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Bach: Secular Cantatas, Vol. 10: Cantatas of Contentment / Suzuki, Bach Collegium Japan
Robert von Bahr, CEO of BIS Records, writes of this release: āWhen we finished the Bach Sacred Cantatas there was an emptiness with us all participants, which was - partly - alleviated by the fact that there were several records of secular Cantatas still to be recorded. And now we are at the bitter end of those as well, and there are no more Bach Cantatas to be recorded. After 23 years of a steady diet of Bach Cantatas, to be without them is brutal and cruel. All the better, then, that we have finished on a high point. Carolyn Sampsonās singing in the solo cantata BWV 204 beggars belief - it is as close to Heaven one can hope to come on this Earth. Big words, and yet too small for what she does. This is the crowning glory of a series that has transformed my life and given me so much more fulfillment that I could possibly have hoped for. Thank you, Masaaki and your faithful BCJ, for creating a musical treasure possible to be treasured by a grateful mankind.ā
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
Robert von Bahr, CEO of BIS Records, writes of this release: āWhen we finished the Bach Sacred Cantatas there was an emptiness with us all participants, which was - partly - alleviated by the fact that there were several records of secular Cantatas still to be recorded. And now we are at the bitter end of those as well, and there are no more Bach Cantatas to be recorded. After 23 years of a steady diet of Bach Cantatas, to be without them is brutal and cruel. All the better, then, that we have finished on a high point. Carolyn Sampsonās singing in the solo cantata BWV 204 beggars belief - it is as close to Heaven one can hope to come on this Earth. Big words, and yet too small for what she does. This is the crowning glory of a series that has transformed my life and given me so much more fulfillment that I could possibly have hoped for. Thank you, Masaaki and your faithful BCJ, for creating a musical treasure possible to be treasured by a grateful mankind.ā
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
$10.99
Bach: Secular Cantatas, Vol. 10: Cantatas of Contentment / Suzuki, Bach Collegium Japanā
$10.99
Description
Robert von Bahr, CEO of BIS Records, writes of this release: āWhen we finished the Bach Sacred Cantatas there was an emptiness with us all participants, which was - partly - alleviated by the fact that there were several records of secular Cantatas still to be recorded. And now we are at the bitter end of those as well, and there are no more Bach Cantatas to be recorded. After 23 years of a steady diet of Bach Cantatas, to be without them is brutal and cruel. All the better, then, that we have finished on a high point. Carolyn Sampsonās singing in the solo cantata BWV 204 beggars belief - it is as close to Heaven one can hope to come on this Earth. Big words, and yet too small for what she does. This is the crowning glory of a series that has transformed my life and given me so much more fulfillment that I could possibly have hoped for. Thank you, Masaaki and your faithful BCJ, for creating a musical treasure possible to be treasured by a grateful mankind.ā
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
-----
REVIEWS:
This issue completes one of the great modern recording odysseys, being the final disc of complete surviving secular cantatas from Bach Collegium Japan. The Bach Collegium Japan sing and play as satisfyingly as they have done since their foundation in 1990 and the hero of the disc, as ever, is Masaaki Suzuki. His sense of the tempo giusto in this music is unerring, and his response to the sprightly dance measures is always infectious.
ā MusicWeb International
We celebrate here, as always, many of Suzukiās finest qualities of expressive lucidity, unforced coherence, and the quiet nobility of one serving the music as the most natural of reflexes.
Carolyn Sampsonās ever-inspiring contributions close the project with Ich bin in mir vernĆ¼gt, a little-known solo soprano cantata compared to the Nos 51, 199, and 210s of this world. Just when one thought it impossible to hear Bach sung any better than in her recent performance of No 105 (arr. SchumannāOndine, 8/18), she brings an Arcadian coloration to āMeine Seele sei vernĆ¼gtā, placing her among the finest exponents on record of this composerās peerlessly demanding soprano-writing.
ā Gramophone
