbanden - Christ lay in Death's Bonds
For Easter Sunday
Bach composed it for Easter, probably in 1707, and it is likely related to his move from Arnstadt to Mühlhausen.
Simon Crouch: "Christ lag in Todes Banden is one of those relatively few cantatas where there seems to me to be a major advantage for one side in the small forces/original instruments versus larger forces/modern instruments dichotomy, especially in the opening two movements. The weight of modern instruments seem to lend an extra seriousness and gravity that this cantata requires. This is not a cantata full of tunes and merriment but if you, like me, enjoy singing or playing one of the voices in Bach's counterpoint then there is a lot in this for you. The text is Luther's eponymous hymn in its entirety and the music in each verse is derived from the German hymn Christ ist erstanden which itself is derived from a plainsong sequence Victimae Paschali laudes. This cantata is believed to be one of Bach's earliest and its form too is early, being similar to organ chorale variations in the manner of Böhm and Pachelbel.The cantata opens with an extended sinfonia that immediately establishes a grave mood. The chorus which follows maintains this mood with a grand and profound fugal setting of the chorale melody. This really is glorious stuff! The opening movements are followed by a pair of duets separated by three diverse chorale settings. Each of these settings is very fine: The first is for tenor soloist; the second for the choir and the third for the bass soloist. The work closes with a straightforward setting of the chorale.
List: 1-Sinfonia
2-Verse I: Christ lag in Todes Banden
3-Verse II: Den Tod niemand zwingen kunnt
4-Verse III: Jesus Christus, Gottes Sohn
5-Verse IV: Es war ein wunderlicher Krieg
6-Verse V: Hier ist das rechte Osterlamm
7-Verse VI: So feiern wir das hohe Fest
8-Verse VII: Wir essen und leben wohl
[url]http://imslp.org/wiki/Christ_lag_in_Todesbanden,_BWV_4_%28Bach,_Johann_Sebastian%29[/url]

BWV 6: Bleib bei uns, denn es will Abend werden - Stay with us, for Evening Falls
For Easter Monday
It was written in Leipzig for Easter Monday, and was first performed on 2 April 1725.
Simon Crouch: "BWV 6 starts off with a wonderful chorus whose gently descending theme may bring to mind that great final chorus (Ruht wohl, ihr heiligen Gebeine) from the St. John Passion. The context is that of the Gospel reading, Christ appearing to two of the disciples after the crucifixion. This is something very special. An alto aria with sinuous and delightful oboe da caccia accompaniment follows and then the soprano sings the accompanied chorale melody that later became the fifth Schubler Chorale, BWV 649. I prefer this version, in which the violoncello piccolo takes a prominent role, to that on the organ. The attractive final aria or tenor is accompanied by a virtuoso violin part. The cantata draws to a close with a straightforward setting of the chorale.Like the St. John Passion, I have never heard a performance of this cantata that has fully satisfied me. There always seems to be something missing and I have ended up feeling that there must be much more in the music than I have just heard. Of the recordings that I know, that of Rilling comes closest to being acceptable.
List: 1-Chorus: Bleib bei uns, denn es will Abend werden
2-Aria: Hochgelobter Gottessohn
3-Chorale: Ach bleib bei uns, Herr Jesu Christ
4-Recitative: Es hat die Dunkelheit an vielen Orten
5-Aria: Jesu, laß uns auf dich sehen
6-Chorale: Beweis dein Macht, Herr Jesu Christ
[url]http://imslp.org/wiki/Bleib_bei_uns,_denn_es_will_Abend_werden,_BWV_6_%28Bach,_Johann_Sebastian%29[/url]

BWV 31: Der Himmel lacht, die Erde jubiliert - The Heaven laughs! The Earth rejoices
For Easter Sunday
The work was composed in Weimar for 21 April 1715, the first day of Easter, and was later performed several times in Leipzig in a slightly modified form. There is proof to these performances for the years 1724 and 1731; a further performance in the 1735 is probable as well.
Simon Crouch: "Bach clearly had a full complement of musicians available to him for this Weimar Easter festival cantata and this is reflected throughout in the unusually full orchestration. If you and your group are ever tempted to perform this cantata then make sure that you buy your trumpeter a stiff drink before he plays the opening movement (two, if he's playing a natural trumpet). He'll need it! This is an instrumental tour-de-force that is immediately followed by an equally exuberant choral movement, unusual in being in five parts, with divided sopranos. Again, this is an excellent opportunity for an outstanding choir to show off. After this, the tempo relaxes a bit with a recitative followed by an aria notable mostly for its heavily dotted rhythm. The alternation of recitative with aria continues and introduces a more attractive tenor aria and finally brings us a soprano solo aria of outstanding beauty both lyrically and musically. It's nominally a soprano solo but I think that it's better described as a duet for soprano and oboe, the two parts are so intimately entwined. I can't begin to describe it adequately. All I can say is that this tender song should be in the repertoire of every soprano who cares about the baroque and that you should go out of your way to hear it. The cantata ends with a straightforward chorale setting accompanied by full orchestra.
List: 1-Sonata. In a proto-sonata form, with a first theme, second theme, development (combination) and reverse-order recapitulation. C Major
2-Coro: Der Himmel lacht! Die Erde jubiliert. In a similar "jubilatory" mood. C Major
3-Recitativo (Bass): Erwünschter Tag! Sei, Seele, wieder froh! Secco recitative. C major-e minor
4-Aria (Bass): Fürst des Lebens! starker Streiter. A continuo aria, contrasting (along with Nos. 3 and 5) the full scoring of Nos. 1 and 2. The continuo and bass share the thematic material here. C Major
5-Recitativo (Tenor): So stehe dann, du gottergebne Seele. Secco recitative. a minor-G Major
6-Aria (Tenor): Adam muß in uns verwesen. A "more melodious"1 aria accompanied by strings. G Major
7-Recitativo (Soprano): Weil dann das Haupt sein Glied. Secco recitative. e minor-C Major
8-Aria (Soprano): Letzte Stunde, brich herein. Interpolated in this aria is the chorale Wenn mein Stündlein vorhanden ist played by the strings. C Major
9-Choral: So fahr ich hin zu Jesu Christ. The same melody is here used. A plain chorale setting. C Major

[url]http://imslp.org/wiki/Der_Himmel_lacht,_die_Erde_jubiliert,_BWV_31_(Bach,_Johann_Sebastian)[/url]

BWV 66: Erfreut euch, ihr Herzen - Rejoice, you hearts
For Easter Monday
Bach composed the cantata for the Second Day of Easter in Leipzig and first performed it on 10 April 1724.
The cantata is festively scored for alto, tenor, and bass soloists, a four-part choir, trumpet, two oboes, two violins, viola and basso continuo including bassoon
Simon Crouch: "Although nominally written more than ten years before the Ascension Oratorio (BWV 11), cantata 66 feels very like the latter in texture. Perhaps the explanation lies in the fact that like the Oratorio, Erfreut euch ihr Herzen is largely a parody work (in this case of a birthday cantata for Prince Leopold of Kothen, BWV 66a Der Himmel dacht auf Anhalts Ruhm und Glück, for which the music is lost and only the text extant) and the music for the two may have originated around about the same time.The multi-sectioned opening chorus is superbly effusive and joyful and at a relatively long ten minutes provides a suitably monumental opening, as befits the occasion. The first recitative leads into a da capo bass aria, introduced by a catchy oboe fugure, that positively skips along in triple metre! There is then a long section consisting of a duet-recitative followed by an duet which is a dialogue between Hope and Fear. The former sees the resurrection of the Saviour, casts aside fear of the grave and trusts in his salvation whereas the latter, predictably, does not. And all in perfect harmony. Which is perhaps the one failing of this cantata, Hope and Fear sound rather too similar. Still, the quality of the music makes this one of my favourites! A lovely setting of a chorale melody rounds off the cantata.
List: 1-Chorus: Erfreut euch, ihr Herzen. Winds and strings alternate frequently in this festive, extensive movement. There are many solo (duet) passages interspersed throughout. D Major
2-Recitativo (Bass): Es bricht das Grab und damit unsre Not. Recitative with string accompaniment. b minor-A Major
3-Aria (Bass): Lasset dem Höchsten ein Danlied erschallen. An aria in vivacious 3/8 time, full of "dance-like vitality"1. D Major
4-Recitativo a 2 (Alto, Tenor): Bei Jesu Leben freudig sein. Secco recitative. G Major-A Major
5-Aria (Alto, Tenor): Ich furchte zwar. The two soloists often sing in sweet thirds and sixths in this duet, possibly originally quasi-amorous. A Major
6-Chorale: Alleluja! Alleluja! Alleluja! A plain chorale setting. f? minor

[url]http://imslp.org/wiki/Erfreut_euch,_ihr_Herzen,_BWV_66_(Bach,_Johann_Sebastian)[/url]


BWV 134: Ein Herz, das seinen Jesum lebend weiß - A heart that knows its Jesus is living
For The third Day of EasterEaster Sunday
Bach composed it in Leipzig and first performed it on 11 April 1724
The cantata is scored for alto and tenor soloists, a four-part choir, two oboes, two violins, viola and basso continuo
Simon Crouch: "Cantata 134 originally appeared in secular form as BWV 134a, a congratulatory cantata for the Prince of Anhalt-Cöthen. Bach made a straightforward parody of this piece for a version of BWV 134 in 1724 but later revised it, improving the parody procedure, sometime after 1731. However, if there's anything to criticise in this extremely tuneful and uplifting cantata it is that the words are still really rather general purpose. The recitatives, in particular, do go on a bit with very little purpose!The cantata starts with a tenor recitative that leads into an alto arioso. Business really starts with the tenor aria where, as in the other non-recitative parts of this cantata, the excellent orchestral accompaniment provides tremendous pleasure. The tenor line goes quite high, especially in the opening Auf, auf that defines the aria, and a light high voice will probably make the best of this. The duet between alto and tenor that follows the next recitative is very fine indeed and benefits from a wonderful string orchestral introduction that has a mesmeric hook in it. As so often in the cantatas, one asks whether this is a hint of something greater, now lost to us. The cantata ends with soloists and chorus answering the tenor aria. This makes a glorious conclusion to a musically, if not textually fine cantata.
List:
1. Recitativo (alto, tenor): Ein Herz, das seinen Jesum lebend weiß
2. Aria (tenor): Auf, Gläubige, singet die lieblichen Lieder
3. Recitativo (alto, tenor): Wohl dir, Gott hat an dich gedacht,
4. Aria (alto, tenor): Wir danken und preisen dein brünstiges Lieben
5. Recitativo (alto, tenor): Doch würke selbst den Dank in unserm Munde
6. Coro: Erschallet, ihr Himmel, erfreuet dich, Erde,

[url]http://en.wikipedia.org/wiki/Ein_Herz,_das_seinen_Jesum_lebend_wei%C3%9F,_BWV_134[/url]

BWV 145: So du mit deinem Munde bekennest Jesum das ist der Herr - If thou shalt confess with thy mouth the Lord Jesus
For the 3rd day of Easter (Easter Tuesday)
The cantata is scored for Soli: S T B, Coro: S A T B, Tromba, Flauto traverso, Oboe d'amore I/II, Violino I/II, Viola, Continuo
Simon Crouch: "BWV 145 is a bit of an oddity, surviving as it does only in a nineteenth century manuscript and prefaced in that with an opening chorus by Telemann and a chorale of unknown provenance. One must assume that Bach's original opening got lost somewhere along the way, or perhaps Bach really was pushed for time one Sunday! What is left runs to only about ten minutes worth of music and substantially consists of two arias (one a duet for soprano and tenor and the second for bass), a recitative and the concluding chorale. The two arias are thoroughly pleasant pieces of music, the first is decidedly tuneful and is accompanied by an attractive violin figure, the second is forthright and bounces along like a drinking song!
List:
1. Aria (Duetto) T S
2. Recitativo T
3. Aria B
4. Recitativo S
5. Choral



BWV 158:
For the 3rd day of Easter (Easter Tuesday)
Cantata for bass soloist believed to have been composed around 1730 by Johann Sebastian Bach. Only fragments of the work survive; these were found among Bach's papers after his death. They suggest that initially there were more parts extant than simply that for bass.Simon Crouch: "BWV 145 is a bit of an oddity, surviving as it does only in a nineteenth century manuscript and prefaced in that with an opening chorus by Telemann and a chorale of unknown provenance. One must assume that Bach's original opening got lost somewhere along the way, or perhaps Bach really was pushed for time one Sunday! What is left runs to only about ten minutes worth of music and substantially consists of two arias (one a duet for soprano and tenor and the second for bass), a recitative and the concluding chorale. The two arias are thoroughly pleasant pieces of music, the first is decidedly tuneful and is accompanied by an attractive violin figure, the second is forthright and bounces along like a drinking song!
Simon Crouch: "Blink and you'll miss it! At around twelve minutes long and with only four movements (recitative, aria/chorale, recitative, chorale), BWV 158 is thought to represent only a fragment of a larger work. Certainly, looking at the form of other cantatas, one would at least expect another aria before the closing chorale. If this hypothesis is true then it is a great shame since the surviving movements are all excellent and hint at a masterpiece. The major part of the cantata is taken up with a bass aria woven around a soprano chorale accompanied by a beautiful, singing, violin accompaniment. Robertson suggests comparison with Schlummert ein from the great BWV 82 and Schuhmacher (in the Teldec series notes) suggests Erbarme dich from the St. Matthew Passion. Can I say more in praise of this movement? The opening recitative includes arioso sections of outstanding beauty and the second recitative is hardly less impressive. The cantata finishes with the fifth verse of Luther's great hymn Christ lag in Todesbanden.
List:
1. Recitativo B
2. Aria B e Choral S
3. Recitativo e Arioso B
4. Choral

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Files in this torrent

FILENAMESIZE
BWV 134 - Ein Herz, Das Seinem Jesum Lebend Weisz - Bb Major.mp350.6 MB
BWV 145 - Ich lebe, mein Herze, zu deinem Ergötzen - D major.mp317.4 MB
BWV 158 - Der Friede Sei Mit Dir - D Major.mp319.5 MB
BWV 31 - Der Himmel Lacht! Die Erde Jubilieret - C Major.mp338.8 MB
BWV 4 - Christ Lag In Todes Banden - E Minor.mp335.3 MB
BWV 6 - Bleib bei uns, denn es will Abend - C minor.mp337.8 MB
BWV 66 - Erfreut Euch, Ihr Herzen - D Major.mp354.7 MB
Lyrics (unix format LF)/_lyrics - BWV 1345.2 KB
Lyrics (unix format LF)/_lyrics - BWV 1453.8 KB
Lyrics (unix format LF)/_lyrics - BWV 1584.3 KB
Lyrics (unix format LF)/_lyrics - BWV 316.9 KB
Lyrics (unix format LF)/_lyrics - BWV 44.5 KB
Lyrics (unix format LF)/_lyrics - BWV 63.4 KB
Lyrics (unix format LF)/_lyrics - BWV 666.3 KB
Lyrics (window format CR-LF)/_lyrics - BWV 1345.3 KB
Lyrics (window format CR-LF)/_lyrics - BWV 1453.9 KB
Lyrics (window format CR-LF)/_lyrics - BWV 1584.4 KB
Lyrics (window format CR-LF)/_lyrics - BWV 317 KB
Lyrics (window format CR-LF)/_lyrics - BWV 44.5 KB
Lyrics (window format CR-LF)/_lyrics - BWV 63.4 KB
Lyrics (window format CR-LF)/_lyrics - BWV 666.4 KB
Scores/BWV0004.pdf1.6 MB
Scores/BWV0006.pdf1.5 MB
Scores/BWV0031.pdf2.7 MB
Scores/BWV0066.pdf2.8 MB
Scores/BWV0134.pdf2.2 MB
Scores/BWV0145.pdf1.3 MB
Scores/BWV0158.pdf566 KB
_index - unix format (LF)15.2 KB
_index - window format (CR-LF)15.3 KB

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