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JS Bach - BWV0201-BWV0205 - Cantata - [FLAC]

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  JS Bach - BWV0201-BWV0205
- Cantata - [FLAC]
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  General Information

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 Type.................: Music

Platform.............: Windows 9x/ME/2000
 File Validation......: SFV
 Image type...........: CD Rip
 
 Genre................: Classical
 
 Audio Format.........: Lossless
 Ripper...............: dBpowerAMP
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  Release Notes
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 General
 Complete name :
I:UPLOADSJS Bach - BWV0201-BWV0205 
 - Cantata - [FLAC]Bach - BWV0201 - Geschwinde, Ihr Wirbelnden Winde - Cantata

 [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File size : 248 MiB

Duration : 49mn 43s
 Overall bit rate mode : Variable
 Overall bit rate : 696 Kbps
 Track name : Bach -
BWV0201 - Geschwinde, Ihr 
 Wirbelnden Winde - Secular Cantata - Dramma per Musica - The contest betweem 

Phoebus and Pan
 Composer : Johann Sebastian Bach
 Conductor : Peter Schreier
 Genre : Cantata

Comment : Geschwinde, ihr wirbelnden Winde 
 (Hasten, you whirling winds) / / Cantata BWV 201, BC G 46 / / Probably
for the 
 Collegium Musicum / Editions: BG 11.2; NBA I/40 / / SIMON CROUCH SAYS: / / 
 Rating: 1* / / Der
Streit zwischen Phoebus und Pan (The contest between Phoebus 
 and Pan), as this wonderful cantata is also known,
is one of the few secular 
 cantatas not written in praise of an aristocratic patron or to other commission. 

So it's not inconceivable that here we see Bach expressing his own untrammelled 
 aesthetic opinion. The libretto
is by Picander after Ovid and concerns good art 
 (represented by Phoebus) and bad art (represented by Pan).
Subsidiary characters 
 represent critics and Bach seems to have a lot of fun at their expense. It has 
 been
speculated that Bach was alluding directly to some of the problems that he 
 had at Leipzig. The cantata is too
early to be concerned with Bach's dispute 
 with Johann August Ernesti (Rector of the Thomas-schule) but since it
was 
 repeated around 1749 when Bach was in another spat with the Rector at Freiberg, 
 Johann Gottlob
Biedermann over the role of music in education, this hypothesis 
 is by no means untenable. The text can by no
means be thought of as a great 
 aesthetic reflection or even as good poetry, but it does provide the framework 
 over which Bach writes some of his best music. / / The opening chorus, with 
 glorious swirling instrumentation,
introduces us in the most attractive fashion 
 to the scene. In fact, not much is actually said in the opening
chorus but the 
 first recitative shows us Phoebus and Pan (both basses) arguing away, Momus 
 (soprano)
acting as the voice of wisdom, and we soon get the message. Momus 
 follows with an attractive, sparely
accompanied, aria poking fun at Pan. Mercury 
 (alto) joins in the fun in the next recitative, suggesting that each
of Pan and 
 Phoebus should choose a judge and that they should hold a context. Phoebus 
 chooses Tmolus
(tenor) and Pan Midas (also tenor). Battle commences! Phoebus 
 starts with a gorgeous aria, Momus's recitative
invites Pan to respond which he 
 does with the excellent (but less refined) aria Zu Tanze, Zu Sprunge, the music

 of which was later parodied as Dein Wachstum sei feste in the Peasant Cantata, 
 BWV 212. Momus invites the
judges to have their say and, as one might expect, 
 they each vote for the singer that chose them! Tmolus says
that Pan has some 
 pretty tunes but that Phoebus's melody was "born of grace herself". Midas, on 
 the other
hand accuses Phoebus of disorderlyness and that Pan is too harmonious 
 for Phoebus. Also not surprising is that
the musical characters of the judges' 
 arias reflect that of their sponsors. Clearly Midas's judgement does not
attract 
 much acclaim since everyone promptly rounds on him, donkey's ears are handed 
 out and Mercury ends
the contest with a reflective aria warning those who know 
 nothing not to judge. Most notable in this aria is the
stunningly beautiful 
 accompaniment from a pair of flutes. Momus's recitative dismisses Midas with a 

patronising pat on the back and calls on Phoebus to "Take up your lyre again". 
 Proceedings draw to a close with a
wonderful chorus extolling the virtues of 
 "art and grace", "beguiling even the gods". / / This is an outstanding
work, 
 probably my favourite amongst the secular cantatas and deserves to be much 
 better known than it is.
The cantata represents Bach coming close to the drama 
 (even if the storyline is a little silly here!) that is
opera. 
 Soloists : Edith Mathis / Peter Schreier / 
 Carolyn Watkinson / Eberhard Buchner / Siegfried Lorenz
/ Theo Adam / Berliner 
 Solisten Choreinstudierung / Kammerochester Berlin
 
 Audio
 Format :
FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 49mn 43s
 Bit rate mode : Variable
 Bit
rate : 696 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1 KHz
 Bit depth : 16 bits
 Stream size
: 248 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete name :
I:UPLOADSJS Bach - BWV0201-BWV0205 
 - Cantata - [FLAC]Bach - BWV0202 - Weichet Nur, Betruebte Schatten - Cantata

 [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File size : 110 MiB

Duration : 22mn 55s
 Overall bit rate mode : Variable
 Overall bit rate : 669 Kbps
 Track name : Bach -
BWV0202 - Weichet Nur, 
 Betruebte Schatten - Secular Cantata to celebrate a wedding
 Composer : Johann
Sebastian Bach
 Conductor : Peter Schreier
 Genre : Cantata
 Comment : Weichet nur, betrübte Schatten'

 (Gloomy shadows, be gone!) / / Cantata 202 / / Wedding cantata for solo 
 soprano / / SIMON CROUCH SAYS: / /
Rating: 1+ / / Surviving only because of a 
 copy made by Johannes Rinck in 1730, much remains mysterious about
this 
 delightful wedding cantata. It may have been composed during Bach's time at 
 Cöthen but suggestions
have placed it even earlier, during Bach's Weimar years. 
 Wherever it came from, the meeting of a fine text, with
images of love as the 
 melting of the snows of winter and the arrival of spring, together with some 
 lovely
music makes for a very fine work. / / The mood of the opening is 
 suprisingly mournful for a wedding cantata, with
a gloriously sad oboe line 
 intertwining with the soprano soloist. But this is the melting of winter's snows 
 by the ardour of love and the mood of the music soon picks up! The second aria, 
 following a recitative, shares
its origin with Bach's violin sonata BWV 1019 and 
 most effective it is here too. The alternating pattern of
recitative with aria 
 continues and the third aria with obbligato violin maintains the high standard. 
 The
next aria is a real beauty, with the oboe returning in much more cheerful 
 mood. Now it's time for the wedding
guests to start dancing in the aisles! One 
 last recitative leads into the excellent final gavotte and the whole
party can 
 trip merrily out of the church. It would be fascinating to know who the lucky 
 couple were who
benefited from this masterpiece! 
 Soloists : Edith Mathis / Lucia Popp / 
 Kammerorchester Berlin
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 22mn 55s
 Bit rate mode
: Variable
 Bit rate : 669 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1 KHz
 Bit depth : 16
bits
 Stream size : 110 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0201-BWV0205 
 - Cantata - [FLAC]Bach - BWV0203 - Amore Traditore -
Cantata [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File size : 73.5 MiB

Duration : 14mn 3s
 Overall bit rate mode : Variable
 Overall bit rate : 731 Kbps
 Track name : Bach -
BWV0203 - Amore Traditore - 
 Secular Cantata for an unknown event
 Composer : Johann Sebastian Bach

Conductor : Peter Schreier
 Genre : Cantata
 Comment : Amore Traditore (Love, you traitor) / 
  / Cantata
BWV 203, BC G 51 / / Secular cantata for an unknown occasion / 
 Editions: BG 11.2; NBA I/41 / / SIMON CROUCH SAYS:
/ / Rating: 2+ / / / 
 Amore Traditore is a really weird one! One of only two surviving Italian secular 

cantatas (the other is BWV 209), with solo voice accompanied only by 
 harpsichord. Listening to it today, one is
not surprised that for a long time 
 its authenticity was in doubt. However, scholarly opinion seems to have fallen

 on the side of authenticity, aided by the quality of the work and by a record of 
 the work's existence and
provenence in 1764 and 1765 catalogues from Breitkopf. 
 The work itself survives only in nineteenth century
copies. So, we're left with 
 this singular example hinting of others that may have been lost from Bach's 

Cöthen days. / / There are only two arias, separated by a recitative, both 
 bemoaning (in bad Italian) the
fickleness of love. The first is rather routine 
 but the second certainly hints at genius and I find it rather
surprising that 
 this aria doesn't re-surface in other works. (Of course, it's possible that Bach 
 did
re-use it and the recipient has itself been lost). Thankfully, in in its 
 current form it's still quite easy to
imagine a full orchestral accompaniment 
 and something really splendid made out of this movement! 
 Soloists
: Edith Mathis / Peter Schreier / 
 Siegfried Lorenz / Berliner Solisten Choreinstudierung / Kammerorchester
Berlin
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 14mn 3s
 Bit rate mode : Variable
 Bit rate : 731 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1 KHz

Bit depth : 16 bits
 Stream size : 73.5 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0201-BWV0205 
 - Cantata - [FLAC]Bach - BWV0204 - Ich Bin In
Mir Vergnuegt - Cantata 
 [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File
size : 162 MiB
 Duration : 34mn 3s
 Overall bit rate mode : Variable
 Overall bit rate : 665 Kbps

Track name : Bach - BWV0204 - Ich Bin In Mir 
 Vergnuegt - Secular Cantata for an unknown event
 Composer :
Johann Sebastian Bach
 Conductor : Peter Schreier
 Genre : Cantata
 Comment : Ich bin in mir vernügt
(I am happy in 
 myself) / / Cantata BWV 204, BC G 45 / / Solo soprano cantata for unknown 
 occasion /
Editions: BG 11.2; NBA I/40 / / SIMON CROUCH SAYS: / / Rating: 1+ / 
  / The text of BWV 204 is derived from a text
of C. F. Hunold dating from 1713, 
 and bears the subtitle Von der Zufriedenheit (on Contentment). It provides the

 basis for a very fine (if under-performed and under appreciated) cantata from 
 the mid 1720's. You might
wish to compare this work to the sacred cantata BWV 
 84, based on the same text. / / It's not known what occasion
this cantata was 
 composed for, and it has been suggested that Bach intended it for his own 
 private
domestic use. The text has been criticised over the years (both Spitta 
 and Schweitzer having little time for it
and the work in general) but I must 
 admit that I don't think it's all that bad! The cantata is all about the 
 sufficiency of ones own inner contentment, and in these hectic troubled times, 
 that's not such a bad idea.
What's more, the music is very fine and the cantata 
 concludes with, in my opinion, one of Bach's finest
inspirations. / / The 
 cantata takes a typical Italianate form with repeated recitative-aria pairs. The 

first pair praise inner calm, with an aria beautifully accompanied by two 
 intertwining oboes. The second pair
takes up the theme of worldly riches 
 implying spiritual poverty (and vice-versa) and here the aria's fine vocal
line 
 is accompanied by an athletic solo violin. Next up is the message of contentment 
 through communion
with God. In the aria of this pair the flute gets its chance 
 to shine. The final recitative continues the theme
of money being the root of 
 evil and moves into an arioso section in which even worldly friends are denied 

as unreliable. The final aria, amplifying the message that true happiness 
 derives from oneness with God, is one
of most beautiful pieces of music that 
 Bach ever commited to the world. Used again in BWV 216/3 and BWV 216a/3,
and 
 possibly used in the lost St. Mark Passion (in the aria Angenehmes 
 Mordgeschrei), BWV 247, this is a
piece of music that you absolutely must get to 
 hear! 
 Soloists : Edith Mathis / Arleen Augér / Peter 
 Schreier / Theo Adam / Berliner Solisten Choreinstudierung / Kammerorchester 
 Berlin
 
 Audio

Format : FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 34mn 3s
 Bit rate mode : Variable
 Bit rate : 665 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1 KHz
 Bit depth : 16 bits

Stream size : 162 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete
name : I:UPLOADSJS Bach - BWV0201-BWV0205 
 - Cantata - [FLAC]Bach - BWV0205 - Der zufriedengestellte Aeolus -
Cantata 
 [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File size : 192
MiB
 Duration : 39mn 51s
 Overall bit rate mode : Variable
 Overall bit rate : 674 Kbps
 Track name
: Bach - BWV0205 - Der 
 zufriedengestellte Aeolus - Dramma per Musica, for the Birthday of Augustus 

Friedrich Müller [Secular Cantata]
 Composer : Johann Sebastian Bach
 Conductor : Peter Schreier

Genre : Cantata
 Comment : Zerreißet, zersprenget, zerstrümmert 
 die Gruft (Demolish it, disrupt it,
destroy the vault) / / Cantata BWV 205, G 
 36 / / Nameday of August Friedrich Müller / Editions: BG 11.2; NBA
I/38 / / 
 SIMON CROUCH SAYS: / / Rating: 1+ / / Der zufriedengestellte Aeolus (Aeolus 
 placated) was
composed for the nameday of a well respected academic at the 
 University of Leipzig, August Friedrich Muller in
1725, while Bach was immersed 
 in the white heat of sacred cantata production. As we know well, his 

productivity did not adversely affect his quality and this work is no exception. 
 The scene, outside in the
Catherinenstraße by torchlight, with possibly the 
 largest orchestra that Bach ever assembled, must have been
spectacular! / / 
 The libretto, by Picander, is a paraphrase of a section of Virgil's aeneid and 
 is,
frankly, a pleasant piece of twaddle! The excellent opening chorus 
 introduces the chorus of winds who are angry
that they haven't been allowed to 
 reek havoc during the summer. In his opening recitative, Aolus (bass) who is
the 
 god of the winds agrees to unleash them, as summer is passing. He follows this 
 with a tuneful aria in
which he gloats over the amusement that he shall gain 
 from watching the ensuing chaos. The god of evening
breezes, Zephyrus (tenor), 
 intervenes in his recitative and following aria, asking Aeolus to hold fire for 

a while. His aria is very attractive but he never gets around to saying why 
 Aeolus should wait. Aeolus, very
patiently acquiesces and spots Pomona (alto), 
 the goddess of fruit trees, approaching with her own supplication.
Her entreaty 
 is a little more obvious, given the havoc that the winds would cause fruit 
 trees. It's also
delivered via another attractive, if not outstanding, aria. 
 Aeolus appears unmoved so, in the following
recitative, Pomona hands over to 
 Pallas (soprano), goddess of wisdom. Pallas is far more subtle beseeching 

Aeolus, in an alluring aria, to allow Zephyrus's "musk laden kiss" to "play upon 
 my mountain tops". As Anna
Russell said: I'm not making this up, you know. Quite 
 reasonably, by this time Aeolus is thoroughly bemused. At
last Pallas tells him 
 the reason: It's August Müller's name day! Aeolus immediately commands the winds 

to be still in a gloriously accompanied aria. The rest of the cantata is given 
 over to mutual congratulation and
praise for the good doctor, with a fine duet 
 (with a lovely flute accompaniment) between Pomona and Zephyrus and
a gloriously 
 exsultant final chorus. / / Some years later Bach parodied the music to a new 
 text in praise
of Augustus III, King of Poland in BWV 205a. Also the music of 
 the duet between Pomona and Zephyrus re-appeared
in the wedding cantata BWV 216 
 and the music of Pallas's aria was put to use in the sacred cantata BWV 171. 
 Incidentally, Bach's son, Wilhelm Friedemann later re-parodied the work in Hallé 
 in praise of Friedrich II
of Prussia. / / It does seem strange, in light of 						

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