Bach: Cantates 30, 7 & 167

Editorial Reviews

All Music Guide - James Manheim
This disc is the debut entry in a full cycle of Bach's cantatas to come from Canada's Montreal Baroque historical performance ensemble. Conductor Eric Milnes opts for the controversial approach of having just one voice per part -- the four soloists, joined together -- in the choral movements, with no choir in sight. The result is a clean, sparse sound. Listeners for whom the Bach cantatas say "chorales" and "chorales" say "chorus" will be dismayed, but there is a certain amount of historical evidence to support this procedure. The first step for the buyer is to sample one of the choral movements, such as track 6, to see whether you like the effect. If you're still ...
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Editorial Reviews

All Music Guide - James Manheim
This disc is the debut entry in a full cycle of Bach's cantatas to come from Canada's Montreal Baroque historical performance ensemble. Conductor Eric Milnes opts for the controversial approach of having just one voice per part -- the four soloists, joined together -- in the choral movements, with no choir in sight. The result is a clean, sparse sound. Listeners for whom the Bach cantatas say "chorales" and "chorales" say "chorus" will be dismayed, but there is a certain amount of historical evidence to support this procedure. The first step for the buyer is to sample one of the choral movements, such as track 6, to see whether you like the effect. If you're still reading, this ambitious undertaking looks promising so far. Like other early discs in the series, this one presents a group of cantatas associated with a specific feast day in the liturgical year, in this case the Feast of St. John the Baptist. This approach is enlightening if one may use that word to describe hardcore Lutheran ritual for Bach's cantatas, which tend -- for both practical and more creative reasons -- to have specific musical languages associated with different text types. These three cantatas feature the gentle oboe d'amore or oboe da caccia. The lengthy 34-minute "Freue dich, erlöste Schar, BWV 30" was originally composed as a sort of secular minidrama intended for the dedication of a noble mansion, but it fits with the serene joy of the two shorter cantatas also included. Milnes' interpretations are on the reserved side, but all textures are crystal clear, and the soloists are ideal for the one-voice-per-part approach. They have medium-sized, sharp-edged voices that cut through their instrumental surroundings, and soprano Suzie LeBlanc uses a timbre evoking the boy sopranos who would sometimes have sung this music. They're not spectacular singers, but Bach's cantatas don't need spectacular singers and are probably better off without them. Atma's spacious but never muddy SACD sound design is superb. For listeners who are OK with the one-voice-per-part performance -- and Atma label clearly is, for it has 15 years' worth of discs coming up -- this release is a noteworthy event.
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Product Details

  • Release Date: 12/27/2005
  • Label: Atma Classique
  • UPC: 722056240024
  • Catalog Number: 22400
  • Sales rank: 138,867

Tracks

Disc 1
  1. 1–12 Cantata No. 30, "Freue dich, erlöste Schar," BWV 30 (BC A178) - Johann Sebastian Bach & Charles Daniels (34:10)
    Composed byJohann Sebastian Bach
    Conducted byEric Milnes
    Performed byCharles Daniels, Suzie LeBlanc, Stephan MacLeod, Eric Milnes, Montréal Baroque Orchestra, Daniel Taylor
    1. 1Part 1. 1. Choir. Freue dich, erlöste Schar
    2. 2Part 1. 2. Recitative. Wir haben Rast
    3. 3Part 1. 3. Aria. Gelobet sei Gott, gelobet sein Name
    4. 4Part 1. 4. Recitative. Der Herold kömmt und meldt den König an
    5. 5Part 1. 5. Aria. Kommt, ihr angefochtnen Sünder
    6. 6Part 1. 6. Choral. Eine Stimme lässt sich hören
    7. 7Part 2. 7. Recitative. So bist du denn, mein Heil, bedacht
    8. 8Part 2. 8. Aria. Ich will nun hassen
    9. 9Part 2. 9. Recitative. Und obwohl sonst der Unbestand
    10. 10Part 2. 10. Aria. Eilt, ihr Stunden, kommt herbei
    11. 11Part 2. 11. Recitative. Geduld, der angenehme Tag
    12. 12Part 2. 12. Choir. Freude dich, geheiligte Schar
  2. 13–19 Cantata No. 7 "Christ unser Herr zum Jordan kam," BWV 7 (BC A177) - Johann Sebastian Bach & Charles Daniels (23:14)
    Composed byJohann Sebastian Bach
    Conducted byEric Milnes
    Performed byCharles Daniels, Suzie LeBlanc, Stephan MacLeod, Eric Milnes, Montréal Baroque Orchestra, Daniel Taylor
    1. 13 Choir. Christ unser Herr zum Jordan kam
    2. 14 Aria. Merkt und hört, ihr Menschenkinder
    3. 15 Recitative. Dies hat Gott klar
    4. 16 Aria. Des Vaters Stimme ließ sich hören
    5. 17 Recitative. Als Jesus dort nach seinen Leiden
    6. 18 Aria. Menschen, glaubt doch dieser Gnade
    7. 19 Choral. Das Aug allein das Wasser sieht
  3. 20–24 Cantata No. 167, "Ihr Menschen, rühmet Gottes Liebe," BWV 167 (BC A176) - Johann Sebastian Bach & Charles Daniels (16:02)
    Composed byJohann Sebastian Bach
    Conducted byEric Milnes
    Performed byCharles Daniels, Suzie LeBlanc, Stephan MacLeod, Eric Milnes, Montréal Baroque Orchestra, Daniel Taylor
    1. 20 Aria. Ihr Menschen, rühmet Gottes Liebe
    2. 21 Recitative. Gelobet sei der Herr Gott Israel
    3. 22 Duet. Gottes Wort, das trüget nicht
    4. 23 Recitative. Des Weibes Samen kam
    5. 24 Choral. Sei Lob und Preis mit Ehren
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Album Credits

Performance Credits
Eric Milnes Primary Artist
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