Geistliche Kantaten

~ Release by J.S. Bach, Thomanerchor Leipzig, Gewandhausorchester Leipzig, Neues Bachisches Collegium Musicum Leipzig, Hans-Joachim Rotzsch (see all versions of this release, 1 available)

Tracklist

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1▼CD
#TitleArtistRatingLength
1Magnificat D-Dur, BWV 243: Chorus: Magnificat
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: I. Coro "Magnificat anima mea" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
2Magnificat D-Dur, BWV 243: Aria (S): Et exultavit spiritus meus
vocals:
Mitsuko Shirai (mezzo-soprano)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: II. Aria (Sopran II) "Et exsultavit spiritus meus" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
3Magnificat D-Dur, BWV 243: Aria (S): Quia respexit humilitatem
vocals:
Mitsuko Shirai (mezzo-soprano)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: III. Aria (Sopran I) "Quia respexit" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
4Magnificat D-Dur, BWV 243: Chorus: Omnes generationes
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: IV. Coro "Omnes generationes" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
5Magnificat D-Dur, BWV 243: Aria (B): Quia fecit mihi magna
bass vocals:
Hermann Christian Polster (operatic bass)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: V. Aria (Bass) "Quia fecit mihi magna" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
6Magnificat D-Dur, BWV 243: Duet (A, T): Et misericordia eius
alto vocals:
Doris Soffel (mezzo soprano)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: VI. Aria (Alt, Tenor) "Et misericordia" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
7Magnificat D-Dur, BWV 243: Chorus: Fecit potentiam
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: VII. Coro "Fecit potentiam" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
8Magnificat D-Dur, BWV 243: Aria (T): Deposuit potentes
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: VIII. Aria (Tenor) "Deposuit potentes" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
9Magnificat D-Dur, BWV 243: Aria (A): Esurientes implevit bonis
alto vocals:
Doris Soffel (mezzo soprano)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: IX. Aria "Esurientes implevit bonis" (catch-all for arrangements) (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
arranger:
Andreas N. Tarkmann (German composer)
arrangement of:
Magnificat D-Dur, BWV 243: IX. Aria (Alt) "Esurientes implevit bonis"
Johann Sebastian Bach?:??
10Magnificat D-Dur, BWV 243: Terzett (S I & Ii, A): Suscepit Israel puerum suum
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: X. Aria (Sopran I, Sopran II, Alt) "Suscepit Israel" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
11Magnificat D-Dur, BWV 243: Chorus: Sicut locutus est
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: XI. Coro "Sicut locutus est" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
12Magnificat D-Dur, BWV 243: Chorus: Gloria patri / Sicut erat in principio
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Magnificat D-Dur, BWV 243: XII. Coro "Gloria Patri" (from 1978-11 until 1978-12)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach?:??
13Meine Seel erhebt den Herren, BWV 10: Chorus: Meine Seel erhebt den Herren
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": I. Coro "Meine Seel erhebt den Herren" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
14Meine Seel erhebt den Herren, BWV 10: Aria (S): Herr, der du stark und mächtig bist
vocals:
Mitsuko Shirai (mezzo-soprano)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": II. Aria (Soprano) "Herr, der du stark und mächtig bist" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
15Meine Seel erhebt den Herren, BWV 10: Recitativo (T): Des Höchsten Güt und Treu
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": III. Recitativo (Tenore) "Des Höchsten Güt und Treu" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
16Meine Seel erhebt den Herren, BWV 10: Aria (B): Gewaltige stößt Gott vom Stuhl
bass vocals:
Hermann Christian Polster (operatic bass)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": IV. Aria (Basso) "Gewaltige stößt Gott vom Stuhl" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
17Meine Seel erhebt den Herren, BWV 10: Duett (A, T): Er denket der Barmherzigkeit
alto vocals:
Doris Soffel (mezzo soprano)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": V. Duetto e Choral (Alto, tenore) "Er denket der Barmherzigkeit" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
18Meine Seel erhebt den Herren, BWV 10: Recitativo (T): Was Gott den Vätern alter Zeiten
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": VI. Recitativo (Tenore) "Was Gott den Vätern alter Zeiten" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
19Meine Seel erhebt den Herren, BWV 10: Chorale: Lob und Preis sei Gott
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany
recording of:
Kantate, BWV 10 "Meine Seel erhebt den Herren": VII. Choral "Lob und Preis sei Gott dem Vater und dem Sohn" (from 1978-11 until 1978-12)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Breitkopf 389 Choralgesänge (number: 122)
part of:
Kantate, BWV 10 "Meine Seel erhebt den Herren"
Johann Sebastian Bach?:??
2▼CD
#TitleArtistRatingLength
1Erschallet, ihr Lieder, BWV 172: Chorus: Erschallet, ihr Lieder, erklinget, ihr Saiten!
Johann Sebastian Bach?:??
2Erschallet, ihr Lieder, BWV 172: Recitativo (B): Wer mich liebet, der wird mein Wort halten
Johann Sebastian Bach?:??
3Erschallet, ihr Lieder, BWV 172: Aria (B): Heiligste Dreieinigkeit
Johann Sebastian Bach?:??
4Erschallet, ihr Lieder, BWV 172: Aria (T): O Seelenparadies
Johann Sebastian Bach?:??
5Erschallet, ihr Lieder, BWV 172: Aria / Duet (S, A): Komm, lass mich nicht länger warten
Johann Sebastian Bach?:??
6Erschallet, ihr Lieder, BWV 172: Chorale: Von Gott kömmt mir ein Freudenschein
Johann Sebastian Bach?:??
7Erschallet, ihr Lieder, BWV 172: Chorus: Erschallet, ihr Lieder, erklinget, ihr Saiten!
Johann Sebastian Bach?:??
8Also hat Gott die Welt geliebt, BWV 68: Chorale: Also hat Gott die Welt geliebt
Johann Sebastian Bach?:??
9Also hat Gott die Welt geliebt, BWV 68: Aria (S): Mein gläubiges Herze
Johann Sebastian Bach?:??
10Also hat Gott die Welt geliebt, BWV 68: Recitativo (B): Ich bin mit Petro nicht vermessen
Johann Sebastian Bach?:??
11Also hat Gott die Welt geliebt, BWV 68: Aria (B): Du bist geboren mir zugute
Johann Sebastian Bach?:??
12Also hat Gott die Welt geliebt, BWV 68: Chorus: Wer an ihn glaubet, der wird nicht gerichtet
Johann Sebastian Bach?:??
13Wie schön leuchtet der Morgenstern, BWV 1: Chorale: Wie schön leuchtet der Morgenstern
Johann Sebastian Bach?:??
14Wie schön leuchtet der Morgenstern, BWV 1: Recitativo (Tenor): Du wahrer Gott und Marien Sohn
Johann Sebastian Bach?:??
15Wie schön leuchtet der Morgenstern, BWV 1: Aria (S): Erfüllet, ihr himmlischen göttlichen Flammen
Johann Sebastian Bach?:??
16Wie schön leuchtet der Morgenstern, BWV 1: Recitativo (B): Ein irdischer Glanz, ein leiblich Licht
Johann Sebastian Bach?:??
17Wie schön leuchtet der Morgenstern, BWV 1: Aria (T): Unser Mund und Ton der Saiten
Johann Sebastian Bach?:??
18Wie schön leuchtet der Morgenstern, BWV 1: Chorale: Wie bin ich doch so herzlich froh
Johann Sebastian Bach?:??
3▼CD
#TitleArtistRatingLength
1Christ lag in Todes Banden, BWV 4: Sinfonia
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: I. Sinfonia
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach1:09
2Christ lag in Todes Banden, BWV 4: Verse 1. Chorus: "Christ lag in Todes Banden"
choir vocals:
Thomanerchor Leipzig
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: II. Chor Versus I „Christ lag in Todes Banden“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach4:25
3Christ lag in Todes Banden, BWV 4: Verse 2. Aria (S, A): "Den Tod niemand zwingen kunnt"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: III. Duett (Sopran, Alt) Versus II „Den Tod niemand zwingen kunnt“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach3:12
4Christ lag in Todes Banden, BWV 4: Verse 3. Aria (T): "Jesus Christus, Gottes Sohn"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: IV. Arie (Tenor) Versus III „Jesus Christus, Gottes Sohn“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach2:03
5Christ lag in Todes Banden, BWV 4: Verse 4. Chorus: "Es war ein wunderlicher Krieg"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: V. Chor Versus IV „Es war ein wunderlicher Krieg“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach2:30
6Christ lag in Todes Banden, BWV 4: Verse 5. Aria (B): "Hier ist das rechte Osterlamm"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: VI. Arie (Bass) Versus V „Hier ist das rechte Osterlamm“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach3:20
7Christ lag in Todes Banden, BWV 4: Verse 6. Aria (S, T): "So feiern wir das hohe Fest"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: VII. Duett (Sopran, Tenor) Versus VI „So feiern wir das hohe Fest“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach2:11
8Christ lag in Todes Banden, BWV 4: Verse 7. Chorale: "Wir essen und leben wohl"
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 4 „Christ lag in Todesbanden“: VIII. Choral Versus VII „Wir essen und leben wohl“
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Breitkopf 389 Choralgesänge (number: 41)
part of:
Kantate, BWV 4 „Christ lag in Todesbanden“ (Leipzig version, commonly recorded)
Johann Sebastian Bach1:15
9Ein Herz, das seinen Jesum lebend weiss, BWV 134: Recitative (T, A): "Ein Herz, das seinen Jesum lebend weiss"
alto vocals:
Ortrun Wenkel (contralto)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": I. Recitativo (Alt, Tenor) "Ein Herz, das seinen Jesum lebend weiß"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach0:48
10Ein Herz, das seinen Jesum lebend weiss, BWV 134: Aria (T): "Auf, Gläubige, singet die lieblichen Lieder"
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": II. Aria (Tenor) "Auf! Gläubige, singet die lieblichen Lieder"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach6:52
11Ein Herz, das seinen Jesum lebend weiss, BWV 134: Recitative (T, A): "Wohl dir, Gott hat an dich gedacht"
alto vocals:
Ortrun Wenkel (contralto)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": III. Recitativo (Alt, Tenor) "Wohl dir! Gott hat an dich gedacht"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach2:55
12Ein Herz, das seinen Jesum lebend weiss, BWV 134: Aria (A, T): "Wir danken und preisen"
alto vocals:
Ortrun Wenkel (contralto)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": IV. Aria (Duetto Alt, Tenor) "Wir danken und preisen dein brünstiges Lieben"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach9:44
13Ein Herz, das seinen Jesum lebend weiss, BWV 134: Recitative (T, A): "Doch würke selbst den Dank in unserm Munde"
alto vocals:
Ortrun Wenkel (contralto)
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": V. Recitativo (Alt, Tenor) "Doch würke selbst den Dank in unserm Munde"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach2:10
14Ein Herz, das seinen Jesum lebend weiss, BWV 134: Chorus: "Erschallet, ihr Himmel, erfreuet dich, Erde"
choir vocals:
Thomanerchor Leipzig
orchestra:
New Bach Collegium Musicum Leipzig (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
recording of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß": VI. Coro "Erschallet, ihr Himmel, erfreue dich, Erde"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 134 "Ein Herz, das seinen Jesum lebend weiß"
Johann Sebastian Bach8:41
4▼CD
#TitleRatingLength
1Lobe Den Herren, Den Mächtigen Konig Der Ehren BWV 137:: Chorus: Lobe Den Herren, Den Mächtigen Konig Der Ehren / Aria (A): Lobe Den Herren, Der Alles So Herrlich Regieret / Aria (S, B): Lobe Den Herren, Der Künstlich Und Fein Dich Bereiter / Aria (T): Lobe Den Herren, Der Deinen Stand Sichtbar Gesegnet / Choral: Lobe Den Herren, Was In Mir Ist, Lobe Den Namen
?:??
2Ich Hatte Viel Bekümmernis BWV 21:: Sinfonia / Chorus: Ich Hatte Viel Bekümmernis / Aria (S): Seufzer, Tränen, Kummer, Not / Recitativo (T): Wie Hast Du Dich, Mein Gott / Aria (T): Bache von Gesalznen Zähren / Chorus: Was Betrübst Du Dich, Meine Seele / Recitativo (S, B): Ach Jesu, Meine Ruh / Aria. Duet (S, B): Komm, Mein Jesu, Und Erquicke / Chorus And Chorale: Sei Nun Wieder Zufrieden, Meine Seele / Aria (T): Erfreue Dich, Seele, Erfreue Dich, Herze / Chorus: Das Lamm, Das Erwürget Ist
?:??
5▼CD
#TitleArtistRatingLength
1Durchlauchtster Leopold "Serenada", BWV 173a: Recitativo (S): Durchlauchster Leopold
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": I. Recitativo (Sopran) "Durchlauchtster Leopold" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach0:44
2Durchlauchtster Leopold "Serenada", BWV 173a: Aria (S): Guldner Sonnen frohe Stunden
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": II. Aria (Sopran) "Güldner Sonnen frohe Stunden" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach4:42
3Durchlauchtster Leopold "Serenada", BWV 173a: Aria (B): Leopolds Vortrefflichkeiten
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Siegfried Lorenz (baritone) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": III. Basso solo "Leopolds Vortrefflichkeiten" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach2:02
4Durchlauchtster Leopold "Serenada", BWV 173a: Aria, Duetto (S, B): Unter seinem Purpursaum
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Siegfried Lorenz (baritone) (from 1974-02 until 1974-11)
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": IV. Aria (Sopran, Bass) "Unter seinem Purpursaum" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach4:19
5Durchlauchtster Leopold "Serenada", BWV 173a: Recitativo (S, B): Durchlauchtigster, den Anhalt Vater nennt
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Siegfried Lorenz (baritone) (from 1974-02 until 1974-11)
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": V. Recitativo (Sopran, Bass) "Durchlauchtigster, den Anhalt Vater nennt" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach1:17
6Durchlauchtster Leopold "Serenada", BWV 173a: Aria (S): So schau dies holden Tages Licht
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": VI. Aria (Sopran) "So schau dies holden Tages Licht" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach4:16
7Durchlauchtster Leopold "Serenada", BWV 173a: Aria (B): Dein Name gleich der Sonnen geh
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Siegfried Lorenz (baritone) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": VII. Aria (Bass) "Dein Name gleich der Sonnen geh" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach3:13
8Durchlauchtster Leopold "Serenada", BWV 173a: Aria, Duetto (S, B): Nimm auch, grosser Furst, uns auf
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02 until 1974-11)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Siegfried Lorenz (baritone) (from 1974-02 until 1974-11)
soprano vocals:
Regina Werner (German soprano) (from 1974-02 until 1974-11)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02 until 1974-11)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02 until 1974-11)
balance engineer:
Eberhard Richter (engineer) (from 1974-02 until 1974-11)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02 until 1974-11)
recording of:
Kantate, BWV 173a "Durchlauchtster Leopold": VIII. Coro (Sopran, Bass) "Nimm auch, großer Fürst, uns auf" (from 1974-02 until 1974-11)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1722)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173a "Durchlauchtster Leopold"
Johann Sebastian Bach3:05
9Erhohtes Fleisch und Blut, BWV 173: Recitativo (T): Erhohtes Fleisch und Blut
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
tenor vocals:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": I. Recitativo (Tenor) "Erhöhtes Fleisch und Blut" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach0:51
10Erhohtes Fleisch und Blut, BWV 173: Aria (T): Ein geheiligtes Gemute
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
tenor vocals:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": II. Aria (Tenor) "Ein geheiligtes Gemüte" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach4:22
11Erhohtes Fleisch und Blut, BWV 173: Aria (A): Gott will, o ihr Menschenkinder
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
alto vocals:
Heidi Riess (contralto) (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": III. Aria (Alt) "Gott will, o! ihr Menschenkinder" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach2:09
12Erhohtes Fleisch und Blut, BWV 173: Aria. Duetto (S, B): So hat Gott die Welt geliebt
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
bass vocals:
Hermann Christian Polster (operatic bass) (from 1974-02-11 until 1974-11-09)
soprano vocals:
Regina Werner (German soprano) (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": IV. Aria (Duetto Bass, Sopran) "So hat Gott die Welt geliebt" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach4:28
13Erhohtes Fleisch und Blut, BWV 173: Recitativo (S, T): Unendlichster, den man doch Vater nennt
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
soprano vocals:
Regina Werner (German soprano) (from 1974-02-11 until 1974-11-09)
tenor vocals:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": V. Recitativo (Sopran, Tenor) "Unendlichster, den man doch Vater nennt" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach1:31
14Erhohtes Fleisch und Blut, BWV 173: Chorus: Ruhre, Hochster, unsern Geist
recording engineer:
Hartmut Kölbach (engineer) (from 1974-02-11 until 1974-11-19)
producer:
Eberhard Geiger
editor:
Hildegard Mehe
choir vocals:
Thomanerchor Leipzig (from 1974-02-11 until 1974-11-09)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1974-02-11 until 1974-11-09)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1974-02-11 until 1974-11-09)
balance engineer:
Eberhard Richter (engineer) (from 1974-02-11 until 1974-11-19)
recorded at:
Versöhnungskirche (Leipzig) in Leipzig, Sachsen (Saxony), Germany (from 1974-02-11 until 1974-11-09)
recording of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut": VI. Coro "Rühre, Höchster, unsern Geist" (from 1974-02-11 until 1974-11-09)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1724-05-29)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 173 "Erhöhtes Fleisch und Blut"
Johann Sebastian Bach3:06
15Ach wie fluchtig, ach wie nichtig, BWV 26: Chorus: Ach wie fluchtig, ach wie nichtig
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
choir vocals:
Thomanerchor Leipzig
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": I. Choral "Ach wie flüchtig, ach wie nichtig"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
Michael Franck (German hymn writer)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach3:10
16Ach wie fluchtig, ach wie nichtig, BWV 26: Aria (T): So schnell ein rauschend Wasser schiesst
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
tenor vocals:
Peter Schreier (German tenor and conductor)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": II. Aria (Tenore) "So schnell ein rauschend Wasser schießt"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach6:52
17Ach wie fluchtig, ach wie nichtig, BWV 26: Recitativo (A): Die Freude wird zur Traurigkeit
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
alto vocals:
Rosemarie Lang (mezzo-soprano)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": III. Recitativo (Alto) "Die Freude wird zur Traurigkeit"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach0:57
18Ach wie fluchtig, ach wie nichtig, BWV 26: Aria (B): An irdische Schatze das Herze zu hangen
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
bass vocals:
Hermann Christian Polster (operatic bass)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": IV. Aria (Basso) "An irdische Schätze das Herze zu hängen"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach4:25
19Ach wie fluchtig, ach wie nichtig, BWV 26: Recitativo (S): Die hochste Herrlichkeit und Pracht
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
soprano vocals:
Regina Werner (German soprano)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": V. Recitativo (Soprano) "Die höchste Herrlichkeit und Pracht"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach0:55
20Ach wie fluchtig, ach wie nichtig, BWV 26: Choral: Ach wie fluchtig, ach wie nichtig
recording engineer:
Wolf-Dieter Stöbel (recording engineer) (from 1977-05-11 until 1977-05-13)
producer:
Eberhard Geiger
editor:
Liane Klasen
choir vocals:
Thomanerchor Leipzig
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
balance engineer:
Horst Kunze (balance engineer) (from 1977-05-11 until 1977-05-13)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1977-05-11 until 1977-05-13)
recording of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig": VI. Choral "Ach wie flüchtig, ach wie nichtig"
lyricist and librettist:
Michael Franck (German hymn writer)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Breitkopf 389 Choralgesänge (number: 11)
part of:
Kantate, BWV 26 "Ach wie flüchtig, ach wie nichtig"
Johann Sebastian Bach0:46
6▼CD
#TitleRatingLength
1Wir Danken Dir, Gott, Wir Danken Dir BWV 29:: Sinfonia / Chorus: Wir Danken Dir, Gorr, Wir Danken Dir / Aria (T): Halleluja, Stärk Und Macht / Recitativo (B): Gottlob! Es Geht Uns Wohl! / Aria (S): Gedenk An Uns Mit Deiner Liebe / Recitativo (A, Chor): Vergiß Es Ferner Nicht / Aria (A): Halleluja, Stärk Und Macht / Choral: Sei Lob Und Preis Mit Ehren
?:??
2Preise, Jerusalem, Den Herrn BWV 119:: Chorus: Preise, Jerusalem, Den Herrn / Recitativo (T): Gesegnet Land! Glückselge Stadt! / Aria (T): Wohl Dir, Du Volk Der Linden / Recitativo (B): So Herrlich Stehst Du, Liebe Stadt! / Aria (A): Die Obrigkeit Ist Gottes Gabe / Recitativo (S): Nun! Wir Erkennen Es Und Bringen Dir / Chorus: Der Herr Hat Guts An Uns Getan / Recitativo (A): Zuletzt! Da Du Uns, Herr / Choral: Hilf Deinem Volk, Herr Jesu Christ
?:??
7▼CD
#TitleRatingLength
1Gottes Zeit Ist Die Allerbeste Zeit BWV 106:: Sonatina / Chorus: Gottes Zeit Ist Die Allerbeste Zeit / Arioso (T): Ach, Herr, Lehre Uns Bedenken / Arioso (B): Bestelle Dein Haus / Chorus: Es Ist Der Alte Bund / Aria (A): In Deine Hände Befehle Ich Meinen Geist / Arioso & Choral (B, Chor: Alt): Heute Wirst Du Mir Mir Im Paradies Sein / Chorus: Glorie, Lob, Ehr Und Herrlichkeit
?:??
2Der Himmel Lacht, Die Erde Jubilierte BWV 31:: Sonata / Chorus: Der Himmel Lacht, Die Erde Jubilierte / Recitativo (B): Erwunschter Tag! Sei, Seele, Wieder Froh / Aria (B): Furst Des Lebens! Starker Streiter / Recitativo (T): So Stehe Denn, Du Gott Ergebne Seele / Aria (T): Adam Muß In Uns Verwesen / Recitativo (S): Weil Denn Das Haupt Sein Glied / Aria (S): Letzte Stunde, Brich Herein / Choral: So Fahr Ich Hin Zu Jesu Christ
?:??
3Erfreuet Euch, Ihr Herzen BWV 66:: Chorus: Erfreuet Euch, Ihr Herzen / Recitativo (B): Es Bricht Das Grab Und Damit Unsere Not / Aria (B): Lasset Dem Höchsten Ein Danklied Erschallen / Recitativo а 2 (A, T): Bei Jesu Leben Freudig Sei / Aria. Duetto (A, T): Ich Fürchte Zwar Des Grabes Finsternissen / Choral: Alleluja
?:??
8▼CD
#TitleArtistRatingLength
1Wachet auf, ruft uns die Stimme, BWV 140: Choral: Wachet auf, ruft uns die Stimme
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: I. Coro “Wachet auf, ruft uns die Stimme” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
adaptations:
Prelude to Peace
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach7:27
2Wachet auf, ruft uns die Stimme, BWV 140: Recitative (T): Er kommt, er kommt
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: II. Recitativo (Tenor) “Er kommt, er kommt, der Bräutgam kommt!” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach0:54
3Wachet auf, ruft uns die Stimme, BWV 140: Aria. Duet (S, B): Wenn kömmst du, mein Heil?
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
bass vocals:
Siegfried Lorenz (baritone) (from 1981-02 until 1983-02)
soprano vocals:
Arleen Augér (soprano) (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: III. Aria (Sop, Bass) “Wann kömmst du, mein Heil?” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach6:08
4Wachet auf, ruft uns die Stimme, BWV 140: Chorale (T): Zion hört die Wächter singen
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral (Tenor) “Zion hört die Wächter singen” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach4:04
5Wachet auf, ruft uns die Stimme, BWV 140: Recitative (B): So geh herein zu mir
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
bass vocals:
Siegfried Lorenz (baritone) (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: V. Recitativo (Bass) “So geh herein zu mir” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach1:33
6Wachet auf, ruft uns die Stimme, BWV 140: Aria. Duet (S, B): Mein Freund ist meNo. 5. in
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
bass vocals:
Siegfried Lorenz (baritone) (from 1981-02 until 1983-02)
soprano vocals:
Arleen Augér (soprano) (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: VI. Aria (Sop, Bass) “Mein Freund ist mein” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach6:28
7Wachet auf, ruft uns die Stimme, BWV 140: Chorale: Gloria sei dir gesungen
recording engineer:
Horst‐Dieter Käppler (engineer) (from 1981-02 until 1983-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1981-02 until 1983-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1981-02 until 1983-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1981-02 until 1983-02)
balance engineer:
Eberhard Richter (engineer) (from 1981-02 until 1983-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1984)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1981-02 until 1983-02)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: VII. Choral “Gloria sei dir gesungen” (from 1981-02 until 1983-02)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
lyricist:
Philipp Nicolai
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Breitkopf 389 Choralgesänge (number: 329)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach1:45
8Nun komm, der Heiden Heiland, BWV 61: Ouverture (Chorus): Nun komm, der Heiden Heiland
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: I. Coro “Nun komm, der Heiden Heiland” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach3:13
9Nun komm, der Heiden Heiland, BWV 61: Recitative (T): Der Heiland ist gekommen
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: II. Recitativo (Tenore): “Der Heiland ist gekommen” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach1:43
10Nun komm, der Heiden Heiland, BWV 61: Aria (T): Komm, Jesu, komm zu deiner Kirche
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: III. Aria (Tenore) “Komm, Jesu, komm zu deiner Kirche” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach4:10
11Nun komm, der Heiden Heiland, BWV 61: Recitative (B): Siehe, ich stehe vor der Tür
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
bass vocals:
Siegfried Lorenz (baritone) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: IV. Recitativo (Basso) “Siehe, ich stehe vor der Tür und klopfe an” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach1:05
12Nun komm, der Heiden Heiland, BWV 61: Aria (S): Öffne dich, mein ganzes Herze
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
baritone vocals:
Arleen Augér (soprano) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: V. Aria (Soprano) “Öffne dich, mein ganzes Herze” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach4:23
13Nun komm, der Heiden Heiland, BWV 61: Chorus: Amen! Komm, du schöne Freudenkrone
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”: VI. Choral “Amen, Amen” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1714)
part of:
Kantate, BWV 61 “Nun komm, der Heiden Heiland”
Johann Sebastian Bach1:00
14Schwingt freudig euch empor, BWV 36: Chorus: Schwingt freudig euch empor
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: I. Coro “Schwingt freudig euch empor” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach4:00
15Schwingt freudig euch empor, BWV 36: Chorale (S, A): Nun komm, der Heiden Heiland
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: II. Choral “Nun komm, der Heiden Heiland” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach4:24
16Schwingt freudig euch empor, BWV 36: Aria (T): Die Liebe zieht mit sanften Schritten
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: III. Aria (Tenore) “Die Liebe zieht mit sanften Schritten” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach5:39
17Schwingt freudig euch empor, BWV 36: Chorale: Zwingt die Saiten in Cythara
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: IV. Choral “Zwingt die Saiten in Cythara” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
librettist:
Philipp Nicolai (in 1599)
part of:
Breitkopf 389 Choralgesänge (number: 377)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach1:20
18Schwingt freudig euch empor, BWV 36: Aria (B): Willkommen, werter Schatz
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
bass vocals:
Siegfried Lorenz (baritone) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: V. Aria (Basso) “Willkommen, werter Schatz!” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach3:47
19Schwingt freudig euch empor, BWV 36: Chorale (T): Der du bist dem Vater gleich
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
tenor vocals:
Peter Schreier (German tenor and conductor) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: VI. Choral (Tenore) “Der du bist dem Vater gleich” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach2:10
20Schwingt freudig euch empor, BWV 36: Aria (S): Auch mit gedämpften, schwachen Stimmen
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
soprano vocals:
Arleen Augér (soprano) (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: VII. Aria (Soprano) “Auch mit gedämpften, schwachen Stimmen” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach8:40
21Schwingt freudig euch empor, BWV 36: Chorale: Lob sei Gott, dem Vater
recording engineer:
Gerald Junge (sound engineer) (from 1980-10 until 1981-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel
choir vocals:
Thomanerchor Leipzig (from 1980-10 until 1981-02)
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum) (from 1980-10 until 1981-02)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor) (from 1980-10 until 1981-02)
balance engineer:
Eberhard Richter (engineer) (from 1980-10 until 1981-02)
phonographic copyright (℗) by:
“edel” Gesellschaft für Produktmarketing mbH (in 1981)
recorded at:
Paul-Gerhardt-Kirche in Leipzig, Sachsen (Saxony), Germany (from 1980-10 until 1981-02)
recording of:
Kantate, BWV 36 “Schwingt freudig euch empor”: VIII. Choral “Lob sei Gott, dem Vater g’ton” (from 1980-10 until 1981-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1736)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Breitkopf 389 Choralgesänge (number: 264)
part of:
Kantate, BWV 36 “Schwingt freudig euch empor”
Johann Sebastian Bach0:38
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10▶CD
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