Bach - BWV 180-189_Cantatas_MP3_256kbs


BWV 180-189;Johan Sebastian Bach Cantatas; Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantatas

BWV 180: Schmücke dich, o liebe Seele - Adorn yourself, beloved soul
Cantata for the 20th Sunday after Trinity
Composed Leipzig, 1724
1st performance: October 22, 1724 - Leipzig
Simon Crouch: "If anyone doubts the influence of the dance on Bach's sacred music, let them listen to this cantata. It is hard not to picture the congregation of St. Thomas' skipping down the aisle during the opening chorus! This cantata mixes the stories of the Epistle (avoid bad company, bad habits, etc etc) and the Gospel (the parable of the marriage of the King's son, in which invitations are sent out but largely ignored). The opening chorus illustrates the Epistle, the first aria the Gospel and from then on, things are mixed about.
A summary listen to the following tenor aria strongly supports Robert Marshall's thesis that Bach must have had a formidably good transverse flute player available whilst this cantata was written. It mixes stunning virtuosity with great beauty. It's also interesting to note an unusual feature in this cantata: Both transverse flutes and recorders are used. The cantata continues with a recitative that develops into a beautiful arioso, then a recitative followed by an air. This latter always makes me giggle a bit, since it bustles along in a very no nonsense way. I always imagine it being sung by a very prim soprano wearing a hat. After the final recitative, there is a very delicate, very beautiful chorale (Jesu, wahres Brot des Lebes).
List:
1. (Coro) Flauto I/II, Oboe I/II (Oboe da caccia), Violino I/II, Viola, Continuo
2. Aria T Flauto traverso, Continuo
3. Recitativo e Choral S Violoncello piccolo, Continuo
4. Recitativo A Flauto I/II, Continuo
5. Aria S Flauto I/II, Oboe I/II (Oboe da caccia), Violino I/II, Viola, Continuo
6. Recitativo B Continuo
7. Choral Continuo

http://www.bach-cantatas.com/BWV180.htm

BWV 181: Leichtgesinnte Flattergeister - Scatterbrained and Shallow People
Cantata for Sexagesima Sunday
Composed Leipzig, 1724
1st performance: February 13, 1724 - Leipzig
2nd performance: 1743-1746 - Leipzig
Simon Crouch: "A short cantata (around fifteen minutes long) that opens with a bass aria setting the words of the title to a motif oft repeated throughout the movement. Muscular and uncompromising as befit the words. The recitative that follows contains an arioso section that is noticeable for its resemblance to the theme of the fugue of BWV 541. The tenor aria that follows this is missing its violin accompaniment. This, alas, does subtract from the weight of the music. You won't be charmed by the words: The venomous brambles of pleasure and again, Will furnish to Satan a fuel eternal, To feed the fire and redouble the pain, Of torment eternal! A final recitative leads into the jewel of this cantata: A glorious final movement chorus that surely must have been parodied (or plain copied) from a far greater (lost) work. It's one of those pieces that when you hear it, you're sure that you've heard it before but you can't remember where. If you've not heard it, please make an effort to do so, you won't be disappointed!
List:
1. Aria B Flauto traverso, Oboe, Violino I/II, Viola, Continuo
2. Recitativo A Continuo
3. Aria T Continuo
4. Recitativo S Continuo
5. Coro Tromba, Flauto traverso, Oboe, Violino I/II, Viola, Continuo

http://www.bach-cantatas.com/BWV181.htm

BWV 182: Himmelskönig, sei willkommen - King of Heaven, be Thou welcome
Cantata for Palm Sunday
Weimar, 1714
The NBA KB I/8.1-2 indicates how different parts and different arrangement/selection of mvts. from this cantata BWV 182 resulted in at least 6 different performances during Bach’s lifetime: 1st performance: March 25, 1714 - Weimar
2nd performance: 1717-1723 - Weimar (undatable, possibly performed away from the Weimar Court Chapel)
Simon Crouch: "The form of this early cantata is a little unusual: Sonata, chorus, recitative, aria, aria, aria, (yes, three in a row!), chorale, chorus. The delicious opening sonata is grave and elegant and is followed by a forthright fugal chorus. After the recitative follow the three arias. The first is a little disappointing, it bustles along in a businesslike fashion but I can't help feeling that Bach could have done better with Mighty love, that Thee, great Son of God, has driven from the throne of Thy glory. The next aria is better though, beautifully poised with a delicate flute accompaniment. The last aria, with only an agitated continuo accompaniment, is one of those movements that really benefits from a good singer to make the most of it. Peter Schreier makes a pretty good job of it for Richter, for example. The chorale has an elaborate and quite beautiful fugal treatment and the final chorus (not dissimilar to the opening of BWV 65) ends the cantata joyfully.
List:
1. Sonata Flauto, Violino concertante, Violino di ripieno, Viola I/II, Violoncello, Continuo
2. Coro Flauto, Violino, Viola I/II, Violoncello, Continuo
3. Recitativo B Violoncello, Continuo
4. Aria B Violino, Viola I/II, Continuo
5. Aria A Flauto solo, Continuo
6. Aria T Violoncello, Continuo
7. Choral Flauto, Violino, Viola I/II, Violoncello, Continuo
8. Coro Flauto, Violino, Viola I/II, Violoncello, Continuo

http://www.bach-cantatas.com/BWV182.htm

BWV 183: Sie werden euch in den Bann tun - They will put you under a ban
Cantata for Exaudi [Sunday after Ascension, 6th Sunday after Easter]
Composed Leipzig, 1725
1st performance: May 13, 1725 - Leipzig
Simon Crouch: "The unusual array of four oboes in various combinations (oboe, oboe d'amore, oboe da caccia) in this cantata immediately makes itself known in the short stark opening recitative. The long aria for tenor that follows is accompanied constantly by the violoncello piccolo and is fine indeed, although you may feel that it outstays its welcome a little. The soprano aria that follows the next recitative is melodically more attractive than the tenor aria and is accompanied by an elaborate and attractive oboe da caccia line. The mood of Mariane von Ziegler's libretto also lightens in this movement. The cantata is concluded by a straightforward chorale setting.
List:
1. Recitativo B Oboe d'amore I/II, Oboe da caccia I/II, Continuo
2. Aria T Violoncello piccolo, Continuo
3. Recitativo A Oboe d'amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo
4. Aria S Oboe da caccia I/II, Violino I/II, Viola, Continuo
5. Choral Oboe I/II e Violino I col Soprano, Oboe da caccia I e Violino II coll' Alto, Oboe da caccia II e Viola col Tenore, Continuo

http://www.bach-cantatas.com/BWV183.htm

BWV 184:
Cantata for Whit Tuesday [3rd Day of Pentecost]
Composed Leipzig, 1724
1st performance: May 30, 1724 - Leipzig
2nd performance: June 3, 1727 - Leipzig (Tatiana Shabalina, 2009)
Simon Crouch: "A delicious little phrase from the flutes introduces a long recitative that is based on the gospel of the day together with the twenty-third psalm. After that we're immediately into an absolute show-stopper! A dancing pastoral duet between soprano and alto, with the flutes providing a line that you will be whistling for days after you hear it. This is one of the greatest of the hidden gems of the cantatas and for once you will be glad that the da capo aria form allows you to hear the big tune again! The stately and elegant dance that this movement suggests means that it will come as no surprise to you to learn that BWV 184 was adapted from the secular cantata BWV 184a which is, alas, now lost to us. Another lengthy recitative is followed by a pleasant but otherwise undistinguished tenor aria and the cantata draws to a close with a straightforward, but lovely, chorale setting.
List:
1. Recitativo T Flauto traverso I/II, Continuo
2. Aria (Duetto) S A Flauto traverso I/II, Violino I/II, Viola, Continuo
3. Recitativo T Continuo
4. Aria T Violino solo, Continuo
5. Choral Flauto traverso I/II, Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo
6. Coro Flauto traverso I/II, Violino I/II, Viola, Continuo

http://www.bach-cantatas.com/BWV184.htm

BWV 185: Barmherziges Herze der ewigen Liebe - Merciful heart of love everlasting
Solo Cantata for the 4th Sunday after Trinity
Composed Weimar, 1715
1st performance: July 14, 1715 - Weimar
2nd performance: possibly repeat performance in Weimar
Simon Crouch: "The Cantata opens with a duet between soprano and tenor in which the chorale melody of the hymn Ich ruf zu dir by Johann agricola is played by the oboe, entering at the end of the first of the vocalists' lines. The singers continue by weaving their lines around the chorale melody. This melody returns in the final stanza of the cantata, where the first verse of Agricola's hymn is sung in full, harmonised in the usual way and accompanied by full orchestra. In the mean time, a recitative is followed by a beautifully expressive alto aria, pastoral in its feel (as befits the words that speak of scattering and reaping, though here referring to love and to the soul). One of Bach's little masterpieces! A further recitative is followed by a bass aria more athletic than attractive. The chorale ends this short cantata.
List:
1. Aria (Duetto e Choral) S T Oboe (Tromba), Continuo
2. Recitativo A Violino I/II, Viola, Fagotto, Continuo
3. Aria A Oboe, Violino I/II, Viola, Fagotto, Continuo
4. Recitativo B Fagotto, Continuo
5. Aria B Fagotto, Continuo
6. Choral Violino I, Oboe (Tromba) col Soprano, Violino II coll' Alto, Viola col Tenore, Fagotto col Basso, Continuo

http://www.bach-cantatas.com/BWV185.htm

BWV 186: Ärgre dich, o Seele, nicht - Fret not, O soul
Cantata for 7th Sunday after Trinity
Composed Leipzig, 1723; Originated from a lost cantata BWV 186a, composed in Weimar, 1716
1st performance: July 11, 1723 - Leipzig
2nd performance: 1746-1749 - Leipzig
Simon Crouch: "BWV 186 provides one of those occasion upon which I wish I had never attempted to give ratings to the cantatas. In its eleven movements there seems to me to be inspiration ranging from the routine to the sublime. In the first part, the outer movements are excellent but the inner arias are a disappointment. In the second half, the duet is a moment of sheer genius. In a little more detail, the opening movement is a fine and sombre chorus as befits the mood of the text. The first disappointment arrives after a recitative: The bass aria seems, with its spare accompaniment, to be entirely routine. Things look like they may pick up in the next aria, this time for tenor, but really the vocal line never matches the interest of the violin accompaniment. The first half is rounded off by a very upbeat extended chorale setting. The second half opens with a recitative that leads into another rather disappointing aria. Again, the accompaniment is not matched by the vocal line. All these thought are put to flight, however, with one of Bach's glorious duets (this one for soprano and alto) skipping along in 3/8 time. Do get to hear this movement, if nothing else from this work. The cantata comes to an end with another verse of the chorale with a setting similar to that which ended the first half.
List:
Erster Teil
1. Coro Oboe I/II, Taille, Fagotto, Violino I/II, Viola, Continuo
2. Recitativo B Continuo
3. Aria B Continuo
4. Recitativo T Continuo
5. Aria T Oboe, Continuo
6. Choral Oboe I/II, Violino I/II, Viola, Continuo

Zweiter Teil
7. Recitativo B Violino I/II, Viola, Continuo
8. Aria S Violino I/II all' unisono, Continuo
9. Recitativo A Continuo
10. Aria (Duetto) S A Oboe I/II, Taille, Violino I/II, Viola, Continuo
11. Choral Oboe I/II, Violino I/II, Viola, Continuo

http://www.bach-cantatas.com/BWV186.htm

BWV 187: Es wartet alles auf dich - These wait all upon Thee
Cantata for the 7th Sunday after Trinity
Composed Leipzig, 1726
1st performance: August 4, 1726 - Leipzig
2nd performance: 1735-1740 - Leipzig
Simon Crouch: "A first listen to this cantata might lead you to the conclusion that I had lost my marbles in giving it such a high rating. Pleasant yes, but so good? Well, I think so and perhaps I am supported in my belief by Bach himself who parodied the music of this cantata in his g minor Mass BWV 235. Incidentally, if you have never heard the "little" Masses BWV 233-236 please go out of your way to do so. Perhaps they're not so transcendently gripping as their big brother but they are delightful pieces. Indeed, I got to know BWV 235 well before I had ever heard its model BWV 187.
None of the music of this cantata leaps out and grabs you, it's all gentle and seductively beautiful. Nowhere is this more true than in the long opening chorus. You'll probably notice the dueting oboes as the most outstanding feature on the first few listens but listen some more and you'll hear Bach build a tremendous choral edifice out of seemingly little. A recitative is followed by an equally gentle alto aria that lilts along in 3/8 with a flowing legato melody. The second part of the cantata is opened by an attractive bass aria which is then followed by the most pulse quickening of the movements, an aria for soprano accompanied by solo oboe. This still doesn't work up much of a sweat though! The cantata closes with a straightforward chorale setting.
List:
Erster Teil
1. (Coro) Oboe I/II, Violino I/II, Viola, Continuo
2. Recitativo B Continuo
3. Aria A Oboe I/II, Violino I/II, Viola, Continuo

Zweiter Teil
4. (Aria) B Violino I/II, Continuo
5. Aria S Oboe solo, Continuo
6. Recitativo S Violino I/II, Viola, Continuo
7. Choral Oboe I/II e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo

http://www.bach-cantatas.com/BWV187.htm

BWV 188: Ich habe meine Zuversicht - I have put my trust
Cantata for the 21st Sunday after Trinity
Composed Leipzig, 1728
1st performance: October 17, 1728 ? or the following year - Leipzig
Simon Crouch: "BWV 188 is one of the few surviving cantatas from Bach's fourth annual cycle (the Picander cycle), the eighteen pages of which were divided up and are now scattered about the world. Although not written out in the score itself, a note therein indicates that the third movement of the keyboard concerto BWV 1052, adapted for organ, should form the opening sinfonia. You may recall that the first two movements of this concerto have appeared in BWV 146 and also that the keyboard concerto is itself modelled on a lost violin concerto. Here it forms a very attractive opening to the cantata. The tenor aria that follows is probably the most interesting and attractive part of the work: A long aria based around a very beautiful melody. I must admit that I can't decide whether this is one of Bach's truly great movements or one of his near misses: Does he really make the most of developing that tune? I'm going to have to live with this one a little longer and in the meantime I urge you to listen to it and make up your own mind. After that movement, the alto aria that follows a recitative, comes as something of a disappointment. An interesting organ obbligato over cello continuo with a really rather dull vocal part and over long as well. Robertson suggests that this is a case of a hurried adaptation of another work. After a really rather effective short recitative, the cantata draws to close with a very beautiful chorale harmonisation.
List:
1. Sinfonia Oboe I/II, Taille, Violino I/II, Viola, Continuo
2. Aria T Oboe, Violino I/II, Viola, Continuo
3. Recitativo B Continuo
4. Aria A Violoncello, Organo obligato
5. Recitativo S Violino I/II, Viola, Continuo
6. Choral Continuo (Instrumentierung nicht überliefert)

http://www.bach-cantatas.com/BWV188.htm

SPURIOUS BWV 189: Meine Seele ruhmt und preist
?, by Georg Melchior Hof