℗ 2008 BIS Records
 

J.S. Bach: Cantatas, Vol. 40: BWV 79, 137, 164, 168

Bach Collegium Japan, Masaaki Suzuki

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Lobe den Herren, den machtigen Konig der Ehren, BWV 137  
1
Lobe den Herren, den machtigen Konig der Ehren (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:06
2
Aria: Lobe den Herren, der alles so herrlich regieret (Alto)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:13
3
Aria: Lobe den Herren, der kunstlich und fein dich bereitet (Bass, Soprano)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:01
4
Aria: Lobe den Herren, der deinen Stand sichtbar gesegnet (Tenor)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
2:26
5
Chorale: Lobe den Herren, was in mir ist, lobe den Namen! (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
0:45
Tue Rechnung! Donnerwort, BWV 168  
6
Aria: Tue Rechnung! Donnerwort (Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:01
7
Recitative: Es ist nur fremdes Gut (Tenor)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
1:50
8
Aria: Kapital und Interessen (Tenor)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:07
9
Recitative: Jedoch, erschrocknes Herz (Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
1:42
10
Aria: Herz, zerreiss des Mammons Kette (Soprano, Alto)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
2:11
11
Chorale: Stark mich mit deinem Freudengeist (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
0:56
Gott der Herr ist Sonn und Schild, BWV 79  
12
Gott der Herr ist Sonn und Schild (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
4:36
13
Aria: Gott ist unsre Sonn und Schild! (Alto)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
2:47
14
Chorale: Nun danket alle Gott (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
2:03
15
Recitative: Gottlob, wir wissen den rechten Weg zur Seligkeit (Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
0:58
16
Aria: Gott, ach Gott, verlass die Deinen (Soprano, Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
2:58
17
Chorale: Erhalt uns in der Wahrheit (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
0:41
Ihr, die ihr euch von Christo nennet, BWV 164  
18
Aria: Ihr, die ihr euch von Christo nennet (Tenor)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
4:16
19
Recitative: Wir horen zwar, was selbst die Liebe spricht (Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
1:46
20
Aria: Nur durch Lieb und durch Erbarmen (Alto)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
4:17
21
Recitative: Ach, schmelze doch durch deinen Liebesstrahl (Tenor)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
1:29
22
Aria: Handen, die sich nicht verschliessen (Soprano, Bass)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
3:47
23
Chorale: Ertot uns, durch dein Gute (Chorus)
Johann Sebastian Bach; Yukari Nonoshita; Robin Blaze; Makoto Sakurada; Peter Kooij; Bach Collegium Japan Chorus; Bach Collegium Japan; Masaaki Suzuki
0:49
Digital Booklet
Total Playing Time    55:45
The four cantatas on this recording are dated 1725, a year during which Bach appears to have devoted himself less regularly than previously to the writing of cantatas. Whatever the reason might have been for this, the cantatas that he did compose are far from being routine affairs.

Lobe den Herren (Praise to the Lord), BWV 137, is a case in point: in it Bach includes the original text of the famous hymn, and also uses the familiar melody in all five movements to a greater or lesser degree. To impose such limitations must have been a challenge to himself as a composer, and the imagination and technical skill with which he fulfilled his task are striking.

Another impressive moment is the opening movement of Gott der Herr ist Sonn und Schild, BWV79. This was written for the Feast of the Reformation, and with its horns and timpani it conveys a festive magnificence suitable to the occasion.

The remaining two cantatas are both associated with a biblical allegory. In the case of BWV 168, the parable of the Dishonest Steward gives Bach the opportunity of composing a thunderous demand for a reckoning of accounts in the opening bass aria Tue Rechnung!, as well as letting the tenor sing about interest and capital in the most beguiling manner in the aria Kapital und Interessen. BWV164 on the other hand deals with the parable of the Good Samaritan, with the expressive alto aria Nur durch Lieb und durch Erbarmen… (‘Only through love and through pity’) providing an emotional centre, with its accompaniment of two flutes.
44.1 kHz / 24-bit PCM – BIS Records Studio Masters

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