Chor des Bayerischen Rundfunks - Bach: Motetten (2018) [Hi-Res]
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- Title: Bach: Motetten
- Year Of Release: 2018
- Label: BR-Klassik
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +booklet
- Total Time: 01:01:19
- Total Size: 281 mb / 1.1 gb
- WebSite: Album Preview
Tracklist
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01. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): I. Singet dem Herrn ein neues Lied
02. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): IIa. Wie sich ein Vater erbarmet
03. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): IIb. Die Gottesgnad allein
04. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): III. Lobet den Herrn in seinen Taten
05. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): I. Der Geist hilft unser Schwachheit auf
06. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): II. Der aber die Herzen forschet
07. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): III. Du heilige Brunst, süßer Trost
08. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): I. Jesu, meine Freude
09. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): II. Es ist nun nichts Verdammliches
10. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): III. Unter deinem Schirmen
11. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): IV. Denn das Gesetz
12. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): V. Trotz dem alten Drachen
13. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): VI. Ihr aber seid nicht fleischlich
14. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): VII. Weg mit allen Schätzen
15. Jesu, Meine Freude, Bwv 227 (Arr. For Mixed Chorus & Basso Continuo): VIII. So Aber Christus In Euch Ist
16. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): IX. Gute Nacht, o Wesen
17. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): X. So nun der Geist
18. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): XI. Weicht, ihr Trauergeister
19. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): Ia. Fürchte dich nicht
20. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): Ib. Ich stärke dich, ich helfe dir auch
21. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): II. Fürchte dich nicht-Herr, mein Hirt
22. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ia. Komm, Jesu, komm
23. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ib. Der saure Weg wird mir zu schwer
24. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ic. Du bist der rechte Weg
25. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): II. Drum schließ ich mich in deine Hände
The motets written during Bach's first years in Leipzig form a group of works in their own right, and stand apart from other sacred music because they were not composed for the regular church liturgy, but for private occasions instead. This is why they were tailored closely to clients’ wishes or to Bach’s own ideas. Taken together - and in contrast to "modern" cantatas - they are conservative in style, and belong to the tradition of vocal polyphony that reached its peak in the 16th century. The choir is backed not by an orchestra but only a simple instrumental accompaniment with basso continuo. To compensate for the missing orchestra, the vocal score is even more complex and finely detailed than usual: the small space is occupied by all kinds of compositional techniques, contrapuntal and concertante, as well as with chorales and double choirs. With exceptionally reduced means, Bach thus created music that was every bit as significant and expressive as that of his much larger works. These motets were the first works to introduce the Bach “Renaissance”, even before the revival of the St Matthew Passion in 1829, and they evince an unbroken performance tradition to this today - also because they were not only composed for church services but for early forms of popular festivities. To this day, for any choir, Bach's motets represent a special artistic and interpretive challenge. On this BR-KLASSIK album, the Chor des Bayerischen Rundfunks, under its artistic director Howard Arman, sings a selection of Bach’s most well-known motets.
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01. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): I. Singet dem Herrn ein neues Lied
02. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): IIa. Wie sich ein Vater erbarmet
03. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): IIb. Die Gottesgnad allein
04. Singet dem Herrn ein neues Lied, BWV 225 (Arr. for Mixed Chorus & Basso continuo): III. Lobet den Herrn in seinen Taten
05. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): I. Der Geist hilft unser Schwachheit auf
06. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): II. Der aber die Herzen forschet
07. Der Geist hilft unser Schwachheit auf, BWV 226 (Arr. for Mixed Chorus & Basso continuo): III. Du heilige Brunst, süßer Trost
08. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): I. Jesu, meine Freude
09. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): II. Es ist nun nichts Verdammliches
10. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): III. Unter deinem Schirmen
11. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): IV. Denn das Gesetz
12. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): V. Trotz dem alten Drachen
13. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): VI. Ihr aber seid nicht fleischlich
14. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): VII. Weg mit allen Schätzen
15. Jesu, Meine Freude, Bwv 227 (Arr. For Mixed Chorus & Basso Continuo): VIII. So Aber Christus In Euch Ist
16. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): IX. Gute Nacht, o Wesen
17. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): X. So nun der Geist
18. Jesu, meine Freude, BWV 227 (Arr. for Mixed Chorus & Basso continuo): XI. Weicht, ihr Trauergeister
19. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): Ia. Fürchte dich nicht
20. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): Ib. Ich stärke dich, ich helfe dir auch
21. Fürchte dich nicht, ich bin bei dir, BWV 228 (Arr. for Mixed Chorus & Basso continuo): II. Fürchte dich nicht-Herr, mein Hirt
22. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ia. Komm, Jesu, komm
23. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ib. Der saure Weg wird mir zu schwer
24. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): Ic. Du bist der rechte Weg
25. Komm, Jesu, komm, BWV 229 (Arr. for Mixed Chorus & Basso continuo): II. Drum schließ ich mich in deine Hände
The motets written during Bach's first years in Leipzig form a group of works in their own right, and stand apart from other sacred music because they were not composed for the regular church liturgy, but for private occasions instead. This is why they were tailored closely to clients’ wishes or to Bach’s own ideas. Taken together - and in contrast to "modern" cantatas - they are conservative in style, and belong to the tradition of vocal polyphony that reached its peak in the 16th century. The choir is backed not by an orchestra but only a simple instrumental accompaniment with basso continuo. To compensate for the missing orchestra, the vocal score is even more complex and finely detailed than usual: the small space is occupied by all kinds of compositional techniques, contrapuntal and concertante, as well as with chorales and double choirs. With exceptionally reduced means, Bach thus created music that was every bit as significant and expressive as that of his much larger works. These motets were the first works to introduce the Bach “Renaissance”, even before the revival of the St Matthew Passion in 1829, and they evince an unbroken performance tradition to this today - also because they were not only composed for church services but for early forms of popular festivities. To this day, for any choir, Bach's motets represent a special artistic and interpretive challenge. On this BR-KLASSIK album, the Chor des Bayerischen Rundfunks, under its artistic director Howard Arman, sings a selection of Bach’s most well-known motets.
Year 2018 | Classical | FLAC / APE | HD & Vinyl
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