If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Christmas Oratorio Part III. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) Rilling increasingly took a pragmatic view towards traditional practice, paying only ‘lip service’ to period performance, which resulted in pangs of conscience with respect to tempi, ornament, balance and articulation. Bach - Christmas Oratorio. Or $0.00 with a Prime membership. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . Orff - Carmina Burana: Christmas Carols. Das Weihnachtsoratorium BWV 248 ist ein sechsteiliges Oratorium für Soli (), gemischten Chor und Orchester von Johann Sebastian Bach.Die einzelnen Teile wurden erstmals vom Thomanerchor in Leipzig in den sechs Gottesdiensten zwischen dem ersten Weihnachtsfeiertag 1734 und dem Epiphaniasfest 1735 in der Nikolaikirche und der Thomaskirche aufgeführt. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).
Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. Rilling’s later version from 1999 follows a similar template but the choruses crackle here with considerably more glee and variety, and each part infectiously follows the last with connective logic (the wise men’s arrival from the East is handled with seasoned timing). ‘Herr, dein Mitleid’, with Lynn Dawson and Klaus Mertens, is played out like a love duet and yet it fits a canvas of sprung vitality which, mostly, renders the rough edges undistracting. Some may miss the cut and thrust of a Gardiner or the cultivated solo contributions in recordings by Corboz or Chailly but a meticulous attention to detail, superlative balance and speeds which allow the music to proceed with dignity in the gradual, contemplative unfolding of events are second nature to Suzuki. JOHANN SEBASTIAN BACH: KARÁCSONYI ORATÓRIUM - NEGYEDIK KANTÁTA Babits - 1917-ben írott versének - gondolatait, kérését visszhangozza a negyedik kantáta tenor áriája és zárókorálja is: „…adj nékem erőt és bátorságot, hogy a szívem buzgó legyen! |
Sunday, December 13th, 2020, 4pm, on the Bach Choir’s YouTube Channel; also to be aired on WFMZ-TV Channel 69 twice during the month of December: at 7pm on Saturday, December 19 and again on Christmas Eve at 10pm. Some may baulk at the hybrid stylistic world of ‘not-quite-authentic’ (eg modern strings, albeit gut) but there is a gratifying eloquence throughout, enhanced significantly by a fine German alto boy soloist, Andreas Stein, who irradiates ‘Schlafe, mein Liebster’ – the cradling all the more tender for the few years which separate the singer from his own infancy. The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season.It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. Meine Datenschutz-Einstellungen Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. The most memorable feature is a young Dietrich Fischer-Dieskau on the kind of form which earmarked him for posterity in the famous St Matthew for Richter a few months earlier. I have listened to Bach’s Christmas Oratorio from childhood on. The Christmas Oratorio is a particularly sophisticated example of the parody technique. Carolyn Sampson is irresistible throughout. The chorales squeeze the last pips and the adagissimo in the Part 2 Sinfonia says too much about the artist and not enough about Bach. For many it will satisfy beyond measure. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. Listen to Bach: Christmas Oratorio, BWV 248 - Part 2: Weihnachtstag: Choral, Bach: Christmas Oratorio, BWV 248 - Part 3: Weihnachtstag: Choral and more from Bach Christmas Oratorio. One of the festive season's most established classics, Bach's Christmas Oratorio describes the nativity, the adoration of the shepherds and, slightly less festively, the circumcision and naming of Jesus. The essence of this pioneering reading is captured in the visceral, chamber-like instrumental playing of Concentus Musicus, a kind of Renaissance-style pageantry to the choruses, an intimate acoustic and the extraordinary veracity of Kurt Equiluz’s Evangelist. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. If you like trebles in Bach—and specifically in the Christmas Oratorio—why not opt for those that Bach, a few generations back, worked with himself? Gramophone is brought to you by Mark Allen Group
Judging by the autograph score, he was working fast. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. Less atmospheric – but rather more recognisable in terms of increasing technical surety and the aesthetic of objectivity which flavoured ‘early music’ at the cusp of the 1980s – is Hanns-Martin Schneidt’s reading with the Regensburger Domspatzen (whose director for 30 years was Georg Ratzinger, Pope Benedict XVI’s brother), which espouses safety to such lengths as to render the whole a disappointingly dour essay. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. I initially missed this recording when it was released and what a loss it would have been: relish the concerted spiritedness from top to bottom. There are two major commercial accounts of the Oratorio with homegrown Stuttgart forces and two others from Poland and Hungary (which are not under consideration). CHRISTMAS ORATORIO. I. The singing of Arleen Auger and Evangelist Peter Schreier is especially polished – as is the orchestra and chorus – yet the pre-ordained placement of each phrase makes for wearing listening. Bach’s Christmas Oratorio has been treated very well on disc. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. While beautifully remastered, there’s a disillusioned air to proceedings and it is Karl Richter’s second recording – after a pedestrian, ‘work-in-progress’ attempt for Das Alte Werk in 1955 – that heralds the brave new world. The 1992 Naxos recording under Geza Oberfrank with Hungarian forces is a far livelier affair with responsive soloists in the arias but, sadly, the Evangelist struggles badly in the high register. From the booklet of the Christmas Oratorio CD. Richter presents a corporate muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz and Wunderlich. Opening Up Our Hearts: Music and Inspiration of Christmas. Because Christmas means summertime in the Southern Hemisphere, some families like to go on holiday to find a place in the sun or go to their summer bach (holiday house) in New Zealand. Part I: The First Day of Christmas. One might long for perspicacious readings from the 1950s and 1960s by the likes of Hans Grischkat, Karl Ristenpart, Ferdinand Grossmann, Fritz Lehmann, Kurt Thomas and Karl Richter – some of which are available – but few constitute much more than a repository of exceptional individual movements. The Angeles Chorale performs "Ah! Harry Christophers and The Sixteen present a more conventional interpretative landscape. This is the version for all-round delight and unexpected wonder. René Jacobs’s idea of the work could not be more radically different: brazen, grand choruses, purposeful, operatic-style recitatives (with endlessly distracting strumming) and biting arias which, in their strutting gait, extrovert articulation and tonal opulence border on the vain – from Andreas Scholl’s busy ‘Bereite’ to a frenetic terzetto in Part 5. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. The 64th movement and final chorus of the Oratorio only, in full score. dearest Jesus holy child" (Ach mein herzliebes Jesulein!)
That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. The most successful interpreters are those who identify how Bach links each cantata or ‘scene’ through the Evangelist’s quietly influential role: often he is quite directorial – exercising not merely reportage but guiding us personally through the events of Christ’s birth to the Epiphany. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 Thirty-plus years on and there’s a relaxed, almost southern-European feel alongside Harnoncourt’s recognition that with ‘powerful mental pictures’ (rather than intense action), the ‘galanterie’ of late Bach is especially fitting for the subject. The Christmas Oratorio is in six parts, each of them being intended for performance on one of the major feast days of the Christmas period. Elly Ameling and Helen Watts sing with uniform persuasiveness, though Peter Pears’s clear and urgently declaimed Evangelist is distinctive if tonally restricted. Bach - B Minor Mass . The Bach Choir of Bethlehem’s Annual Christmas Concert — Virtually. Bachs Christmas Oratorio Johann Sebastian Bachs Oratorium Tempore Nativitatis Christi, a cycle of six cantatas for the Christmas season, had its collective premiere from Christmas Day 1734 through Epiphany Sunday 1735 in Leipzig. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. 巴赫康塔塔《尊主颂》指挥：哈农库特 勋伯格合唱团 - Magnificat BWV 243 - Nikolaus Harnoncourt
It was never intended for performance in one sitting. Anselm Hartinger, translation by Alice Noger-Gradon. The proportion of Oratorio performances on period instruments rose significantly during the 1970s. With John Eliot Gardiner’s uniquely open-shouldered and virtuoso Bach performances, the new ‘period’ generation was transformed in a trice from the mid-1980s. No such stylistic scruples seem to affect Schreier’s first trumpet, Ludwig Güttler, though his flamboyant tendencies dissolve under his own baton to such an extent that the routine prevails. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Werner was a quiet and unassuming poet of Bach and he is supported with almost peerless empathy by his long-term Evangelist, Helmut Krebs, and some radiant instrumental characterisation. In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. A documentary on local Bachiana is an enjoyable bonus. Theil * #457257 - 148.15 MB, 99 pp. He took the majority of the choruses and arias from earlier secular works and gave them new words. Posted on January 4, 2021 January 4, 2021 by Hendrik Slegtenhorst. I savoured ‘Frohe Hirten’ as rarely before – the agile tenor Wolfram Lattke is so completely allied with his fluting partner that the shepherds almost take off in exultation. The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season.It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. Brahms - Requiem: Durufle - Requiem . Lauridson - Lux Aeterna: Mozart - Requiem . Programme. Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … Despite a few glitches, each cantata represents a clarion of warmth, freedom and optimism, beckoning the listener to experience the work in a single breath. Theil • 6. But if you are looking to get sizzled on a holiday within your working holiday, see our Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based forces and imported soloists. This 1963 performance is aesthetically more in the Lehmann than Richter mould with its vocal intimacy (especially from the tender Evangelist Helmut Krebs) and open-hearted obbligato playing allowing the more pastoral qualities of the score to blossom. Bach Interactions: A Dynamic Performance & Learning Experience About the Series.
Bach's Christmas Oratorio – which recording is best? The orchestral playing is supremely polished, assured and with pinpoint nuancing. If there is a drawback, it’s the shortage of captivating solo singing and absorbing characterisation. Gramophone is part of
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Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. Ten years on, Richter is the ultimate purposeful and charismatic director with his seasoned Munich forces and stunning soloists: Gundula Janowitz, Christa Ludwig and Fritz Wunderlich (who had given us a hint of his delectable Evangelist in Parts 1‑3 for August Langenbeck). Other readings which miss the top table include a generically turned 1993 concert performance from Eric Ericson and his eponymous choir with a ropy Drottningholm Baroque Ensemble, and a more recent reading from Hermann Max where over-accentuation and instrumental bulging expose the worst of ‘period’ ticks alongside some approximate intonation. Soon after Gardiner, Philippe Herreweghe followed in 1989 with a more intimate and soft-edged reading. Beethoven - 9th Symphony: Berlioz - Requiem . - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. Here, Pickett seems less attracted to long-term rhetorical investment than capturing the essence of the moment – such as the solicitous arioso duet ‘Jesu, du mein liebstes Leben’: Catherine Bott and Michael George, beautifully accompanied, provide an unforgettable vignette. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio.
Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. The “Kyrie” and “Gloria” of the Mass in B Minor, written in 1733, were also dedicated to the elector, but the rest of the Mass was not put together until Bach’s last years. Ralf Otto enjoys a ringing and alert Evangelist in Christoph Prégardien and a refined Concerto Köln but his account falls short on energy and personality. Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. 99 to rent. As Harnoncourt represented the advent of historical Oratorio recordings in 1972, so he seeks a kind of epiphany in his large-scale, spacious and glamorous interpretation from the Musikverein at Christmas in 2006. Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood
Despite Peter Kooij’s visceral recitatives and Yoshikazu Mera’s quixotic alto sound, this impressive reading is just too smooth and uneventful. Werner Güra warms into the role of Evangelist but it is the poetic ambition of Christine Schäfer (‘Flösst, mein heiland’ magically projects the unpredictability of the outdoors) and her co-soloists that reinforces the inspiration which breezes over this penetrating and original encounter with the Oratorio. Seeking vocal homogeneity which infected the instrumental cadre down to mildly dabbed timpani, Herreweghe skips through with a decorous attention to detail though little rhetorical presence. The music involved was …
He borrowed the music for the opening chorus from another cantata, but forgot and copied the old words into the score, which he then had to cross out. CC. Handel - Messiah: Haydn - The Creation . J.S. Each part is a cantata for 1 of 6 feast days within the 12 days of the Christmas season: The story begins with the birth of Jesus (for Christmas Day). The 1984 reading coincided neatly with the conclusion of his complete cantata series. If Fasolis temporarily held sway in my affections, Harnoncourt’s later version is my top choice: an account elevating these six great tableaux to a level where Bach, at his most mature and luminous, irresistibly conveys the wonders of Christmas. The major subject of the cantata is the journey of the Magi, and its initiation of its influence upon Herod. A year later Gerhard Schmidt-Gaden, with the Tolzer Knabenchor and Collegium Aureum, embarked on a recording which, with significantly more wrinkles than Harnoncourt’s, bursts forth with spirited expectation as the Nativity is vigorously explored. Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. Parts Complete 1. This playlist is of the original German Version of the Weihnachts Oratorium. There’s also ample evidence of why Barbara Schlick and Kurt Equiluz are among the most perceptive Bachians of their generation. Falling somewhere between the ruminative landscape of Richter (at his best) and Rilling’s sleek, homogeneous ensemble, Schreier is generally more stylistically inquisitive than both and musically his reading is more eventful than all of Rilling’s. Ameling features in both Eugen Jochum’s and Philip Ledger’s recordings from the 1970s, the latter with the Choir of King’s College, Cambridge, uncomfortably sharp and forced. Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. The Christmas Oratorio, written for the turn-of-year feast days in 1734/35, was composed during a period in which Bach produced comparatively few new works for his Leipzig churches. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. The Christmas Oratorio presents itself as a cycle of similarly structured individual works whose continuity rests on the Christmas narrative according to the Gospels of Luke and Matthew as well as on the recurrence of certain types of settings and the dramaturgy typical of Bach’s cantata oeuvre. His ‘Ich will nur’ in Part 4 is exceptional. When reviewing it in 1999, I considered Greg Fungfeld’s recording of the Bach Choir from Pennsylvania to be rather in the same vein, but on reacquaintance found agreeable swathes (especially in Parts 4 and 5) of an old American mainstream ‘house style’ which, with some better soloists, might have attracted more plaudits. Theil 2. The 1984 account of the Oratorio is hardly revelatory but it is a sprightly, texturally bright and tidy reading. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. One such example is the great cradle aria, ‘Schlafe, mein Liebster’, where composer and librettist (probably Bach’s prime collaborator, Picander) produce an affectionate and telling makeover sourced from an older secular cantata (BWV213) – the tempting wiles of the allegorical ‘Pleasure’ luring Hercules towards a rather different concept of sleep, here becoming a vision of haloed slumber fit for the kingly child. A A. Jauchzet, frohlocket Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! How best can the performer pace the narrative of the complete Oratorio in a story which lacks the urgency and action propelled by protagonists – the likes of Jesus, Peter, Pilate and the crowd in the Passions – while retaining the discrete contemplative world of each of the six ‘tableaux’ or cantatas? While only intermittently fulfilling, for many of the fixtures hard-wired into Rilling, this is still distinguished on many levels and never less than exciting. An unwieldy Radio Choir skating over detail, in too resonant an acoustic, disqualifies this reading in the same way as that by Enoch zu Guttenberg appears to have been painted by numbers in a story of a thousand mannerisms. One longs for something altogether less harnessed. Part II: The Second Day of Christmas. Johann Sebastian Bach (1685–1750) Und es waren Hirten in derselben Gegend, BWV 248/II PDF scanned by Bach Digital BachFan (2017/1/28) ⇒ 5 more: 2. In the second, Peter Dijkstra oversees an organised but jerkily propelled 2010 live performance with the Bavarian Radio Choir and Akademie für Alte Musik Berlin in the resonant Herkulessaal in Munich. Münchinger is never less than dependable. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Bach - Christmas Oratorio BWV 248; Übersetzungen: Englisch, Französisch, Griechisch, Italienisch #1, #2, Neopolitanisch, Niederländisch, Polnisch, Portugiesisch 3 weitere; Deutsch . The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. Album: J.S. 5. Bach’s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. Somewhere between the theological concentration of Richter and the generous, unaffected Werner comes the 1966 Decca account from Karl Münchinger and his Stuttgarters. Theil • 4. If selected recordings of the St Matthew Passion from this period are more durable for their insightful dramatic and poetic judgement, fewer revelations can be found in post-war Oratorios. Thursday, January 14, 2021 at 8 p.m. on Facebook and YouTube Christmas Oratorio Part III. On his visits to Dresden, Bach had won the regard… If not always the most comforting reading, this is the performance which attempts most rivetingly to seek the essence of Bach’s musical imagery and meaning. The solo singing is seamlessly distinguished, from Anne Sofie von Otter’s bloom-filled and pliably decorated ‘Bereite dich’ to the recitative quartet at the end. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. The series features three renowned cantatas, Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. Date / Artists / Record company (review date), 1955 Stuttgart Rad SO / Langenbeck (pts 1-3 only) Profil PH08028, 1958 Leipzig Gewandhaus Orch / Thomas Berlin Classics 0021912BC (12/62R); 0300034BC, 1963 Pforzheim CO / Werner Erato 2564 61403-2 (1/05), 1965 Munich Bach Orch / K Richter Archiv 427 236-2AX3 (3/89); DG 463 701-2AB10, 1966 Stuttgart CO / Münchinger Decca 455 410-2DF2 (12/67R); Newton 8802001, 1972 Concentus Musicus Wien / Harnoncourt WCJ 2564 69854-0 (12/86R), 1973 Bavarian Rad SO / Jochum Philips 416 40-2PB3 (9/73R – nla), 1973 Collegium Aureum / Schmidt-Gaden DHM 88697 57577-2 (4/88R); 88697 58759-2, 1977 Collegium St Emmeram / Schneidt Archiv 477 6282AM3 (10/79R), 1981 Concentus Musicus Wien / Harnoncourt DG 073 4104GH, 1984 Lausanne CO / Corboz Apex 2564 68621-7 (12/84R), 1984 Bach Collegium Stuttgart / Rilling Hänssler Classic CD98 851/3 (2/95); CD98 976, 1987 English Baroque Sols / Gardiner Archiv 423 232-2AH2 (12/87); DG 469 769-2X9, 1987 Staatskapelle Dresden / Schreier Philips 475 9155POR3 (12/87R), 1989 Collegium Vocale, Ghent / Herreweghe Virgin Classics 759530-2 (12/89R), 1991 Conc Cologne / Otto Capriccio 60 025 (4/92), 1992 Failoni CO / Oberfrank Naxos 8 550428/30 (4/93), 1993 Sixteen / Christophers Coro COR16017 (12/93R); COR16072, 1993 Drottningholm Baroque Ens / Ericson Proprius PRCD2012/13, 1995 Virtuosi Saxoniae / Güttler Berlin Classics 0011352BC; 0184192BC, 1996 Amsterdam Baroque Orch / Koopman Erato 0630 14635-2 (3/97), 1997 KlangVerwaltung Orch / Guttenberg Farao B108015, 1997 Akademie für Alte Musik Berlin / Jacobs Harmonia Mundi HMX290 1630/31 (12/97R), 1997 New London Consort / Pickett L’Oiseau-Lyre 458 838-2OH2 (5/00 – nla), 1998 Bach Fest Orch / Funfgeld Dorian DOR93183 (2/00), 1998 Bach Collegium Japan / Suzuki BIS BIS-CD941/2 (2/99), 1999 English Baroque Sols / Gardiner ArtHaus Musik 101 237, 1999 Bach Collegium Stuttgart / Rilling Hänssler Classic CD92 076 (1/01), 2002 Netherlands Bach Society / Veldhoven Channel Classics CCSSA20103 (1/04), 2002/03 Swiss Rad Orch / Fasolis Arts 47714-8, 2006/07 Concentus Musicus Wien / Harnoncourt DHM 88697 11225-2 (12/07), 2009 Kleine Konzert / Max CPO CPO777 459-2, 2010 Leipzig Gewandhaus Orch / Chailly Decca 478 2271DH2, 2010 Akademie für Alte Musik Berlin / Dijkstra BR-Klassik 900502, This article originally appeared in the December 2012 issue of Gramophone. 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