J.S. Bach: Early Cantatas, Vol. 2 - Weimar Cantatas

Editorial Reviews

All Music Guide - James Leonard
When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the second volume in the series, the four works come from Bach's Weimar period, specifically from 1714 and 1715: "Weinen, Klagen, Sorgen, Zagen, BWV 12" Weeping, sighing, sorrowing, crying; "Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18" For as the rain and snow fall down from heaven; "Nun Komm, der Heiden Heiland, BWV 61" ...
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Editorial Reviews

All Music Guide - James Leonard
When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the second volume in the series, the four works come from Bach's Weimar period, specifically from 1714 and 1715: "Weinen, Klagen, Sorgen, Zagen, BWV 12" Weeping, sighing, sorrowing, crying; "Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18" For as the rain and snow fall down from heaven; "Nun Komm, der Heiden Heiland, BWV 61" Now come, the heathen's Savior; and "Komm, du süsse Todesstunde, BWV 161" Come, sweet hour of my death. As so often with Bach's sacred cantatas, the predominant mood is dark and gloomy, even morbid. But the performances themselves, while fully sympathetic to the text, the music and the mood, are essentially light, clear, even ultimately life-affirming. Part of this is due to the stylish singing by the four soloists who also double as the one-voice-to-a-part chorus -- counter-tenor Michael Chance, tenor Charles Daniels, bass Peter Harvey, and sublime soprano Emma Kirkby. Part of this is due to the expert playing by the Purcell Quartet -- violinists Catherine Mackintosh and Catherine Weiss, cellist Richard Boothby, and organist Robert Woolley -- plus the additional eight musicians, particularly clarion trumpeter David Blackadder. But most of this is due to the music, which, despite its weeping, sighing, and longing for death, cannot help but affirm the primacy of hope and joy in its final choruses. As in the previous volume in this series, Chandos' sound is close, clean, warm, and deep.
Philadelphia Inquirer - David Patrick Stearns
1/2 [Bach] explores all sorts of gray areas between recitative and aria, ensemble and solo with almost wacky impulsiveness.... Kirkby...sounds fine and phrases with more authority than ever.
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Product Details

  • Release Date: 7/31/2007
  • Label: Chandos
  • UPC: 095115074220
  • Catalog Number: 742
  • Sales rank: 367,026

Tracks

Disc 1
  1. 1–7 Cantata No. 12 "Weinen, Klagen, Sorgen, Zagen", BWV 12 (BC A68) - Johann Sebastian Bach & Rachel Beckett (24:04)
  2. 8–12 Cantata No. 18, "Gleichwie der Regen und Schnee vom Himmel fällt," BWV 18 (BC A44) - Johann Sebastian Bach & Rachel Beckett (13:47)
  3. 13–18 Cantata No. 61, "Nun komm, der Heiden Heiland," BWV 61 (BC A1) - Johann Sebastian Bach & Martin Luther (13:46)
  4. 19–24 Cantata No. 161, "Komm, du süsse Todesstunde," BWV 161 (BC A135) - Johann Sebastian Bach & Rachel Beckett (19:38)
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Album Credits

Performance Credits
Purcell Quartet Primary Artist
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