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Артист: J.S.Bach Альбом: Bach / Suzuki series, BIS, 1997 Жанр: classical music

Genre: classical music
Original name: Bach - The Complete Cantatas & other works
Composer: J.S.Bach
Conductor: Suzuki, Masaaki
Performer: Suzuki, Masaaki - harpsichord, organ
Ensemble/Orchestra: Bach Collegium Japan - ensemble, orchestra, choir & orchestra, choir
Release Date:
Label: BIS
Number of Discs:
Format: EAC/FLAC+CUE/COVERS/BOOKLETS

For more information see HERE (Suzuki, Masaaki) and HERE (Bach Collegium Japan)

Details on the ongoing Complete Bach Cantatas by BCJapan and Masaaki Suzuki on the BIS label are HERE.


LIST OF RELEASES:

Sacred Cantatas:
Volumes 1-5 - ЗДЕСЬ
Volume 6 - ЗДЕСЬ
Volume 7 - ЗДЕСЬ
Volume 8 - ЗДЕСЬ
Volume 9 - ЗДЕСЬ
Volume 10 - ЗДЕСЬ
Volume 11 - ЗДЕСЬ
Volume 12 - ЗДЕСЬ
Volume 13 - ЗДЕСЬ
Volume 14 - ЗДЕСЬ
Volume 15 - ЗДЕСЬ
Volume 16 - ЗДЕСЬ
Volume 17 - ЗДЕСЬ
Volume 18 - ЗДЕСЬ
Volume 19 - ЗДЕСЬ
Volume 20 - ЗДЕСЬ
Volume 21 - ЗДЕСЬ
Volume 22 - ЗДЕСЬ
Volume 23 - ЗДЕСЬ
Volume 24 - ЗДЕСЬ
Volume 25 - ЗДЕСЬ
Volume 26 - ЗДЕСЬ
Volume 27 - ЗДЕСЬ
Volume 28 - ЗДЕСЬ
Volume 29 - ЗДЕСЬ
Volume 30 - ЗДЕСЬ
Volume 31 - ЗДЕСЬ
Volume 32 - ЗДЕСЬ
Volume 33 - ЗДЕСЬ
Volume 34 - ЗДЕСЬ
Volume 35 - ЗДЕСЬ

Secular Cantatas BWV 210 & 211 - ЗДЕСЬ
The Violin and Brandenburg Concertos - ЗДЕСЬ
The Four Orchestral Suites - ЗДЕСЬ
Clavier-Ubung, part I: Partitas for harpsichord - ЗДЕСЬ
Clavier-Ubung, part II: Italian Concerto & French Ouverture - ЗДЕСЬ
Clavier-Ubung, part III: German Organ Mass - ЗДЕСЬ
Clavier-Ubung, part IV: Goldberg Variations - ЗДЕСЬ
Matthaus- und Johannespassion - ЗДЕСЬ
Easter and Ascension Oratorios - ЗДЕСЬ
Christmas Oratorio (Weihnachts-Oratorium in sechs Teilen) BWV 248 - ЗДЕСЬ


Рипы сделаны потреково в соответсвие с требованиям первоначального трекера откуда слиты торенты. Разрешение залить получил при условие что ничего не буду менять в оригинальные файлы. Первоначальные релизы дело того же перфектного аплоадера, который пустил впервые и The Hyperion Romantic Piano Concerto series!


A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

This post has been edited by vpenev on 25-10-2007, 18:48

Bach - Sacred Cantatas Volumes 1-5

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


... "umatched excellence ... soloists who blend beautifully with each other...
a remarkable cycle. Recommended without reservation."


... These performances are satisfying on a number of levels. The instrumental playing, by and large, is polished, the soloists communicative and the importance attached to the literary texts greater than is found on most rival versions. .... unmatched excellence. Masaaki Suzuki’s direction never falters and his solo vocalists seem to go from strength to strength as the series progresses. Midori Suzuki makes a richly rewarding contribution with beautifully poised singing, a crystal-clear voice and an upper range that only very occasionally sounds at all threatened. ... Conductor Masaaki Suzuki has done well, not only with his top-notch choir and period-instrument orchestra, but also with soloists who blend beautifully with each other... he complements his soloists’ superb renderings with unfaltering focus and attention to instrumental detail, which happily proves to be the norm for this remarkable cycle. Recommended without reservation. ... BIS’s sound continues to be first rate, with everything superbly integrated in a dry, believably proportionate acoustic space. Likewise, the thorough notes by Tadashi Isoyama and Suzuki remain as erudite and informative as they were in previous volumes. Performances of these Weimar cantatas simply don’t get any better.
(John Greene, Classictoday.com and Nicholas Anderson, Gramophone)

Soloists vols. 1-5
Midori Suzuki, Yumiko Kurisu, Aki Yanagisawa and Ingrid Schmithьsen, sopranos
Yoshikazu Mera and Akira Tachikawa, counter-tenors
Gerd Tьrk, Makoto Sakurada and Koki Katano, tenors
Peter Kooij and Stephan Schreckenberger, basses

Bach Collegium Japan
Masaaki Suzuki
Ryo Terakado, leader





Disc 1
Cantata No. 4, "Christ lag in Todesbanden", BWV 4 [18:52]
Cantata No. 150, "Nach dir, Herr, verlanget mich", BWV 150 [14:45]
Cantata No. 196, "Der Herr denket an uns", BWV 196 [11:32]
Bonus tracks:
Excerpts from Cantatas BWV 71, 12, 163, 143, 21, Georg Friedrich Hдndel’s Messiah,
Johann Rudolf Ahle’s Missa а 10 and Heinrich Schьtz’s Geistliche Chormusik

Disc 2
Cantata No. 71, "Gott ist mein Kцnig", BWV 71 [19:42]
Cantata No. 131, "Aus der Tiefe rufe ich, Herr, zu dir", BWV 131 [21:45]
Cantata No. 106, "Gottes Zeit is die allerbeste Zeit (Actus Tragicus), BWV 106 [21:08]





Disc 3
Cantata No. 12, "Weinen, Klagen, Sorgen, Zagen", BWV 12 [23:49]
Cantata No. 54, "Widerstehe doch der Sьnde", BWV 54 [10:46]
Cantata No. 162, "Ach, ich gehe, itzt, da ich zur Hochzeit gehe", BWV 162 [15:55]
Cantata No. 182, "Himmelskцnig, sei willkommen", BWV 182 [28:39]

Disc 4
Cantata No. 199, "Mein Herze schwimmt in Blut", BWV 199 [23:49]
Cantata No. 165, "O heiliges Geist- und Wasserbad", BWV 165 [10:46]
Cantata No. 185, "Barmherziges Herze der ewigen Liebe", BWV 185 [15:55]
Cantata No. 163, "Nur jedem das Seine", BWV 163 [28:39]

Disc 5
Cantata No. 18, "Gleichwie der Regen und Schnee", BWV 18 [14:17]
Cantata No. 152, "Tritt auf die Glaubensbahn", BWV 152 [17:47]
Cantata No. 155, "Mein Gott, wie lang, ach lange", BWV 155[ [13:15]
Cantata No. 161, "Komm, du sьЯe Todesstunde", BWV 161 [19:27]
Cantata No. 143, "Lobe den Herrn, meine Seele", BWV 143 [13:31]

Recordings made from June 1995 to July 1997 at the Kobe Shoin Women’s University, Japan
Enginereed by Ingo Petry, Hans Kipfer, Marion Schwebel (and Jens Braun
Produced by Robert von Bahr © 1995 / 1997 BIS CD 751 - 781 - 791 - 801 – 841



.. In the fourth volume of the Bach Collegium Japan’s Bach cantata series we encounter one of the composer’s most esteemed and frequently recorded works: Mein Herze schwimmt im Blut, BWV 199. Of course, this begs the question, "How does it compare with so many other great previous recordings of the piece?" The answer is: very well. Soprano Midori Suzuki possesses a fine voice with a clear, light top that easily manages the wide range of expression Bach requires. While smaller-scaled than most, her rendering of the difficult fourth-movement aria "Tief gebьckt und voller Reue" is as fluid as any, with every lengthy phrase beautifully sustained. Likewise in the joyous final aria "Wie freudig ist mein Herz" her voice romps with wonderful zeal and vigor. ... Repeated listening to these performances not only substantiates Masaaki Suzukiмs brilliance as a Bach conductor and confirms the expertise of his team of instrumentalists and vocalists, but also demonstrates the virtues of the Shoin Women’s University Chapel as a recording venue, advantageously exploited by BIS’s superior engineering team. A set that no serious Bach enthusiast should miss.

Complete three languages-booklets in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.
Details on the ongoing Complete Bach Cantatas by BCJapan and Masaaki Suzuki on the BIS label are here.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 21-08-2007, 00:25

а весит сколько?

До сих пор где то около 19 ГБ. Но по определенным причинам не могу пустить все одним флаконом. Постараюсь однако пускать релизы как можно более часто.

This post has been edited by vpenev on 14-08-2007, 09:35

издеваются....

Кто?! Бах? Сузуки? Bach Collegium Japan?
Только скажи друг! Думаю что руководство трекера сразу примет меры против издевателей!!!

Ааааа... Понял!!! Ты о бесах говоришь. Эсли так то попробуй это заклинание: "... и не вводи нас в искушение!" Говорят что очень помогает в таких случаях.

This post has been edited by vpenev on 15-08-2007, 14:20

Johann Sebastian Bach - Matthaus- und Johannespassion

[Suzuki, BIS, 5 CDs][EAC/FLAC+CUE/COVERS/BOOKLETS]


One could trace the roots of Bach’s passions all the way back to Greece, especially in relation to the role of the chorus as both actor and commentator. But the specific liturgical antecedents date from the medieval plainsong passions, in which three priests intoned the crucifixion accounts on the days of Holy Week in music that made no claim to "drama" as that term is customarily applied to later music. This liturgical monophony carried each of the four accounts which were assigned to specific days of the week before Easter. The first German passion settings were by Johann Walther in 1530, using Luther’s translations of Matthew and John. By the late 16th century the typical German plainsong passions augmented the Gospel texts with devotional choruses at the beginning and end, usually of a simple syllabic type and with few if any repetitions of text. In the late Renaissance, a new choral type emerged, the so-called motet passion, in which there was no solo singing at all, although the choral texture was sometimes varied in an attempt to represent the character being portrayed. Later a composite evolved in which accounts from all four Gospels were incorporated: The Seven Last Words of Christ from the Cross. The motet style offered composers opportunities for increased expression, but it limited dramatic realism in not making use of soloists in the character portrayals.
In the early Baroque, several different traditions came into contention as composers began to expand the parameters. Recitative replaced plainsong, instrumental accompaniment was introduced, choral writing was freed from earlier constraints. Germany became a center for these innovations, and by the middle of the 17th century non-biblical texts began to be included, drawn from the enormous Lutheran chorale repertoire, but also and significantly from freshly composed poetry intended for arias and choruses. A new musical form was created, the oratorio passion, which shortly evolved in north Germany into the Hamburg opera passion. Notable among its innovators was Barthold Heinrich Brockes, whose passion text, largely a paraphrase of scripture, was set by Handel, Telemann, Keiser, and others. The Hamburg style of biblical paraphrase was widely copied during Bach’s years. Bach’s obituary, written by his son C. P. E. Bach with the help of his father’s pupil Agricola, mentions five passion settings by the elder Bach. Some doubt exists as to the accuracy of that statement. The John and Matthew accounts are the only ones that survive complete. A setting of Mark has been partially recreated. As to others, most scholars believe it unlikely that complete passion settings of the scale of John and Matthew would have disappeared without a trace.



Disc I - III
Matthaus-Passion, BWV 244
Passion unseres Herrn Jesu Christi nach dem Evangelisten Matthдus
St. Matthew Passion - La Passion selon Saint Matthieu

Nancy Argenta, soprano
Robin Blaze, counter-tenor
Gerd Tьrk, tenor (Evangelist)
Makoto Sakurada, tenor arias, Testis II
Peter Kooij, bass (Jesus)
Chiyuki Urano, bass arias, Judas, Petrus, Pilatus, Pontifex

Bach Collegium Japan
Masaaki Suzuki

Tracklist
Disc I - Part I [69:35]
Disc II - Part II, beginning [53:50]
Disc III - Part II, ending [42.12]

Recorded March 1999 at the Kobe Shoin Women’s University Chapel, Japan
Sound engineer: Marion Schwebel. Recording producer: Hans Kipfer
© 1999 Grammofon AB BIS CD 1000-02

After a wonderfully vital reading of the St. John Passion comes the greatest challenge of all. It may come as a surprise that the ultimate interpretative exploration has been taken up so early in the complete cycle of sacred music planned by BIS. Few, though, would doubt Suzuki’s instincts for the right thing: he is an extraordinarily informed Bachian who has established himself as gauging the spiritual essence of music too often sacrificed for surface vanity. This often gives Suzuki a distinctive quality, as this new recording demonstrates in its floating spaciousness, beautifully weighted textures and a reverence, even worderment. It is plain in the incandescent opening chorus, as glowingly beautiful as you will hear, and also in the arched pathos of ‘O Mensch bewein’; there is a rooted sincerity to the narrative which seeks only to serve, not to impose or impress. Much of this comes down to Gerd Tьrk’s intensely alert Evangelist. He makes discreet poetry out of his role (...) and this suits Suzuki’s evolving and patient, almost purposely undistracted pacing of events. Suzuki lets the tide pull him into the post-Crucifixion drama and meditation, rather than directing the tension-filled last hour of what is, unarguably, one of the most tantalisingly emotional experiences in music. Some may find also that he is too reticent to fling himself into a type of oratorian theatricality, though, on its own, that is not the true source of my discomfort. For all the attractions of Suzuki’s journey of contemplation, the St Matthe is a rather different prospect from most of the cantata њuvre. Plainly, I miss the stark physicality of the passion drama, the palpable human pain, the singers as protagonists prepared to take risks in a believable way. This recording followed a period of intense preparation as well as performances around Easter 1999. With every articulation duly noted and rehearsed, there comes a moment when repeated patterns of phrasing appear as quasi-mannerisms, often involving a wafting legato, and thus limiting characterisation and blocking spontaneity. This does not detract, however, from the voloptuous dialogue of Robin Blaze and the flutes in ‘BuЯ und Reu’ (‘Kцnnen Trдnen’ is also very special), the impeccably delivered, if slightly shrill-sounding Nancy Argenta, and generally the lovingly formed set-pieces in which Peter Kooij’s Christus is a notable achievement. There are indeed many impressive and affecting moments in this St Matthew; the sheer beauty of Suzuki’s conception may be enough for many listeners – as well as the outstandingly fine and consistent playing and singing – as has been the case in the majority of his cantata releases. For me, however, there isn’t enough truly penetrating artistry where the music-making resonates beyond its own set terms. It’s an elusive mix, which is rarely discovered these days, and one perhaps which requires a broader vision of the St Matthew Passion’s cultural significance than Suzuki can give it.
Jonathan Freeman-Attwood, Gramophone, March 2000[/color]





Disc IV - V
Johannespassion, BWV 245
Passion unseres Herrn Jesu Christi nach dem Evangelisten Johannes
St. John Passion - La Passion selon Saint Jean
Fassung / Version IV, 1749

Ingrid Schmithьsen, soprano
Yoshikazu Mera, counter-tenor
Gerd Tьrk, tenor (Evangelist; tenor arias in Appendices)
Makoto Sakurada, tenor arias, Diener
Chiyuki Urano, bass (Jesus)
Peter Kooij, bass arias, Petrus, Pilatus

Tracklist
Disc IV, tracks 1-14 - Part I [34:14]
Disc IV, tracks 15-24 & Disc II, tracks 1-16 - Part II [76:50]
Disc V, tracks 17-19 - Appendices from Version II, 1725 [15:07]

Recorded April 1998 at the Kobe Shoin Women’s University Chapel, Japan
Sound engineer: Ingo Petry. Recording producer: Jens Braun
© 1999 Grammofon AB BIS CD 921-22

Bach seems to have performed his St. John Passion on four Good Fridays during his tenure as Thomaskantor at Leipzig. Unlike his grander scale St. Matthew Passion, however, he continued to make significant revisions to the St John right up the last performance under his direction, on April 4th, 1749. Of the four versions, the second, dating from 1725, contains the most distinctive revisions, the first version (1724) and the last bearing close affinity with one another. Masaaki Suzuki and his talented Bach Collegium Japan have chosen Bach’s latest version as their source for the present recording. (...) What is refreshing about their approach is the importance afforded to the relationship between text and music, to the theological source of Bach’s inspiration, and the emotional impact of the story and the music on its audience. The role of the Evangelist, crucial to the lyrical unfolding of the story, and traditionally a tenor role, is sung with clarity and lightness of inflexion by Gerd Tьrk. His performance is eloquently measured, his phrasing well shaped and his articulation engagingly varied. All of which makes of him a riveting story-teller. The role of Jesus is taken by Chiyuki Urano, an artist with a warm-toned and resonant voice. From among the remaining soloists, Ingrid Schmidthьsen and Yoshikazu Mera make strongly appealing contributions in their respective arias and Peter Kooij (as Pontius Pilate and Peter) is, as ever, satisfying and affecting. Excellent, too, are the contributions of the Collegium’s choir of women’s and men’s voices. There is great textural clarity here, well balanced, furthermore, with the comparably lucid instrumental textures. Choral and instrumental articulation is incisive, propelling the rhythms with energy and urgency; the ‘Lasset uns den nicht zerteilen’ from Part II of the Passion is a lively example of the disciplined expression of which these artists are capable. Too disciplined for some, perhaps, but I certainly found my own emotions responding to it.

What more can I say, other than I found myself drawn into the drama from the start, at the same time finding much that struck me as fresh in matters of interpretation, and tonally of great beauty. Mera’s ‘Es ist vollbracht!’ is superbly sung, with an effectively judged contrast between its molto adagio and vivace sections. Following on from that, there is a complementary serenity in Kooij’s ‘Mein teurer Heiland’, and a chilling sense of theatre in Tьrk’s arioso, ‘Mein Herz in dem die ganze Welt’. It is in passages such as these that the excellence of the Collegium’s instrumentalists is underlined. I should have liked a shade more limpidity in the articulation of the aria ‘ZeflieЯe, mein Herze’, but Schmidthьsen’s singing of it is admirable. In short, I have found myself entranced by the performance. (...) I have a feeling, albeit on slender acquaintance, that the present version will satisfy me more than any of its rivals. It seems to me a subtly poised balance between scholarship and communicative interpretation. And, very sensibly, the second disc contains, in addition, the three arias from the 1725 version that cannot be found elsewhere. For me, at least, this is a major recording event, and an eminently satisfying one.
Nicholas Anderson, Gramophone, April 1999



Johann Sebastian Bach

Three languages-, 68- and 44- pages-booklets in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.[/size][/font]

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 21-08-2007, 00:25

FiL!!! Это (http://torrent.e2k.ru/details.php?id=12341) что то вроде "a little help from a friends" для тех, кто действительно нуждаються помощи заклинания "... и не вводи нас в искушение!" Ето безобидная шутка конечно. Прости друг!!! Но когда то очень любил Йоханес пасион Баха. (И само Евангелие Йоана разумееться.) И твой коментар тронул эту старую любовь. Поэтому и нарушил порядок и залил пасионы прежде и вне очереди. Просто захотелось послушать эту прекрасную музыку снова.

This post has been edited by vpenev on 16-08-2007, 06:46

Bach - Sacred Cantatas Volumes 6

Cantatas Nos. 21 & 31

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


Monika Frimmer, soprano
Gerd Tьrk, tenor
Peter Kooij, bass

Bach Collegium Japan
Masaaki Suzuki
Ryo Terakado, leader

Tracklist
1-9: Cantata No. 31 "Der Himmel lacht, die Erde jubilieret", BWV 31 [20:10]
10-20: Cantata No. 21 "Ich hatte viel Bekьmmernis", BWV 21 [37:32]
21-23: Alternative Movements, BWV 21 [10:17]

Recorded June 1997 at the Kobe Shoin Women’s University, Japan
Enginereed by Jens Braun, produced by Robert von Bahr
© 1997 BIS CD 851



Volume 6 in Masaaki Suzuki's Bach cantata cycle features only two works – however, given how frequently they were performed and how often they were revised by the composer for different venues and personnel, these cantatas must have been highly esteemed by Bach. By this time (1714/15) Bach had hit his stride at Weimar, continuing to experiment with instrumentation and cantata form, drawing collaborative inspiration from librettist Salomo Franck and, most importantly, furthering his status and reputation on his way to an eventual post in Leipzig. – Cantata Ich hatte viel Bekьmmernis, BWV 21 certainly is one of Bach’s grandest, an 11-movement, two-part masterpiece far longer (and longer still if programmed with the alternative movements Suzuki offers as an option) and broader in scope than any to date. The work begins with a dramatically slow sinfonia in D minor, a stately march of oboe, bassoon, and violin gradually augmented with strings and an organ continuo that combine to impress the listener with the cantata's scale and stature. Throughout Part 1, tenor Gerd Tьrk and soprano Monika Frimmer wrestle with their doubts, applying plenty of charisma and expressive virtuosity to their search for and ultimate discovery of spiritual consolation (Frimmer’s frequent runs and sustained breath control in the taxing fifth-movement aria – incorrectly marked "tenor" in the booklet – is often astounding). In Part 2 Bach returns to a dialogue first heard in the final duet of Cantata BWV 152 (Vol. 5) where Jesus and the Soul corroborate their mission. Now all becomes lighter, the exchanges between Frimmer and Tьrk, who no longer are mortal subjects, often approach Italian opera buffa, and a final rousing triumphant chorus studded with trumpets and timpani provides a perfect conclusion to this ambitious undertaking. Until now BWV 21 has received many fine recorded performances, though Suzuki provides us with our first truly great one.

This is not the case however with BWV 31, where Fritz Werner’s benchmark 1964 Erato recording has provided much pleasure over the years. While Suzuki’s performance certainly is stirring (and in most instances his tempos are faster), he fails to elicit as much urgency and sense of spontaneous rapture, particularly with the chorus and brass, that makes Werner’s rendering so memorable and thrilling. Also, while Tьrk and Kooij more than adequately match their Erato competitors – bass Erich Wenk and tenor Helmut Krebs – Frimmer never equals soprano Agnes Giebel’s uncanny versatility of range, flights of expression, and subtle timbre. After Werner (which incidentally is long-deleted on CD), Suzuki’s performance rates with the very best; and strictly in terms of sonic clarity, it is the finest-sounding recording currently available.
(John Greene, ClassicToday.com)





Bach Collegium Japan’s hitherto excellent series of Bach’s sacred cantatas continues with performances of Ich hatte viel Bekьmmernis, and Der Himmel lacht! Die Erde jubilieret. Both are Weimar compositions, dating from c1713 and 1715, respectively, and both were later sung at Leipzig. Where no. 21 is concerned, the performance history is complex since Bach, who clearly and understandably set great store by this extended and profoundly expressive piece, made no fewer than four versions of it. Following what was probably its second Weimar performance, in 1714, Bach produced a new version which he used as a test-piece in Hamburg’s Jacobkirche, when applying for an organist’s post there in 1720. It is this version, for soprano and bass soloists only, in which the parts are transposed from C minor to D minor that forms the basis of the present recording. The differences between the various versions of no. 21 are considerable, affecting both the solo vocal ranges and, to a lesser extent, instrumentation. Masaaki Suzuki offers listeners an opportunity, by way of an appendix, of hearing Bach’s alternative thoughts on certains sections of the cantata, and also promises us the Leipzig version, much the most satisfying of them, later on in the series (vol. 12). - As before, I found myself much taken with these meticolously prepared and affectingly declaimed performances. Listen, for instance, to the beautifully articulated and delicately placed bassoon quavers in the poignant opening Sinfonia of no. 21. This is most sensitively done and an auspicious beginning to the work. String playing and instrumental expertise are impressive. The solo line-up is strong, with Monika Frimmer sustaining several demanding soprano arias with eloquence and tonal warmth. Her ‘Letzte Stunde, brich herein’ (no. 31) is lyrically sung, if a shade on the brisk side, but in the virtuoso ‘Erfreue dich, Seele’ (no. 21) she cannot conceal moments of unease. Gerd Tьrk and Peter Kooij are secure and expressive and, by and large, I like the singing of the 18-voice choir of women’s and men’s voices. As matters stand at present, this would be my preferred choice of an early version of no. 21.
Nicholas Anderson, Gramophone, June 1998


Three languages-, 32 pages-booklet in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.
Details on the ongoing Complete Bach Cantatas by the Bach Collegium Japan and Masaaki Suzuki on BIS.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 21-08-2007, 00:28

vpenev,
таки ты меня ввел в искушение. буду брать. Понемногу. Спасибо.

А ты друг ввел меня в великую сердечную радость с этим!!! Спасибо тебе!!!

А насчет искушения - в случае такого просто нет! Релизы действительно прекрасны! Исполнения разумееться. Как и все остальное конечно. To share them просто чистая и большая радость!!!

This post has been edited by vpenev on 16-08-2007, 06:57

Volume 7 of The Complete Bach Cantatas Project

Cantatas Nos. 61, 63, 132 & 172

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


Ingrid Schmithьsen, soprano
Yoshikazu Mera, counter-tenor
Makoto Sakurada, tenor
Peter Kooij, bass

Bach Collegium Japan
Masaaki Suzuki
Natsumi Wakamatsu, leader

Tracklist
1-7: Cantata No. 63 "Christen, дtzet diesen Tag", BWV 63 [29:14]
8-13: Cantata No. 61 "Nun komm, der Heiden Heiland", BWV 61 [13:46]
14-19: Cantata No. 132 "Bereitet die Wege, bereitet die Bahn", BWV 132 [18:16]
20-25: Cantata No. 172 "Nun komm, der Heiden Heiland", BWV 172 [16:13]

Recorded July 1997 at the Kobe Shoin Women’s University, Japan
Enginereed by Hhans Kipfer, produced by Marion Schwebel
© 1997 BIS CD 881



Suzuki’s graudal but assured journey through the complete Bach cantatas continues with the microseries of works composed in Weimar between 1708 and 1717, the majority of which were written for performances at the castle chapel. That we have so many fine cantatas from this period is indeed thanks to the reigning duke’s diktat that upon Bach’s promotion to Kapellmeister in March 1714 he perform new works each month in the so-called ‘Himmelsburg’ chapel. Three of the cantatas here are works written for Advent and Christmas for 1714 and 1715 whilst Erschallet (No. 172) is a Pentecost cantata also from late on in Bach’s tenure at Weimar. Christen, дtzet diesen Tag is both a resplendent and tender work, which juxtaposes grand, balletic framing choruses with closely-knit, reflective and limpid arias. It has received several fine performances on record over the years... but surely none so delectably paced and naturally argued as this. If one could quibble with very occasional slips in wind intonation, the choruses here succumb delightfully, in the first of Bach’s Christmas Day cantatas, to a placed gravitas in the articulation, simultaneously elevated by a focused choral sound; the words joyfully spin and leap out of this articulate ensemble, both here and in the equally thrilling opening movement of No. 172. As observed in earlier reviews of the series, the soloists seem to go from strength to strength, and nome more so than Yoshikazu Mera, whose countertenor voice displays a remarkable, shimmering beauty in the accompanied recitative of No. 63 and whose impressive control in ‘Christi Glieder’, from No. 132, is little like anything we have heard from him so far. If Peter Kooij is a known quantity and acts as something of an eminence grise, he lightly and gracefully paves the way for the poised Ingrid Schmithьsen (she negotiates the high-pitched ‘Bereitet die Wege’ from No. 132 with unequivocal vitality) in the first of her two duets: the second in No. 172, ‘Komm, lass mich’ is a chorale-aria on Veni Creator which reveals the level of commitment and attention to detail which Suzuki derives from his singers. The Japanese chief is never less than unself-regarding in his approach, one where absence of mannerism and a freshness of enquiry (which belies deep understanding of each work) presents the listener with new ‘texts’ of rare thoughtfulness, serenity and sureness of touch. This is another hugely rewarding disc from the Bach Collegium Japan which can only be described as a triumph.
Jonathan Freeman-Atwood, Gramophone, August 1998



... From the outset (of Cantata BWV 63) it’s clear that Bach draws immense inspiration from his subject, with a jubilant opening movement featuring four trumpets, timpani, full woodwinds and strings, and one of his most lively chorales that thoroughly evokes if not proclaims the joy of Jesus’ birth. Masaaki Suzuki and his forces rise to the occasion, delivering a powerfully charged performance that outclasses all others – highlighted by the musicians’ remarkable ability to negotiate the wide range of expression required throughout the work. Soprano Ingrid Schmithьsen and bass Peter Kooij’s pensive third-movement aria (duet), with its haunting complementary oboe obbligato, couldn’t be more lovely and passionately convincing. Likewise countertenor Yoshikazu Mera and tenor Makato Sakurada’s sprightly fifth-movement duet set against a highly rhythmic momentum of strings and organ continuo vividly extols the text’s message of thankfulness and grace. Add three highly dramatic, near-Italianate recitatives and a glorious spirited choral finale and you’ve got one extraordinarily auspicious first entry among Bach’s numerous Christmas cantata settings. -- The remaining three cantatas also feature many inspired moments. For instance, BWV 61 includes a brief though very suspenseful fourth-movent recitative – "Siehe, ich stehe vor der Tьr und Klopfe an" (Behold, I stand before the door and knock) – where Bach imaginatively sets bass Kooij against a sharply delineated, austere "knocking" pulse of plucked pizzicato strings and organ. As well in the opening aria of BWV 132 "Bereitet die Wege, bereitet die Bahn" (Prepare the ways, prepare the road) Bach affords soprano Schmithьsen numerous opportunities to display her prodigious talents; her deft ability to trill and sustain notes while remaining integral to the continuo line is simply a joy. In the final cantata BWV 172 back are the trumpets, timpani, and overall full orchestration heard earlier in BWV 63. While the rousing full-tilt opening and grand choral finale certainly impress, Kooij’s bracing third-movement aria set against a heroic backdrop of brass, and the ravishing fifth-movement aria (duet) with Schmithьsen and Mera are equally inspiring. This is an impressive installment in a cycle that so far has done nearly everything right. Brilliant.
John Greene, ClassicToday.com

Three languages-, 32 pages-booklet in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.
Details on the ongoing Complete Bach Cantatas by Bach Collegium Japan and Masaaki Suzuki on BIS.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 20-08-2007, 18:37

Volume 8 of The Complete Bach Cantatas Project

Cantatas Nos. 22, 23 & 75

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


Midori Suzuki, soprano
Yoshikazu Mera, counter-tenor
Gerd Tьrk, tenor
Peter Kooij, bass

Bach Collegium Japan
Masaaki Suzuki
Natsumi Wakamatsu, leader

Tracklist
1-5: Cantata No. 22 "Jesus nahm zu sich die Zwцlfe", BWV 22 [16:38]
6-9: Cantata No. 23 "Du wahrer Gott und Davids Sohn", BWV 23 [16:14]
10-23: Cantata No. 75 "Die Elenden sollen essen", BWV 75 [31:12]

Recorded May 1998 at the Kobe Shoin Women’s University, Japan
Enginereed by Jens Braun, produced by Ingo Petry
© 1998 BIS CD 901



The eight volume of Bach Collegium Japan’s Bach cantata series bridges the period between Bach’s departure from Cцthen and his arrival at Leipzing, early in 1723. Du wahrer Gott und Davids Sohn was mainly written at Cцthen, while Jesus nahm zu sich die Zwцlfe must have been composed almost immediately on Bach’s reaching Leipzig. Both cantatas, at any rate, were performed before a selected gathering at Leipzig on the February 7th when Bach presented them as contrasting examples of his varied compositional skill. They were, in fact, his Probestьcke or test pieces for the post in Leipzig Thomaskantor. The remaining cantata on this disc, Die Elenden sollen essen is on an altogether grander scale, in two parts, each of seven movements. This was Bach’s first official Leipzig cantata, sung in the Nicolaikirche on the First Sunday after Trinity, 1723, when it ‘received much applause’. I would reiterate those words in respect of the present performances which maintain the high standard of singing, playing and scholarship set by the previous issues in this series. There are, to be sure, little insecurities here and there – the oboes, which play a prominent role in each of the three pieces, are not always perfectly in agreement over tuning – but the careful thought given to words, their significance and declamation, and the skill with which they are enlivened by the realization of Bach’s expressive musical vocabulary, remain the most satisfying features of this series so far. The opening duet of No. 23 is handled with all the lyricism immaginable, while the disciplined, perceptively phrased and beautifully sustained singing of the two choral numbers of the same work illuminate the words at every turn, savouring the seemingly infinite expressive nuances of the music.
As for No. 75, we can only imagine the astonishment with which Leipzig ears must have attuned to its music. In this absolutely superb piece Bach entertains us with a breathtaking stylistic diversity: poliphony, fugue, chorale fantasia, da capo aria, instrumental sinfonia, varied recitative, wonderful oboe writing and a rhythmic richesse all contribute to the special distinction both of this cantata and that with which Bach followed it (No. 76) on the Second Sunday after Trinity. We have that to look forward to in the next volume but, meanwhile, lose no time in becoming acquainted with this one. It reaches, one might say, those parts which other performances do not. Fine recorded sound.
Nicholas Anderson, Gramophone, January 1999



Volume 8 of the Bach Collegium Japan’s complete cycle of Bach’s cantatas begins a series devoted to works Bach composed throughout his tenure at Leipzig. In accordance with the series’ chronological format, this volume begins with Bach’s first Leipzig cantata (BWV 75), and follows with two works (BWV 22 & 23) he began earlier at Cцthen and completed after his arrival in Leipzig in 1723. While already remarkably adept at cantata form, Bach greatly matured due to the requirement of his new position that he produce at least one cantata every week. While not as rousing or compositionally adventurous compared to the four cantatas offered in Volume 7, it’s clear that in all of the works presented here Bach has advanced to a new level of craftsmanship. The orchestration is noticeably more lush, as Bach often doubles and at times triples parts where previously only a single instrument sufficed. This additional instrumentation allowed Bach more expressive potential to heighten the impact of his subject. In Gerd Tьrk’s fourth-movement aria ‘Mein alles in allem, mein ewiges Gut’ of No. 22, the joy of his declaration is completely convincing, set against the steady interplay of strings accented by bassoon and organ continuo. Likewise in the first-movement duet of No. 23 Du wahrer Gott und Davids Sohn Bach’s use of a predominant oboe d’amore juxtaposed with strings, harpsichord (the first time Bach scores the instrument), and organ continuo beautifully introduces the melody as well as profoundly casts a melancholic introspective mood worthy of his most mature work.
Cantata no. 75 Die Elenden sollen essen is a long work obviously intended to impress Bach’s new benefactors and congregation. Returning to the two-part theme he used so effectively in BWV 21, Bach creates a setting that’s two movements longer though (curiously) seven minutes shorter in performing time. Anyway, while in many ways more expertly crafted than BWV 21, no. 75 is significantly duller. In not one instance does Bach even remotely take a risk. There are attractive moments, but they are nevertheless predictably formulaic. The threshold of the few dramatic moments is painfully narrow. However, when your laurels were as fresh as Bach’s were at this time, you certainly can’t be faulted for resting on them. Masaaki Suzuki and his colleagues do as much as possible and deliver a superior performance that would be difficult to surpass. Ultimately, this is one that will mostly appeal to Bach completists.
John Greene, Classictoday.com

Three languages-, 32 pages-booklet in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 20-08-2007, 21:44

Volume 9 of The Complete Bach Cantatas Project

Cantatas Nos. 24, 76 & 167

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


Midori Suzuki, soprano
Robin Blaze, counter-tenor
Gerd Tьrk, tenor
Chiyuki Urano, bass

Bach Collegium Japan
Masaaki Suzuki
Ryo Terakado, leader

Tracklist
1-14: Cantata No. 76 "Die Himmel erzдhlen die Ehre Gottes", BWV 76 [34:00]
15-20: Cantata No. 24 "Ein ungefдrbt Gemьte", BWV 24 [15:14]
21-25: Cantata No. 167 "Ihr Menschen, rьhmet Gottes Liebe", BWV 167 [18:01]

Recorded June 1998 at the Kobe Shoin Women’s University, Japan
Enginereed by Dirk Lьdemann, produced by Hans Kipfer
© 1998 BIS CD 931



Now firmly into the period of Bach’s Leipzig cantatas, Bach Collegium Japan tackles three pieces belonging to che composer’s first weeks in office as Thomaskantor. Grandest in design by far, is the superb Die Himmel erzдhlen die Ehre Gottes which Bach performed on the Second Sunday after Trinity in 1723. In its terms of reference, musical variety and emotional impact this work complements, perhaps even surpasses No. 75, a cantata on a similarly expansive scale which he had presented to his Leipzig congregation a week earlier (See volume 8 of this series). For the most part the music comes over well in the hands of the BCJ – like its companion, it opens with an imposing two-section chorus in the manner of a prelude and fugue – but I was a little disappointed by Chiyuki Urano. He doesn’t settle comfortably into his recitatives and his declamatory aria, ‘Fahr ihn’ lacks character and presence. But I should add that in lesser company his performance would stand up well enough. Midori Suzuki sings her gently inflected aria with tonal warmth, clarity and assurance. Hers is a voice which I have enjoyed in several previous volumes in the series. Technically, she is unpredictable but, at her strongest, as here, she is well worth taking a chance with. Gerd Tьrk, rapidly becoming one of the major pillars of the entreprise, articulates his music with stylistic fluency, communicating textual content with declamatory fervour. The original countertenor in this series, Yoshikazu Mera has made his last bow in these recordings, his ascendant star shining on other slopes of the music business. However, his successor, Robin Blaze, can be warmly welcomed. His voice, lightly coloured and unforced, is not so unlike that of Mera at times, and he should do well in the present company, as he ably demonstrates in the superb duet with Midori Suzuki.

The remaining cantatas on the disc are for the Fourth Sunday after Trinity (No. 24) and St. John’s Day, both in 1723. Blaze gives a fine account of the joyful opening aria of No. 24. His phrasing is graceful and his articulation incisive, features which have so far been prominently to the fore in the instrumental playing of this series. No better example of its excellence can be found in the trio sonata Sinfonia which introduces Part 2 of No. 76. Scored for oboe d’amore, viola da gamba and continuo, it may well be more familiar to readers in Bach’s reworking of it as the first movement of his Organ Sonata in E minor, BWV 528. All in all, another successful issue.
Nicholas Anderson, Gramophone, May 1999



One week after the Leipzig debut of Bach’s lengthy cantata BWV 75 he offered an even lengthier and far more interesting work, Die Himmel erzдhlen die Ehre Gottes BWV 76. The grander subject matter notwithstanding (No. 75 solemnly dealt with how mortal poverty in this life was essential to an immortal afterlife), Bach offers far more expressive opportunities for vocal soloists and instrumentalists alike. For example, in the fifth-movement aria "Fahr hin, abgцttische Zunft!" (Go away you guild of idolators!) newcomer bass Chiyuki Urano fares very well, his voice maneuvering easily through several varied and dramatic moments, including two abrupt pauses that are effectively heightened by trumpet, strings, bassoon, and organ. Also, unlike the brass-deficient BWV 75, Bach now generously scores numerous parts for trumpet and "clarino" (a bygone instrument, reconstructed for this recording, that likely had the characteristics of both a trumpet and a horn), which are expertly performed by Toshio Shimada. Even when Bach opts for leaner instrumentation, as he does in the 10th-movement aria "Hasse nur, hasse mich recht" (scored only for tenor, cello, and organ), he achieves an emotional level rarely heard previously. Tenor Gerd Tьrk aptly performs this dramatic aria with great vigor and conviction. - For the fourth Sunday after Trinity Bach composed Ein ungefдrbt Gemьte BWV 24, a shorter and more concise work, though it features many inspired moments. For example, the opening aria is a lively affair with sprightly orchestration and superb singing from countertenor Robin Blaze. In the choral sections we hear Bach extending himself famously: the third-movement "Alles nun, das ihr wollet..." features inordinately frenzied polyphony throughout and a stirring central section scored for soloists, all ravishingly propelled by orchestration that anticipates the famed Magnificat Bach would compose later that year. - Though less animated, Ihr Menschen, rьhmet Gottes Liebe BWV 167 also has much to offer, including a heart-rending third-movement duet "Gottes Wort, das truget nicht" where soprano Midori Suzuki and countertenor Blaze complement each other wonderfully, especially when Bach accelerates the tempo three minutes into the piece. Highly recommended.
John Greene, Classictoday.com

Three languages-, 28 pages-booklet in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 20-08-2007, 22:36

Volume 10 of The Complete Bach Cantatas Project

Cantatas Nos. 105, 179 & 186

[Suzuki, BIS][EAC/FLAC+CUE/COVERS/BOOKLETS]


Miah Persson, soprano
Robin Blaze, counter-tenor
Makoto Sakurada, tenor
Peter Kooij, bass

Bach Collegium Japan
Masaaki Suzuki
Natsumi Wakamatsu, leader

Tracklist
1-6: Cantata No. 105 "Herr, gehe nicht ins Gericht", BWV 105 [21:40]
7-12: Cantata No. 179 "Siehe zu, daЯ deine Gottesfurcht", BWV 179 [14:57]
13-23: Cantata No. 186 "Дrgre dich, o Seele, nicht", BWV 186 [26:33]

Recorded February 1999 at the Kobe Shoin Women’s University, Japan
Enginereed by Ingo Petry, produced by Jens Braun
© 1998 BIS CD 951



Bach Collegium Japan’s eloquent advance into the rich repository of cantatas composed during Bach’s first year at Leipzig is distinguished in Vol. 10 by Masaaki Suzuki’s remarkable instinct for the emotional core of each of these three works. Experiencing Herr, gehe nicht ins Gericht... reveals a sense of open-hearted fervor and contemplation, never for a minute cloying or self-regarding at the expense of vibrant expression. (...) What Suzuki uniquely achieves, compelling in the opening chorus, is an intensity born of subtle contrast in vocal and instrumental articulation, underpinned by his uncanny ability to choose a tempo which provides for lyrical intimacy and organic gesture, as the respective texts demand. Several of my colleagues, reviewing Suzuki’s previous recordings, have commented on the way musical ideas glow within a profound theological empathy. This can or cannot be necessarily recognizable as quasi-indigenous to Bach’s own Lutheran world; but it is hardly the point when you hear how Suzuki grasps the magnificent nobility of the composer’s inspired musical commentary on the human soul in No. 105, at once insecure and fearful of judgement, and then gradually and divinely relieved by recitatives and arias of breathtaking spiritual uplift. This is where the soloists come to the fore, especially Miah Persson, a Swedish soprano ... who is capable of sustained control and delectable purity of tone, as exhibited in the continuo-less ‘Wie zittern und wanken’ and ‘Liebster Gott’ from no. 179. With Peter Kooij’s cathartic recitative singing and the beautifully balanced tenor aria and final choral, Herreweghe’s elegant 1990 account, a clear leader until now, is joined on the top rung. - The bipartite Trinity cantata, Дrgre dich, o Seele, nicht, revised from a Weimar version of 1716, conveys equally Suzuki’s assurance and vision. Perhaps the choruses which frame Part I are a touch short on gravitas but here, and in the formidable opening movement of No. 179, parodied in the first Kyrie of the Mass in G, rhythmic incision is the order of the day and the orchestral playing as fine as I can remember from Collegium Japan. In the latter work, Suzuki’s homogeneous textures compound the austerity of the sinister duality of hypocrisy as denounced in Luke 18 : 9-14; one can speculate on the symbolism behind Bach’s conflated subject and inversion in the double fugue. This is another first-rate achievement in what can be arguably deemed the most complete and mature offering in the series so far.
Jonathan Freeman-Atwood, Gramophone, Awards 1999



This 10th volume in Bach Collegium Japan’s ongoing Bach cantata series features three works Bach composed during his first summer in Leipzig. While BWV 179 certainly has been recorded more frequently, No. 186 (Дrgre dich, o Seele, nicht) is the most significant of the three because of its greater length and because it marks Bach’s return to two-part cantata form. Based on a revised lost cantata originally composed at Weimar, this is a remarkably assured work, grand in conception yet subtle in its underlying beauty. The opening chorus must be counted among Bach’s most stately, its impact augmented by multiple oboes, strings, and full continuo. Among the soloists, tenor Makato Sakurada delivers an introspective 4th-movement recitative that perfectly sets up his spirited 5th-movement aria. Equally distinguished is the 10th-movement duet, expertly harmonized by countertenor Robin Blaze and soprano Miah Persson – a dance that steps as high as any we’ve heard from Bach so far. - The popularity of No. 179 (Siehe zu, daЯ deine Gottesfurcht...) is understandable since it not only includes one of Bach’s most exciting opening choruses, but also gives unusual dramatic license to the soloists through the text’s many self-deprecating references. In respect to the latter, for its sheer declarative power, no recording surpasses Karl Richter’s awe-inspiring 1976 Archiv account featuring Dietrich Fischer-Dieskau, Peter Schreier, and Edith Mathis. While not quite up to Richter’s level, Suzuki and his forces offer their own interpretive details. For instance, in the 5th-movement aria Suzuki broadens the tempo, and the additional time (more than a minute longer than Richter’s version) heightens Persson’s characterization of wanton shame and pity. - No. 105 (Herr, gehe nicht ins Gericht...) also features many inspired moments. The magnificent, brooding opening chorus is most engaging, and tenor Sakurada’s beautifully rendered espousal of determination in his 5th-movement aria is superb – as is the final chorale, where Bach’s clever, near-dissonant string writing effectively alludes to weariness if not weeping, the gradually slowing pulse eventually leading to resigned calm. As usual with this series Suzuki and his colleagues deliver performances that more often than not are without peer. Faithfully captured by BIS’s expert engineering team, their ongoing cycle promises to be the most consistently rewarding one currently or previously available.
John Greene, Classictoday.com

Three languages-, 32 pages-booklet in .pdf format included,
with extensive notes on works, performers and Cantatas’ text in German and English.

A big thanks to the original uploader for his kind permission to upload this series!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этой серии и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 21-08-2007, 01:45