Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki

Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki

Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki
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Edition: Music CD
CD Release Date: 2000-08-05
Music Label: Bis
Soundtracks:
  1. Cantata No.18, 'Gleichwie der Regen und Schnee vom Himmel fallt', BWV 18: 1. Sinfonia
  2. Cantata No.18, 'Gleichwie der Regen und Schnee vom Himmel fallt', BWV 18: 2. Rezitativ (Bass)
  3. Cantata No.18, 'Gleichwie der Regen und Schnee vom Himmel fallt', BWV 18: 3. Choral (Litanei) und rezitativ (Tenor, Bass)
  4. Cantata No.18, 'Gleichwie der Regen und Schnee vom Himmel fallt', BWV 18: 4. Arie (Sopran)
  5. Cantata No.18, 'Gleichwie der Regen und Schnee vom Himmel fallt', BWV 18: 5. Choral
  6. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 1. Sinfonia
  7. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 2. Arie (Bass)
  8. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 3. Rezitativ (Bass)
  9. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 4. Arie (Sopran)
  10. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 5. Rezitativ (Bass)
  11. Cantata No.152, 'Tritt auf die Glaubensbahn', BWV 152: 6. Arie (Duett) (Sopran - Bass)
  12. Cantata No.155, 'Mein Gott, wie lang, ach lange', BWV 155: 1. Rezitativ (Sopran)
  13. Cantata No.155, 'Mein Gott, wie lang, ach lange', BWV 155: 2. Arie (Duett) (Alt - Tenor)
  14. Cantata No.155, 'Mein Gott, wie lang, ach lange', BWV 155: 3. Rezitativ (Bass)
  15. Cantata No.155, 'Mein Gott, wie lang, ach lange', BWV 155: 4. Arie (Sopran)
  16. Cantata No.155, 'Mein Gott, wie lang, ach lange', BWV 155: 5. Choral
  17. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 1. Arie (mit Choral) (Alt)
  18. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 2. Rezitativ (Tenor)
  19. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 3. Arie (Tenor)
  20. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 4. Rezitativ (Alt)
  21. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 5. Chor
  22. Cantata No. 161, 'Komm, du susse Todesstunde', BWV 161: 6. Choral
  23. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 1. Chor
  24. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 2. Choral (Sopran)
  25. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 3. Rezitativ (Tenor)
  26. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 4. Arie (Tenor)
  27. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 5. Arie (Bass)
  28. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 6. Arie (mit Choral) (Tenor)
  29. Cantata No.143, 'Lobe den Herrn, meine Seele', BWV 143: 7. Chor Und Choral

Free Music Notes for Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki

Free Music Review: Suzuki & Mera from Japan: perfection and purity
Hit: 5 Stars

Again, from Montana I am writing to you to extoll the virtures of this excellent CD. The counter-tenor, Yoshikazu Mera, is one of the artists on this CD adding his incredible, almost surreal, voice to this fascinating collegium. When I am in need of a spiritual soul boost I put on a CD like this one with the voice of Mera. I recommend the CDs "Romance" and "Nightingale" as being two of the truly most exceptional classical CDs I have ever heard. The famous Bach cantatas have never sounded as good as they do on this CD.
Write your own review

Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki Poster

The striking thing about the works on volume 5 of the Bach Collegium Japan's Cantatas series is their unusual instrumentation. Cantata No. 18 uses only four violas and continuo; No. 152 calls for only soprano and bass soloists, with recorder, viola d'amore, oboe, and viola da gamba (and without violins or cellos); and No. 155 has a normal complement of strings, but features an alto/tenor duet with, of all things, obbligato bassoon. Cantata No. 161 also uses a normal string group, along with two recorders; it's famous partly because of its title, Komm du s?sse Todesstunde ("Come, thou sweet hour of death"), but also because the surprisingly gentle titular aria (for alto and recorders) beautifully manifests the Lutheran view of death as the welcome opportunity to join Christ in heaven. The festive New Year's Day cantata No. 143, Lobe den herrn, meine Seele ("Praise the Lord, O my soul"), the only work on the disc with a substantial part for chorus, adds to the usual strings and continuo three high-pitched hunting horns and timpani; while the choir and orchestra could cut loose a bit more, they perform with good cheer, as well as skill. Yet this volume is really a chance for the soloists to shine--and shine they do. Midori Suzuki's pure boy-like soprano sounds a bit fragile and strained this time around, but she sings with plenty of feeling. Countertenor Yoshikazu Mera and bass Peter Kooy are, as always, eloquent, musical, and pleasing to the ear--as is tenor Makoto Sakurada, whose light, clear tone and sensitive delivery make for a performance worthy to stand beside those of his better-known colleagues. --Matthew Westphal

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