Bach Cantatas, Vol. 18: Weimar/Leipzig/Hamburg

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Product Details

  • Release Date: 10/26/2010
  • Label: Soli Deo Gloria
  • UPC: 843183017423
  • Catalog Number: 174
  • Sales rank: 249,845


Disc 1
  1. 1–7 Cantata No. 63, "Christen, ├Ątzet diesen Tag," BWV 63 (BC A8) - Johann Sebastian Bach & Sally Bruce-Payne (26:24)
  2. 8–10 Cantata No. 191, "Gloria in excelsis Deo," BWV 191 (BC E16) - Johann Sebastian Bach & English Baroque Soloists (13:40)
  3. 11–17 Cantata No. 65, "Sie werden aus Saba alle kommen," BWV 65 (BC A27) - Johann Sebastian Bach & English Baroque Soloists (15:18)
  4. 18–23 Cantata No. 123, "Liebster Immanuel, Herzog der Frommen," BWV 123 (BC A28) - Johann Sebastian Bach & Sally Bruce-Payne (23:19)
Disc 2
  1. 1–8 Cantata No. 154, "Mein liebster Jesus ist verloren," BWV 154 (BC A29) - Johann Sebastian Bach & Sally Bruce-Payne (15:56)
  2. 9–14 Cantata No. 124, "Meinen Jesum lass ich nicht," BWV 124 (BC A30) - Johann Sebastian Bach & Sally Bruce-Payne (13:17)
  3. 15–20 Cantata No. 32, "Liebster Jesu, mein Verlangen," BWV 32 (BC A31) - Johann Sebastian Bach & English Baroque Soloists (22:52)
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Album Credits

Performance Credits
John Eliot Gardiner Primary Artist
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Customer Reviews

Average Rating 5
( 1 )
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Sort by: Showing 1 Customer Reviews
  • Posted December 9, 2010

    more from this reviewer

    This is the record of John

    This is the final release (though not the last numerically, and actually the first performed) in Sir John Eliot Gardiner's "pilgrimage" recording series of the Bach cantatas. All were performed live on or near the Sunday for which they were written, in one year's time. When his record company backed out of this massive project, Sir John--who had already committed to the performances--determined to release the cantatas on his own label. No corners were cut: full texts, essays by the conductor and other participants, beautiful packaging. The Christmas and Epiphany works in this set certainly made a festive opening to the pilgrimage. "Gloria in excelsis Deo" (BWV 191) also serves as the Gloria movement in the B-minor Mass. The soloists blend the famous with the lesser-known (I particularly like James Gilchrist's work on this set), and the chorus and orchestra toss off Bach's intricate counterpoint with assurance. Although Gardiner has done much good work, to pull off these concerts and recordings is a very special achievement.

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