Musik Zur Osterzeit

~ Release by Johann Sebastian Bach (see all versions of this release, 1 available)

Tracklist

1▼CD
#TitleRatingLength
1Kommt, ihr Tochter, helft mir klagen (BWV244)
recording engineer:
Jürgen Regler (from 1970-01 until 1970-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel and Hildegard Miehe
choir vocals:
Dresdner Kreuzchor (from 1970-01 until 1970-02) and Thomanerchor Leipzig (from 1970-01 until 1970-02)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1970-01 until 1970-02)
conductor:
Rudolf Mauersberger (Kreuzkantor and organ player) (from 1970-01 until 1970-02)
balance engineer:
Claus Strüben (german sound engineer) (from 1970-01 until 1970-02)
phonographic copyright (℗) by:
edel records GmbH (in 1975) and VEB Deutsche Schallplatten Berlin (in 1975)
recorded at:
Lukaskirche (Lutheran church in Dresden, used since sometime after WWII as a recording studio) in Dresden, Sachsen (Saxony), Germany (from 1970-01 until 1970-02)
recording of:
Matthäus-Passion, BWV 244: Teil I, I. Chor I & II "Kommt, ihr Töchter, helft mir klagen" (from 1970-01 until 1970-02)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
8:51
2Christ lag in Todesbanden (BWV4)
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1983)
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)
4:26
3Ich will den Kreuzstab gerne tragen (BWV56)
bass vocals:
Hermann Prey (baritone)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Kurt Thomas (composer, conductor, chorus leader)
phonographic copyright (℗) by:
edel records GmbH (in 1960)
recording of:
Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria "Ich will den Kreuzstab gerne tragen"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1726)
librettist:
[anonymous] (special purpose artist)
part of:
Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen"
8:26
4O Haupt voll Blut und Wunden (BWV244)
recording engineer:
Jürgen Regler (from 1970-01 until 1970-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel and Hildegard Miehe
choir vocals:
Dresdner Kreuzchor (from 1970-01 until 1970-02) and Thomanerchor Leipzig (from 1970-01 until 1970-02)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1970-01 until 1970-02)
conductor:
Rudolf Mauersberger (Kreuzkantor and organ player) (from 1970-01 until 1970-02)
balance engineer:
Claus Strüben (german sound engineer) (from 1970-01 until 1970-02)
phonographic copyright (℗) by:
edel records GmbH (in 1975) and VEB Deutsche Schallplatten Berlin (in 1975)
recorded at:
Lukaskirche (Lutheran church in Dresden, used since sometime after WWII as a recording studio) in Dresden, Sachsen (Saxony), Germany (from 1970-01 until 1970-02)
recording of:
Matthäus-Passion, BWV 244: Teil II, LIV. Choral "O Haupt voll Blut und Wunden" (from 1970-01 until 1970-02)
lyricist:
Paul Gerhardt (17th century hymn writer)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Breitkopf 389 Choralgesänge (number: 162)
part of:
Matthäus-Passion, BWV 244: Teil II
2:48
5In deine Hande befehle ich meinen Geist (BWV106)
alto vocals:
Rosemarie Lang (mezzo-soprano)
bass vocals:
Hermann Christian Polster (operatic bass)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1978)
recording of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit": IIIa. Aria (Alt, Bass) "In deine Hände befehle ich meinen Geist"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
part of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit"
2:40
6Heute wirst du mit mir im Paradies sein (BWV106)
alto vocals:
Rosemarie Lang (mezzo-soprano)
bass vocals:
Hermann Christian Polster (operatic bass)
choir vocals:
Thomanerchor Leipzig
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1978)
recording of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit": IIIb. Arioso (Bass, Coro Alt) "Heute wirst du mit mir"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
part of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit"
4:31
7Komm, O Tod, du Schlafes Bruder (BWV56)
choir vocals:
Thomanerchor Leipzig
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra)
conductor:
Kurt Thomas (composer, conductor, chorus leader)
phonographic copyright (℗) by:
edel records GmbH (in 1960)
recording of:
Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder"
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1726)
librettist:
John Franck (in 1653)
part of:
Breitkopf 389 Choralgesänge (number: 72)
part of:
Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen"
1:35
8Erbarme dich (BWV244)
recording engineer:
Jürgen Regler (from 1970-01 until 1970-02)
producer:
Reimar Bluth
editor:
Annelene Dziengel and Hildegard Miehe
alto vocals:
Annelies Burmeister (contralto) (from 1970-01 until 1970-02)
orchestra:
Gewandhausorchester Leipzig (Leipzig Gewandhaus Orchestra) (from 1970-01 until 1970-02)
conductor:
Erhard Mauersberger (Thomaskantor and organist) (from 1970-01 until 1970-02) and Rudolf Mauersberger (Kreuzkantor and organ player) (from 1970-01 until 1970-02)
balance engineer:
Claus Strüben (german sound engineer) (from 1970-01 until 1970-02)
phonographic copyright (℗) by:
edel records GmbH (in 1975) and VEB Deutsche Schallplatten Berlin (in 1975)
recorded at:
Lukaskirche (Lutheran church in Dresden, used since sometime after WWII as a recording studio) in Dresden, Sachsen (Saxony), Germany (from 1970-01 until 1970-02)
recording of:
Matthäus-Passion, BWV 244: Teil II, XXXIX. Aria (Alto) "Erbarme dich, mein Gott" (from 1970-01 until 1970-02)
orchestrator:
Ton Koopman (conductor, organist and harpsichordist)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil II
7:11
9Hier ist das rechte Osterlamm (BWV4)
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1983)
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)
3:20
10So feiern wir das hohe Fest (BWV4)
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1983)
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)
2:12
11Wir danken und preisen (BWV134)
alto vocals:
Ortrun Wenkel (contralto)
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)
phonographic copyright (℗) by:
edel records GmbH (in 1983)
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"
9:44
12Erschallet, ihr Himmel, erfreue dich, Erde (BWV134)
choir vocals:
Thomanerchor Leipzig
orchestra:
Neues Bachisches Collegium Musicum (New Bach Collegium Musicum)
conductor:
Hans-Joachim Rotzsch (choral conductor and tenor)
phonographic copyright (℗) by:
edel records GmbH (in 1983)
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"
8:38

Credits

Release

manufactured in:Germany
printed in:Germany
artwork:Hendrick ter Brugghen (painter) (in 1622: task: cover "Christi Verspottung")
manufactured by:Optimal Media Production
copyrighted (©) by:Edel Classics GmbH (in 2002)
phonographic copyright (℗) by:edel records GmbH (in 2001)