Bwv 91 Cantata

Nicholas Ward, Northern Chamber Orchestra - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)

Nicholas Ward, Northern Chamber Orchestra, Jeremy Summerly, Schola Cantorum of Oxford - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 53:14 | Scans included
Classical | Label: Naxos | # 8.550763 | Recorded: 1993, 1994

These works both received their first performances in Leipzig - the Magnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up thepost of Kantor at the Thomaskirche in Leipzig, having previously been Kapellmeisterto Prince Leopold in Cothen. The Magnificat was originally heard ina version in E flat major at Christmas Vespers when movements with seasonaltexts were inserted; the version included on this disc was rendered by Bach someyears later, returning to the ordinary Magnificat text in order to makethe work performable all year round. Bach's approach to the evening canticle ischaracteristically large-scale. There is no use of recitative, owing perhaps tothe poetic nature of the text: the verses have little natural hierarchy and itis appropriate that they should all be afforded extended settings. The scoringis unusually rich and includes three trumpets, two flutes, two oboes, strings,continuo, and timpani - one of the largest ensembles to be assembled at theThomaskirche in Bach's time. Bach takes a literal view of the text in which, forinstance, the full five-part choir is used to demonstrate Omnes generationes ("All generations") with soloists used for the more reflective movements. Ina typically Bachian gesture the opening material returns for Sicut erat inprincipio ("As it was in the beginning").
Christoph Spering - Bach: Lutherkantaten, Vol. 1 (BWV 62, 36, 91) (2016) [Official Digital Download]

Christoph Spering - Bach: Lutherkantaten, Vol. 1 (BWV 62, 36, 91) (2016)
FLAC (tracks) 24-bit/48 kHz | Time - 63:20 minutes | 650 MB
Studio Master, Official Digital Download | Artwork: Digital booklet

Brand new recording of all Luther cantatas composed by Johann Sebastian Bach. 2017 marks the 500th anniversary of the Protestant Reformation. Half a millennium ago, on October 31, 1517, Martin Luther launched this movement by posting his 95 theses on the door of Wittenberg’s Castle Church. Two centuries later, inspired by Luther’s words, & fully in the spirit of the reformer’s aim of spreading his theories via hymns, Johann Sebastian Bach composed what is probably the most significant body of cantatas based on Luther’s texts.
J.S.Bach - Cantatas BWV 67, 108 & 127 - Karl Richter (Munich, 58, Stereo)

J.S.Bach - Cantatas BWV 67, 108 & 127 - Karl Richter (Munich, 58, Stereo)
CD | APE+CUE | no LOG | 328.2Mb | 1:01:05 | WarnerClassics 2004

In addition to the 75 J.S.Bach's Cantatas by Munchener Bach-Chor & Munchener Bach-Orchester conducted by Karl Richter.
The BWV 127 cantata was not included in the "75 Cantatas" set.
Ricercar Consort, Philippe Pierlot - J.S. Bach - In Tempore Nativitatis: Christmas Cantatas BWV 110, 151, 63 (2013) [Repost]

Johann Sebastian Bach - In Tempore Nativitatis: Christmas Cantatas BWV 110, 151, 63 (2013)
Maria Keohane (soprano), Carlos Mena (alto), Julian Pregardien (tenor), Stephan MacLeod (bass)
Ricercar Consort; Philippe Pierlot, direction

EAC | FLAC | Image (Cue&Log) ~ 356 Mb | Mp3 (CBR320) ~ 171 Mb | Scans included
Classical, Choral, Sacred | Label: Mirare | # MIR243 | Time: 01:07:54

Just in time for Christmas, Philippe Pierlot and the Ricercar Consort present a collection of Cantatas for the season by Johann Sebastian Bach. In these evergreen holiday favorites, flutes, oboes, trumpets, timpani and voices are used to express the comfort and joy inspired by the Nativity. The result is nothing short of magical. The Ricercar Consort was founded in 1980 by harpsichordist and director Philippe Pierlot. They have made a significant discography, especially on the Mirare label, where their recordings have met with consistent acclaim and respect, in particular for their exceptional Bach Magnificat.
La Nuova Musica; David Bates, Lucy Crowe, Tim Mead - Pergolesi: Stabat Mater; J.S. Bach: Cantatas BWV 54 & 170 (2017)

Giovanni Pergolesi: Stabat Mater; Johann Sebastian Bach: Cantatas BWV 54 & 170 (2017)
Lucy Crowe, soprano; Tim Mead, countertenor; La Nuova Musica; David Bates, conductor

EAC | FLAC | Image (Cue&Log) ~ 283 Mb | Mp3 (CBR320) ~ 147 Mb | Artwork included
Classical, Sacred, Vocal | Label: Harmonia Mundi | # HMM907589 | Time: 01:04:14

Two of Bach’s finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with the delicious agony of grief that is Pergolesi’s 'Stabat mater', an acknowledged masterpiece by one of the 18th century’s most influential composers. Bach so admired the composition of his Neapolitan colleague that he made his own ‘parody’ of it to a German text. On this recording, La Nuova Musica, in its 10th anniversary year, and its two eminent soloists display equal mastery of both idioms.
Bach J.S. - Cantates pour alto; BWV 170, 54, 35 - Herreweghe (1998)

Bach J.S. - Cantates pour alto; BWV 170, 54, 35 (Herreweghe; Scholl) (1998)
APE, IMG+CUE, LOG, Complete Artwork (jpg) => 269 MB | 59’17
EAC Rip | Classical/Sacred/Vocal | Label: Harmonia Mundi Fr. | Recorded: 1997

Three of Bach's four cantatas for solo alto were written within the period of a few months in the year, 1726. It is surmised by musicologists that they were written for a specific singer, for they are very difficult, and not easily sung by the moderately skilled personage. There are strenuous technical demands on the vocal and expressive qualities of the singer, who must be an accomplished coloratura capable of expressive cantible singing as well as possessing accurate intonation. A female or a castrato voice were out of the question, but a high falsetto was not.
Brazilian Guitar Quartet - J.S. Bach: Four Suites for Orchestra, BWV 1066-1069 (2000)

Brazilian Guitar Quartet - J.S. Bach: Four Suites for Orchestra, BWV 1066-1069 (2000)
EAC | FLAC (image+.cue, log) | Covers Included | 74:05 | 337 MB
Genre: Classical | Label: Delos | Catalog: 3254

Although J.S. Bach's orchestral music has been transcribed for guitar ensemble before, notably selected Brandenburg Concertos by the De Falla Trio and the Los Angeles Guitar Quartet, this is the first recording of the four suites for orchestra that I have heard in a setting of this type; it is not a source of material that readily springs to mind for such treatment and certainly purists would decry such practices.
Duo Mélisande - Bach: The Goldberg Variations, BWV 988 (2014) [Official Digital Download]

Duo Mélisande - Bach: The Goldberg Variations, BWV 988 (2014)
FLAC (tracks) 24-bit/48 kHz | Time - 51:35 minutes | 510 MB
Studio Master, Official Digital Download | Artwork: Digital Booklet

„The title „Goldberg Variations“, arose from a story, now thought to be doubtful, that they were commissioned for the 14 year old harpsichordist Johann Gottlieb Goldberg to play. In 1802, the first biographer of J.S Bach, Johann Nicolaus Forkel, wrote that they were the 'model according to which all variations should be made'. The work has long been regarded as the most important set of variations composed in the baroque era. In the accompanying booklet to this CD, both Sebastien Llinares and Gilles Cantagrel cover the subject of Bach being transcribed. So called 'purists' should beware because nobody transcribed Bach's music like Bach himself - from violin to lute, from lute to harpsichord etc.“
Warsaw PO; Antoni Wit - Henryk Gorecki: Concerto-Cantata; Little Requiem; Three Dances; Harpsichord Concerto (2012)

Henryk Mikołaj Górecki: Concerto-Cantata; Little Requiem for a Certain Polka
Three Dances; Harpsichord Concerto (piano version) (2012)
Warsaw Philharmonic Orchestra; Antoni Wit, conductor
Anna Górecka, piano; Carol Wincenc, flute

EAC | FLAC | Image (Cue&Log) ~ 307 Mb | Mp3 (CBR320) ~ 191 Mb | Scans included
Classical, Contemporary | Label: Naxos | # 8.572872 | Time: 01:09:31

These four works, written between 1973 and 1993, fully reflect Górecki’s expressive variety. The Little Requiem for a Certain Polka, for piano and thirteen instruments, combines a wide range of moods. The Concerto-Cantata, which received its world première from the soloist on this recording, alternates a moving vein of melancholy with a charged, violent energy. The radical, energetic Harpsichord Concerto is heard here in the version for piano, performed by the composer’s daughter. The Three Dances are hugely approachable and full of exciting contrast.
Crouch End Festival Chorus, Bach Camerata & David Temple - J.S. Bach: St. John Passion, BWV 245 (Sung in English) (2017)

Crouch End Festival Chorus, Bach Camerata & David Temple - J.S. Bach: St. John Passion, BWV 245 (Sung in English) (2017)
Classical, Choral | WEB FLAC (tracks) & d. booklet | 441 MB
Label: Chandos | Tracks: 68 | Time: 109:40 min

This will play on conventional CD players A landmark recording of J.S. Bach s St John Passion, sung in English the first for over forty-five years. With communicative zeal, beautiful articulation, and focused energy, the 100 voices of CEFC lend precision and power to the performance alongside the instruments of the Bach Camerata, one of the finest UK baroque orchestras, all under the inspired direction of David Temple. They are joined by a superb array of soloists including Robert Murray, Ashley Riches and Sophie Bevan.