{"product_id":"solo-cantatas-for-alto-and-tenor-koopman-ton-the-amsterdam-baroque-orchestra","title":"BACH: SOLO CANTATAS FOR ALTO AND TENOR - TON KOOPMAN \u0026 THE AMSTERDAM BAROQUE ORCHESTRA","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_f3ed89cc-d365-426f-b692-fbc7d6cb9fc7_480x480.png?v=1674143512\"\u003e\u003c\/p\u003e\n\u003cp\u003e01. “Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Vergnügte ruh, beliebte Seelenlust” 06:33\u003cbr\u003e 02. “Vergnügte Ruh, beliebte Seelenlust” BWV 170: Recitative: “Die Welt, das Sündenhaus” 01:10\u003cbr\u003e 03. “Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Wie jammern mich doch die verkehrten Herzen” 07:12\u003cbr\u003e 04. “Vergnügte Ruh, beliebte Seelenlust” BWV 170: recitative: “Wer sollte sich demnach” 01:02\u003cbr\u003e 05. “Vergnügte Ruh, beliebte Seelenlust” BWV 170: Aria: “Mir ekelt mehr zu leben” 05:40\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e 06. “Gott soll allein mein Herze haben” BWV 169: Sinfonia 07:21\u003cbr\u003e 07. “Gott soll allein mein Herze haben” BWV 169: Arioso: “Gott soll allein mein Herze haben” 02:27\u003cbr\u003e 08. “Gott soll allein mein Herze haben” BWV 169: Aria: “Gott soll allein mein Herze haben” 06:31\u003cbr\u003e 09. “Gott soll allein mein Herze haben” BWV 169: Recitative: “Was ist die liebe Gottes?” 00:44\u003cbr\u003e 10. “Gott soll allein mein Herze haben” BWV 169: Aria: “Stirb in mir, Welt” 05:29\u003cbr\u003e 11. “Gott soll allein mein Herze haben” BWV 169: Recitative: “Doch meint es auch dabei” 00:22\u003cbr\u003e 12. “Gott soll allein mein Herze haben” BWV 169: Choral: “Du süße Liebe, schenk uns deine Gunst” 01:01\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e 13. “Widerstehe doch der Sünde” BWV 54: Aria: “Widerstehe doch der Sünde” 06:51\u003cbr\u003e 14. “Widerstehe doch der Sünde” BWV 54: Recitative: “Die Art verruchter Sünden” 01:05\u003cbr\u003e 15. “Widerstehe doch der Sünde” BWV 54: Aria: “Wer Sünde tut, der ist vom Teufel” 02:58\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e 16. “Ich armer Mensch, ich Sündenknecht” BWV 55: Aria: “Ich armer Mensch, ich Sündenknecht” 05:44\u003cbr\u003e 17. “Ich armer Mensch, ich Sündenknecht” BWV 55: Recitative: “Ich habe wider Gott gehandelt” 01:11\u003cbr\u003e 18. “Ich armer Mensch, ich Sündenknecht” BWV 55: Aria: “Erbarme dich, laß die Tränen dich erweichen” 03:31\u003cbr\u003e 19. “Ich armer Mensch, ich Sündenknecht” BWV 55: Recitative: “Erbarme dich! Jedoch nun tröst ich mich” 01:28\u003cbr\u003e 20. “Ich armer Mensch, ich Sündenknecht” BWV 55: Chorale: “Bin ich gleich von dir gewichen” 01:00\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e 21. “Bekennen will ich seinen Namen” BWV 200: Aria: “Bekennen will ich seinen Namen” 04:20\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_f533d918-40c2-44bc-91bf-104a0136088d_480x480.png?v=1674143952\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMost of Johann Sebastian Bach’s cantatas, from the earliest to the latest, require the participation of a choir that consists of soprano, alto, tenor, and bass voices. However, most of the movements of these cantatas – that is, all recitatives and arias – are assigned to solo singers usually representing three or four different voices.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn Weimar and in Leipzig Bach had a few professional singers he could make use of for particularly challenging vocal roles. A small contingent of stipends was provided by the Leipzig city council for Bach to hire a few key singers. Bach’s alto soloists were male and one of them was Bach’s student Carl Gotthelf Gerlach, who served as music director at Leipzig’s Neue Kirche from 1729 to 1761. He definitely served Bach as alto soloist in 1728 and 1729, most likely also earlier, so that he may well have been the singer who first performed cantatas BWV 169 and 170.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe alto solo cantata “Vergnügte Ruh, beliebte Seelenlust” BWV 170 was written for the 6th Sunday after Trinity and first performed on 28 July 1726.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe alto solo cantata “Gott soll allein mein Herze haben” BWV 169 was premiered on the 18th Sunday after Trinity, 20 October 1726.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe cantata “Widerstehe doch der Sünde” BWV 54, written for Oculi Sunday, the 3rd Sunday in Lent, was performed in Weimar on 4 March 1714, but probably originated in 1713 or earlier.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe tenor solo cantata “Ich armer Mensch, ich Sündenknecht” BWV 55 for the 22nd Sunday after Trinity was first performed on 17 November 1726.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe alto aria “Bekennen will ich seinen Namen” BWV 200 represents a fragment from a cantata whose other movements are completely unknown.\u003c\/span\u003e\u003c\/p\u003e","brand":"CHALLENGE","offers":[{"title":"Default Title","offer_id":43911813300474,"sku":"608917228229","price":3.94,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/0608917228229-cover.jpg?v=1674160670","url":"https:\/\/classicselectworld.com\/de-de\/products\/solo-cantatas-for-alto-and-tenor-koopman-ton-the-amsterdam-baroque-orchestra","provider":"ClassicSelect World","version":"1.0","type":"link"}