The Complete Works (Edition Bachakademie)

~ Release by Johann Sebastian Bach (see all versions of this release, 2 available)

Tracklist

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1▼CD: Vol 1. Cantatas CD 1
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1Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: I. Coro „Wie schön leuchtet der Morgenstern“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": I. Coro "Wie schön leuchtet der Morgenstern" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Philipp Nicolai (in 1599)
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
7:40
2Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: II. Recitativo (Tenore) „Du wahrer Gottes und Marien Sohn“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": II. Recitativo (Tenore) "Du wahrer Gottes und Marien Sohn" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
1:08
3Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: III. Aria (Soprano) „Erfüllet, ihr himmlischen göttlichen Flammen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
soprano vocals:
Inga Nielsen
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": III. Aria (Soprano) "Erfüllet, ihr himmlischen göttlichen Flammen" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
4:40
4Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: IV. Recitativo (Basso) „Ein irdscher Glanz, ein leiblich Licht“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Philippe Huttenlocher
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": IV. Recitativo (Basso) "Ein irdscher Glanz, ein leiblich Licht" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
0:59
5Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: V. Aria (Tenore) „Unser Mund und Ton der Saiten“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": V. Aria (Tenore) "Unser Mund und Ton der Saiten" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
6:56
6Kantate, BWV 1 „Wie schön leuchtet der Morgenstern“: VI. Choral „Wie bin ich doch so herzlich froh“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
cornet:
Friedhelm Pütz and Johannes Ritzkowsky
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern": VI. Choral "Wie bin ich doch so herzlich froh" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1725-03-25)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Philipp Nicolai (in 1599)
part of:
Breitkopf 389 Choralgesänge (number: 378)
part of:
Kantate, BWV 1 "Wie schön leuchtet der Morgenstern"
1:36
7Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: I. Coro „Ach Gott, vom Himmel sieh darein“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": I. Coro "Ach Gott, vom Himmel sieh darein" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
4:06
8Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: II. Recitativo (Tenore) „Sie lehren eitel falsche List“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Aldo Baldin
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": II. Recitativo (Tenore) "Sie lehren eitel falsche List" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
1:20
9Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: III. Aria (Alto) „Tilg, o Gott, die Lehren“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Helen Watts
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": III. Aria (Alto) "Tilg, o Gott, die Lehren" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
3:40
10Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: IV. Recitativo (Basso) „Die Armen sind verstört“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Walter Heldwein
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": IV. Recitativo (Basso) "Die Armen sind verstört" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
1:46
11Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: V. Aria (Tenore) „Durchs Feuer wird das Silber rein“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Aldo Baldin
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": V. Aria (Tenore) "Durchs Feuer wird das Silber rein" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
6:16
12Kantate, BWV 2 „Ach Gott, vom Himmel sieh darein“: VI. Choral „Das wollst du, Gott, bewahren rein“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein": VI. Choral "Das wollst du, Gott, bewahren rein" (from 1980-02 until 1980-04)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-18)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Martin Luther (in 1524)
part of:
Breitkopf 389 Choralgesänge (number: 7)
part of:
Kantate, BWV 2 "Ach Gott, vom Himmel sieh darein"
1:01
13Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: I. Coro „Ach Gott, wie manches Herzeleid“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": I. Coro "Ach Gott, wie manches Herzeleid" (from 1980-02 until 1980-04)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Martin Moller (in 1587)
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
5:31
14Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: II. Recitativo e choral (Tenore, Alto, Soprano, Basso) „Wie schwerlich lässt sich Fleisch und Blut“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Gabriele Schreckenbach
bass vocals:
Philippe Huttenlocher
soprano vocals:
Arleen Augér
tenor vocals:
Lutz-Michael Harder
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": II. Recitativo e choral (Tenore, Alto, Soprano, Basso) "Wie schwerlich lässt sich Fleisch und Blut" (from 1980-02 until 1980-04)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Martin Moller (in 1587)
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
2:53
15Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: III. Aria (Basso) „Empfind ich Höllenangst und Pein“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Philippe Huttenlocher
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": III. Aria (Basso) "Empfind ich Höllenangst und Pein" (from 1980-02 until 1980-04)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
6:38
16Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: IV. Recitativo (Tenore) „Es mag mir Leib und Geist verschmachten“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Lutz-Michael Harder
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": IV. Recitativo (Tenore) "Es mag mir Leib und Geist verschmachten" (from 1980-02 until 1980-04)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
1:16
17Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: V. Aria (Duetto: Soprano, Alto) „Wenn Sorgen auf mich dringen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Gabriele Schreckenbach
soprano vocals:
Arleen Augér
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1980-02 until 1980-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": V. Aria (Duetto: Soprano, Alto) "Wenn Sorgen auf mich dringen" (from 1980-02 until 1980-04)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous] (ended)
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
7:48
18Kantate, BWV 3 „Ach Gott, wie manches Herzeleid“: VI. Choral „Erhalt mein Herz im Glauben“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Chorus Viennensis (from 1970-12 until 1971-04, from 1970-12-01 until 1971-04) and Wiener Sängerknaben (from 1970-12 until 1971-04, from 1970-12-01 until 1971-04)
orchestra:
Concentus Musicus Wien (from 1970-12 until 1971-04)
conductor:
Nikolaus Harnoncourt (from 1970-12 until 1971-04, from 1970-12-01 until 1971-04)
chorus master:
Hans Gillesberger (from 1970-12 until 1971-04, from 1970-12-01 until 1971-04)
recorded at:
Casino Zögernitz in Döbling, Wien, Austria (from 1970-12 until 1971-04, from 1970-12-01 until 1971-04)
recording of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid": VI. Choral "Erhalt mein Herz im Glauben" (from 1970-12-01 until 1971-04)
lyricist:
Martin Moller (in 1587)
composer:
Johann Sebastian Bach (in 1725)
part of:
Breitkopf 389 Choralgesänge (number: 8)
part of:
Kantate, BWV 3 "Ach Gott, wie manches Herzeleid"
0:42
2▼CD: Vol 1. Cantatas CD 2
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1Kantate, BWV 4 „Christ lag in Todesbanden“: I. Sinfonia
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": I. Sinfonia (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
0:49
2Kantate, BWV 4 „Christ lag in Todesbanden“: II. Coro Versus I „Christ Lag in Todes Banden“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": II. Coro Versus I "Christ Lag in Todes Banden" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
4:41
3Kantate, BWV 4 „Christ lag in Todesbanden“: III. Duetto (Soprano, Alto) Versus II „Den Tod niemand zwingen kunnt“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
alto vocals:
Carolyn Watkinson
soprano vocals:
Edith Wiens
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": III. Duetto (Soprano, Alto) Versus II "Den Tod niemand zwingen kunnt" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
3:23
4Kantate, BWV 4 „Christ lag in Todesbanden“: IV. Aria (Tenore) Versus III „Jesus Christus, Gottes Sohn“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
tenor vocals:
Peter Schreier
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": IV. Aria (Tenore) Versus III "Jesus Christus, Gottes Sohn" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
2:20
5Kantate, BWV 4 „Christ lag in Todesbanden“: V. Coro Versus IV „Es war ein wunderlicher Krieg“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": V. Coro Versus IV "Es war ein wunderlicher Krieg" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
2:38
6Kantate, BWV 4 „Christ lag in Todesbanden“: VI. Aria (Basso) Versus V „Hier ist das rechte Osterlamm“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VI. Aria (Basso) Versus V "Hier ist das rechte Osterlamm" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
2:45
7Kantate, BWV 4 „Christ lag in Todesbanden“: VII. Duetto (Soprano, Tenore) Versus VI „So feiern wir das hohe Fest“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
soprano vocals:
Edith Wiens
tenor vocals:
Peter Schreier
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VII. Duetto (Soprano, Tenore) Versus VI "So feiern wir das hohe Fest" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
1:58
8Kantate, BWV 4 „Christ lag in Todesbanden“: VIII. Choral Versus VII „Wir essen und leben wohl“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and Heinz Jansen (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra and performer:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VIII. Choral Versus VII "Wir essen und leben wohl" (in 1980-12)
composed in:
Mühlhausen, Thüringen, Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen, Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (in 1707)
librettist:
Martin Luther (in 1524)
part of:
Breitkopf 389 Choralgesänge (number: 41)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
1:22
9Kantate, BWV 5 „Wo soll ich fliehen hin“: I. Coro „Wo soll ich fliehen hin“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": I. Coro "Wo soll ich fliehen hin" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Johann Heermann (in 1630)
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
4:00
10Kantate, BWV 5 „Wo soll ich fliehen hin“: II. Recitativo (Basso) „Der Sünden Wust hat mich nicht nur befleckt“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": II. Recitativo (Basso) "Der Sünden Wust hat mich nicht nur befleckt" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
1:10
11Kantate, BWV 5 „Wo soll ich fliehen hin“: III. Aria (Tenore) „Ergieße dich reichlich, du göttliche Quelle“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Aldo Baldin
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": III. Aria (Tenore) "Ergieße dich reichlich, du göttliche Quelle" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
5:44
12Kantate, BWV 5 „Wo soll ich fliehen hin“: IV. Recitativo (Alto) „Mein treuer Heiland tröstet mich“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Carolyn Watkinson
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": IV. Recitativo (Alto) "Mein treuer Heiland tröstet mich" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
1:38
13Kantate, BWV 5 „Wo soll ich fliehen hin“: V. Aria (Basso) „Verstumme, Höllenheer, Du machst mich nicht verzagt!“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": V. Aria (Basso) "Verstumme, Höllenheer, Du machst mich nicht verzagt!" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
5:47
14Kantate, BWV 5 „Wo soll ich fliehen hin“: VI. Recitativo (Soprano) „Ich bin ja nur das kleinste Teil der Welt“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
soprano vocals:
Arleen Augér
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": VI. Recitativo (Soprano) "Ich bin ja nur das kleinste Teil der Welt" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
1:07
15Kantate, BWV 5 „Wo soll ich fliehen hin“: VII. Choral „Führ auch mein Herz und Sinn“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 5 "Wo soll ich fliehen hin": VII. Choral "Führ auch mein Herz und Sinn" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1724-10-15)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Johann Heermann (in 1630)
part of:
Breitkopf 389 Choralgesänge (number: 28)
part of:
Kantate, BWV 5 "Wo soll ich fliehen hin"
0:51
16Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: I. Coro „Bleib bei uns, denn es will Abend werden“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": I. Coro "Bleib bei uns, denn es will Abend werden" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
5:40
17Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: II. Aria (Alto) „Hochgelobter Gottessohn, Laß es dir nicht sein entgegen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals and solo mezzo-soprano vocals [Alt]:
Carolyn Watkinson
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": II. Aria (Alto) "Hochgelobter Gottessohn, Laß es dir nicht sein entgegen" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
4:07
18Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: III. Choral (Soprano) „Ach bleib bei uns, Herr Jesu Christ“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
solo soprano vocals and soprano vocals:
Edith Wiens
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": III. Choral (Soprano) "Ach bleib bei uns, Herr Jesu Christ" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Nikolaus Herman (in 1572) and Nikolaus Selnecker (in 1572)
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
4:26
19Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: IV. Recitativo (Basso) „Es hat die Dunkelheit“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals and solo bass vocals:
Walter Heldwein
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": IV. Recitativo (Basso) "Es hat die Dunkelheit" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
0:59
20Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: V. Aria (Tenore) „Jesu, lass uns auf dich sehen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
solo tenor vocals and tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": V. Aria (Tenore) "Jesu, lass uns auf dich sehen" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
librettist:
[anonymous]
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
3:06
21Kantate, BWV 6 „Bleib bei uns, denn es will Abend werden“: VI. Choral „Beweis dein Macht, Herr Jesu Christ“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1980-12)
recording of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden": VI. Choral "Beweis dein Macht, Herr Jesu Christ" (in 1980-12)
premiered in:
Leipzig, Sachsen, Germany (on 1725-04-02)
composed in:
Leipzig, Sachsen, Germany (in 1725)
composer:
Johann Sebastian Bach (in 1725)
librettist:
Martin Luther (in 1542)
part of:
Breitkopf 389 Choralgesänge (number: 79)
part of:
Kantate, BWV 6 "Bleib bei uns, denn es will Abend werden"
0:47
3▼CD: Vol 1. Cantatas CD 3
#TitleLength
1Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: I. Coro „Christ unser Herr zum Jordan kam“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": I. Coro "Christ unser Herr zum Jordan kam" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Martin Luther (in 1541)
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
5:49
2Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: II. Aria (Basso) „Merkt und hört, ihr Menschenkinder“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": II. Aria (Basso) "Merkt und hört, ihr Menschenkinder" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
5:04
3Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: III. Recitativo (Tenore) „Dies hat Gott klar mit Worten und mit Bildern dargetan“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": III. Recitativo (Tenore) "Dies hat Gott klar mit Worten und mit Bildern dargetan" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
1:20
4Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: IV. Aria (Tenore) „Des Vaters Stimme ließ sich hören“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": IV. Aria (Tenore) "Des Vaters Stimme ließ sich hören" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
4:07
5Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: V. Recitativo (Basso) „Als Jesus dort nach seinen Leiden“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": V. Recitativo (Basso) "Als Jesus dort nach seinen Leiden" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
1:04
6Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: VI. Aria (Alto) „Menschen, glaubt doch dieser Gnade“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Helen Watts
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": VI. Aria (Alto) "Menschen, glaubt doch dieser Gnade" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
3:24
7Kantate, BWV 7 „Christ unser Herr zum Jordan kam“: VII. Choral „Das Aug allein das Wasser sieht“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam": VII. Choral "Das Aug allein das Wasser sieht" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-06-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Martin Luther (in 1541)
part of:
Breitkopf 389 Choralgesänge (number: 44)
part of:
Kantate, BWV 7 "Christ unser Herr zum Jordan kam"
1:17
8Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: I. Coro „Liebster Gott, wenn werd ich sterben?“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": I. Coro "Liebster Gott, wenn werd ich sterben?" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Caspar Neumann
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
4:34
9Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: II. Aria (Tenore) „Was willst du dich, mein Geist, entsetzen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": II. Aria (Tenore) "Was willst du dich, mein Geist, entsetzen" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
3:25
10Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: III. Recitativo (Alto) „Zwar fühlt mein schwaches Herz“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Helen Watts
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": III. Recitativo (Alto) "Zwar fühlt mein schwaches Herz" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
1:11
11Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: IV. Aria (Basso) „Doch weichet, ihr tollen, vergeblichen Sorgen!“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Philippe Huttenlocher
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": IV. Aria (Basso) "Doch weichet, ihr tollen, vergeblichen Sorgen!" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
version of:
Kantate, BWV 8 appendix "Liebster Gott, wenn werd ich sterben?": IV. Aria (Basso) "Doch weichet, ihr tollen, vergeblichen Sorgen!" (Alternative version)
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
5:15
12Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: V. Recitativo (Soprano) „Behalte nur, o Welt, das Meine!“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
soprano vocals:
Arleen Augér
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": V. Recitativo (Soprano) "Behalte nur, o Welt, das Meine!" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
[anonymous]
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
1:22
13Kantate, BWV 8 „Liebster Gott, wenn werd ich sterben?“: VI. Choral „Herrscher über Tod und Leben“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1979-02 until 1979-10)
recording of:
Kantate, BWV 8 "Liebster Gott, wenn werd ich sterben?": VI. Choral "Herrscher über Tod und Leben" (in 1979-02)
premiered in:
Leipzig, Sachsen, Germany (on 1724-09-24)
composed in:
Leipzig, Sachsen, Germany (in 1724)
composer:
Johann Sebastian Bach (in 1724)
librettist:
Caspar Neumann
part of:
Breitkopf 389 Choralgesänge (number: 227)
part of:
Kantate, BWV 8.2 "Liebster Gott, wenn werd ich sterben?" (2nd version)
1:11
14Kantate, BWV 9 „Es ist das Heil uns kommen her“: I. Coro „Es ist das Heil uns kommen her“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": I. Coro "Es ist das Heil uns kommen her" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
4:59
15Kantate, BWV 9 „Es ist das Heil uns kommen her“: II. Recitativo (Basso) „Gott gab uns ein Gesetz, doch waren wir zu schwach“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": II. Recitativo (Basso) "Gott gab uns ein Gesetz, doch waren wir zu schwach" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
1:14
16Kantate, BWV 9 „Es ist das Heil uns kommen her“: III. Aria (Tenore) „Wir waren schon zu tief gesunken“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": III. Aria (Tenore) "Wir waren schon zu tief gesunken" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
3:48
17Kantate, BWV 9 „Es ist das Heil uns kommen her“: IV. Recitativo (Basso) „Doch musste das Gesetz erfüllet werden“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": IV. Recitativo (Basso) "Doch musste das Gesetz erfüllet werden" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
1:17
18Kantate, BWV 9 „Es ist das Heil uns kommen her“: V. Aria (Duetto: Soprano, Alto) „Herr, du siehst statt guter Werke“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Gabriele Schreckenbach
soprano vocals:
Ulrike Sonntag
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": V. Aria (Duetto: Soprano, Alto) "Herr, du siehst statt guter Werke" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
6:30
19Kantate, BWV 9 „Es ist das Heil uns kommen her“: VI. Recitativo (Basso) „Wenn wir die Sünd aus dem Gesetz erkennen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": VI. Recitativo (Basso) "Wenn wir die Sünd aus dem Gesetz erkennen" (in 1984-02)
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
1:23
20Kantate, BWV 9 „Es ist das Heil uns kommen her“: VII. Choral „Ob sichs anließ, als wollt er nicht“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1984-02)
recording of:
Kantate, BWV 9 "Es ist das Heil uns kommen her": VII. Choral "Ob sichs anließ, als wollt er nicht" (in 1984-02)
lyricist:
Paul Speratus
composer:
Johann Sebastian Bach (from 1732 until 1735)
part of:
Breitkopf 389 Choralgesänge (number: 87)
part of:
Kantate, BWV 9 "Es ist das Heil uns kommen her"
1:11
4▼CD: Vol 1. Cantatas CD 4
#TitleLength
1Kantate, BWV 10 „Meine Seel erhebt den Herren“: I. Coro „Meine Seel erhebt den Herren“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": I. Coro "Meine Seel erhebt den Herren" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
4:55
2Kantate, BWV 10 „Meine Seel erhebt den Herren“: II. Aria (Soprano) „Herr, der du stark und mächtig bist“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
soprano vocals:
Arleen Augér (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": II. Aria (Soprano) "Herr, der du stark und mächtig bist" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
6:47
3Kantate, BWV 10 „Meine Seel erhebt den Herren“: III. Recitativo (Tenore) „Des Höchsten Güt und Treu“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Aldo Baldin (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": III. Recitativo (Tenore) "Des Höchsten Güt und Treu" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
1:31
4Kantate, BWV 10 „Meine Seel erhebt den Herren“: IV. Aria (Basso) „Gewaltige stößt Gott vom Stuhl“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Wolfgang Schöne (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": IV. Aria (Basso) "Gewaltige stößt Gott vom Stuhl" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
2:59
5Kantate, BWV 10 „Meine Seel erhebt den Herren“: V. Duetto e Choral (Alto, tenore) „Er denket der Barmherzigkeit“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Margit Neubauer (in 1979-02)
tenor vocals:
Aldo Baldin (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": V. Duetto e Choral (Alto, tenore) "Er denket der Barmherzigkeit" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
2:00
6Kantate, BWV 10 „Meine Seel erhebt den Herren“: VI. Recitativo (Tenore) „Was Gott den Vätern alter Zeiten“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
tenor vocals:
Aldo Baldin (in 1979-02)
vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": VI. Recitativo (Tenore) "Was Gott den Vätern alter Zeiten" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
2:16
7Kantate, BWV 10 „Meine Seel erhebt den Herren“: VII. Choral „Lob und Preis sei Gott dem Vater und dem Sohn“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart (in 1979-02)
orchestra:
Bach‐Collegium Stuttgart (in 1979-02)
conductor:
Helmuth Rilling (in 1979-02)
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1979-02)
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": VII. Choral "Lob und Preis sei Gott dem Vater und dem Sohn" (in 1979-02)
composer:
Johann Sebastian Bach (in 1724)
part of:
Breitkopf 389 Choralgesänge (number: 122)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
1:10
8Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: I. Sinfonia
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": I. Sinfonia (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
2:45
9Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: II. Coro „Weinen, Klagen, Sorgen, Zagen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": II. Coro "Weinen, Klagen, Sorgen, Zagen" (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
7:35
10Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: III. Recitativo (Alto) „Wir müssen durch viel Trübsal“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
alto vocals:
Helen Watts
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": III. Recitativo (Alto) "Wir müssen durch viel Trübsal" (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
0:46
11Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: IV. Aria (Alto) „Kreuz und Krone sind verbunden“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
alto vocals:
Helen Watts
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": IV. Aria (Alto) "Kreuz und Krone sind verbunden" (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
6:42
12Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: V. Aria (Basso) „Ich folge Christo nach“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
bass vocals:
Wolfgang Schöne
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": V. Aria (Basso) "Ich folge Christo nach" (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
2:47
13Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: VI. Aria (Tenore) „Sei getreu, alle Pein wird doch nur ein Kleines sein“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": VI. Aria (Tenore) "Sei getreu, alle Pein wird doch nur ein Kleines sein" (in 1972-02)
composer:
Johann Sebastian Bach (in 1714)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
4:50
14Kantate, BWV 12 „Weinen, Klagen, Sorgen, Zagen“: VII. Choral „Was Gott tut, das ist wohlgetan“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (in 1972-02)
recording of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": VII. Choral "Was Gott tut, das ist wohlgetan" (in 1972-02)
lyricist:
Samuel Rodigast
composer:
Johann Sebastian Bach (in 1714)
part of:
Breitkopf 389 Choralgesänge (number: 340)
part of:
Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen"
1:00
15Kantate, BWV 13 „Meine Seufzer, meine Tränen“: I. Aria (Tenore) „Meine Seufzer, meine Tränen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor) and recording supervisor
tenor vocals:
Adalbert Kraus
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": I. Aria (Tenore) "Meine Seufzer, meine Tränen" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Georg Christian Lehms (in 1711)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
6:17
16Kantate, BWV 13 „Meine Seufzer, meine Tränen“: II. Recitativo (Alto) „Mein liebster Gott lässt mich annoch“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Carolyn Watkinson
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": II. Recitativo (Alto) "Mein liebster Gott lässt mich annoch" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Georg Christian Lehms (in 1711)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
1:26
17Kantate, BWV 13 „Meine Seufzer, meine Tränen“: III. Choral (Alto) „Der Gott, der mir hat versprochen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
alto vocals:
Carolyn Watkinson
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": III. Choral (Alto) "Der Gott, der mir hat versprochen" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Johann Heermann (in 1636)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
3:05
18Kantate, BWV 13 „Meine Seufzer, meine Tränen“: IV. Recitativo (Soprano) „Mein Kummer nimmet zu“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
soprano vocals:
Arleen Augér
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": IV. Recitativo (Soprano) "Mein Kummer nimmet zu" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Georg Christian Lehms (in 1711)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
1:31
19Kantate, BWV 13 „Meine Seufzer, meine Tränen“: V. Aria (Basso) „Ächzen und erbärmlich Weinen“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
bass vocals:
Walter Heldwein
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": V. Aria (Basso) "Ächzen und erbärmlich Weinen" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Georg Christian Lehms (in 1711)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
6:25
20Kantate, BWV 13 „Meine Seufzer, meine Tränen“: VI. Choral „So sei nun, Seele“
recording engineer:
Teije van Geest
producer:
Richard Hauck (task: recording supervisor)
choir vocals:
Gächinger Kantorei Stuttgart
orchestra:
Bach‐Collegium Stuttgart
conductor:
Helmuth Rilling
recorded at:
Gedächtniskirche Stuttgart in Stuttgart, Baden-Württemberg, Germany (from 1981-03 until 1981-11)
recording of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen": VI. Choral "So sei nun, Seele" (from 1981-03 until 1981-11)
composer:
Johann Sebastian Bach (in 1726)
librettist:
Paul Fleming (in 1642)
part of:
Breitkopf 389 Choralgesänge (number: 295)
part of:
Kantate, BWV 13 "Meine Seufzer, meine Tränen"
1:04
5▶CD: Vol 2. Cantatas CD 1
6▶CD: Vol 2. Cantatas CD 2
7▶CD: Vol 2. Cantatas CD 3
8▶CD: Vol 2. Cantatas CD 4
9▶CD: Vol 3. Cantatas CD 1
10▶CD: Vol 3. Cantatas CD 2
11▶CD: Vol 3. Cantatas CD 3
12▶CD: Vol 3. Cantatas CD 4
13▶CD: Vol 4. Cantatas CD 1
14▶CD: Vol 4. Cantatas CD 2
15▶CD: Vol 4. Cantatas CD 3
16▶CD: Vol 4. Cantatas CD 4
17▶CD: Vol 5. Cantatas CD 1
18▶CD: Vol 5. Cantatas CD 2
19▶CD: Vol 5. Cantatas CD 3
20▶CD: Vol 5. Cantatas CD 4
21▶CD: Vol 6. Cantatas CD 1
22▶CD: Vol 6. Cantatas CD 2
23▶CD: Vol 6. Cantatas CD 3
24▶CD: Vol 6. Cantatas CD 4
25▶CD: Vol 7. Cantatas CD 1
26▶CD: Vol 7. Cantatas CD 2
27▶CD: Vol 7. Cantatas CD 3
28▶CD: Vol 7. Cantatas CD 4
29▶CD: Vol 8. Cantatas CD 1
30▶CD: Vol 8. Cantatas CD 2
31▶CD: Vol 8. Cantatas CD 3
32▶CD: Vol 8. Cantatas CD 4
33▶CD: Vol 9. Cantatas CD 1
34▶CD: Vol 9. Cantatas CD 2
35▶CD: Vol 9. Cantatas CD 3
36▶CD: Vol 9. Cantatas CD 4
37▶CD: Vol 10. Cantatas CD 1
38▶CD: Vol 10. Cantatas CD 2
39▶CD: Vol 10. Cantatas CD 3
40▶CD: Vol 10. Cantatas CD 4
41▶CD: Vol 11. Cantatas CD 1
42▶CD: Vol 11. Cantatas CD 2
43▶CD: Vol 11. Cantatas CD 3
44▶CD: Vol 11. Cantatas CD 4
45▶CD: Vol 12. Cantatas CD 1
46▶CD: Vol 12. Cantatas CD 2
47▶CD: Vol 12. Cantatas CD 3
48▶CD: Vol 12. Cantatas CD 4
49▶CD: Vol 13. Cantatas CD 1
50▶CD: Vol 13. Cantatas CD 2
51▶CD: Vol 13. Cantatas CD 3
52▶CD: Vol 13. Cantatas CD 4
53▶CD: Vol 14. Cantatas CD 1
54▶CD: Vol 14. Cantatas CD 2
55▶CD: Vol 14. Cantatas CD 3
56▶CD: Vol 14. Cantatas CD 4
57▶CD: Vol 15. Cantatas CD 1
58▶CD: Vol 15. Cantatas CD 2
59▶CD: Vol 15. Cantatas CD 3
60▶CD: Vol 15. Cantatas CD 4
61▶CD: Vol 16. Cantatas CD 1
62▶CD: Vol 16. Cantatas CD 2
63▶CD: Vol 16. Cantatas CD 3
64▶CD: Vol 16. Cantatas CD 4
65▶CD: Vol 17. Cantatas CD 1
66▶CD: Vol 17. Cantatas CD 2
67▶CD: Vol 17. Cantatas CD 3
68▶CD: Vol 17. Cantatas CD 4
69▶CD: Vol 18. Congratulatory And Hommage Cantatas CD 1
70▶CD: Vol 18. Congratulatory And Hommage Cantatas CD 2
71▶CD: Vol 18. Congratulatory And Hommage Cantatas CD 3
72▶CD: Vol 18. Congratulatory And Hommage Cantatas CD 4
73▶CD: Vol 19. Mass In B Minor · Sacred Music In Latin CD 1
74▶CD: Vol 19. Mass In B Minor · Sacred Music In Latin CD 2
75▶CD: Vol 19. Mass In B Minor · Sacred Music In Latin CD 3
76▶CD: Vol 19. Mass In B Minor · Sacred Music In Latin CD 4
77▶CD: Vol 20. Christmas Oratorio · A Book Of Chorale-Settings CD 1
78▶CD: Vol 20. Christmas Oratorio · A Book Of Chorale-Settings CD 2
79▶CD: Vol 20. Christmas Oratorio · A Book Of Chorale-Settings CD 3
80▶CD: Vol 20. Christmas Oratorio · A Book Of Chorale-Settings CD 4
81▶CD: Vol 21. St. Matthew Passion · A Book Of Chorale-Settings CD 1
82▶CD: Vol 21. St. Matthew Passion · A Book Of Chorale-Settings CD 2
83▶CD: Vol 21. St. Matthew Passion · A Book Of Chorale-Settings CD 3
84▶CD: Vol 21. St. Matthew Passion · A Book Of Chorale-Settings CD 4
85▶CD: Vol 22. St. John Passion · Easter Oratorio · A Book Of Chorale Settings CD 1
86▶CD: Vol 22. St. John Passion · Easter Oratorio · A Book Of Chorale Settings CD 2
87▶CD: Vol 22. St. John Passion · Easter Oratorio · A Book Of Chorale Settings CD 3
88▶CD: Vol 22. St. John Passion · Easter Oratorio · A Book Of Chorale Settings CD 4
89▶CD: Vol 23. Magnificat · Sacred Vocal Works CD 1
90▶CD: Vol 23. Magnificat · Sacred Vocal Works CD 2
91▶CD: Vol 23. Magnificat · Sacred Vocal Works CD 3
92▶CD: Vol 23. Magnificat · Sacred Vocal Works CD 4
93▶CD: Vol 24. A Book Of Chorale-Settings CD 1
94▶CD: Vol 24. A Book Of Chorale-Settings CD 2
95▶CD: Vol 24. A Book Of Chorale-Settings CD 3
96▶CD: Vol 24. A Book Of Chorale-Settings CD 4
97▶CD: Vol 25. Organ Works CD 1
98▶CD: Vol 25. Organ Works CD 2
99▶CD: Vol 25. Organ Works CD 3
100▶CD: Vol 25. Organ Works CD 4
101▶CD: Vol 26. Organ Works CD 1
102▶CD: Vol 26. Organ Works CD 2
103▶CD: Vol 26. Organ Works CD 3
104▶CD: Vol 26. Organ Works CD 4
105▶CD: Vol 27. Organ Works CD 1
106▶CD: Vol 27. Organ Works CD 2
107▶CD: Vol 27. Organ Works CD 3
108▶CD: Vol 27. Organ Works CD 4
109▶CD: Vol 28. Organ Works CD 1
110▶CD: Vol 28. Organ Works CD 2
111▶CD: Vol 28. Organ Works CD 3
112▶CD: Vol 28. Organ Works CD 4
113▶CD: Vol 29. Organ Works CD 1
114▶CD: Vol 29. Organ Works CD 2
115▶CD: Vol 29. Organ Works CD 3
116▶CD: Vol 29. Organ Works CD 4
117▶CD: Vol 30. Harpsichord Music CD 1
118▶CD: Vol 30. Harpsichord Music CD 2
119▶CD: Vol 30. Harpsichord Music CD 3
120▶CD: Vol 30. Harpsichord Music CD 4
121▶CD: Vol 31. Keyboard Works CD 1
122▶CD: Vol 31. Keyboard Works CD 2
123▶CD: Vol 31. Keyboard Works CD 3
124▶CD: Vol 31. Keyboard Works CD 4
125▶CD: Vol 32. Keyboard Works CD 1
126▶CD: Vol 32. Keyboard Works CD 2
127▶CD: Vol 32. Keyboard Works CD 3
128▶CD: Vol 32. Keyboard Works CD 4
129▶CD: Vol 33. Keyboard Works CD 1
130▶CD: Vol 33. Keyboard Works CD 2
131▶CD: Vol 33. Keyboard Works CD 2
132▶CD: Vol 33. Keyboard Works CD 4
133▶CD: Vol 34. Keyboard Works CD 1
134▶CD: Vol 34. Keyboard Works CD 2
135▶CD: Vol 34. Keyboard Works CD 3
136▶CD: Vol 34. Keyboard Works CD 4
137▶CD: Vol 35. Keyboard Works CD 1
138▶CD: Vol 35. Keyboard Works CD 2
139▶CD: Vol 35. Keyboard Works CD 3
140▶CD: Vol 35. Keyboard Works CD 4
141▶CD: Vol 36. Keyboard Works CD 1
142▶CD: Vol 36. Keyboard Works CD 2
143▶CD: Vol 36. Keyboard Works CD 3
144▶CD: Vol 36. Keyboard Works CD 4
145▶CD: Vol 37. Keyboard Works CD 1
146▶CD: Vol 37. Keyboard Works CD 2
147▶CD: Vol 37. Keyboard Works CD 3
148▶CD: Vol 37. Keyboard Works CD 4
149▶CD: Vol 38. Orchestral Music CD 1
150▶CD: Vol 38. Orchestral Music CD 2
151▶CD: Vol 38. Orchestral Music CD 3
152▶CD: Vol 38. Orchestral Music CD 4
153▶CD: Vol 39. Works For Violin CD 1
154▶CD: Vol 39. Works For Violin CD 2
155▶CD: Vol 39. Works For Violin CD 3
156▶CD: Vol 39. Works For Violin CD 4
157▶CD: Vol 40. Harpsichord Concertos CD 1
158▶CD: Vol 40. Harpsichord Concertos CD 2
159▶CD: Vol 40. Harpsichord Concertos CD 3
160▶CD: Vol 40. Harpsichord Concertos CD 4
161▶CD: Vol 41. Works For Solo Violin And Solo Cello CD 1
162▶CD: Vol 41. Works For Solo Violin And Solo Cello CD 2
163▶CD: Vol 41. Works For Solo Violin And Solo Cello CD 3
164▶CD: Vol 41. Works For Solo Violin And Solo Cello CD 4
165▶CD: Vol 42. Sonatas For Viola Da Gamba And Harpsichord CD 1
166▶CD: Vol 42. Sonatas For Viola Da Gamba And Harpsichord CD 2
167▶CD: Vol 42. Sonatas For Viola Da Gamba And Harpsichord CD 3
168▶CD: Vol 42. Sonatas For Viola Da Gamba And Harpsichord CD 4
169▶CD: Vol 43. Restored Oboe Concerti · Musical Offering CD 1
170▶CD: Vol 43. Restored Oboe Concerti · Musical Offering CD 2
171▶CD: Vol 43. Restored Oboe Concerti · Musical Offering CD 3