Cantata No. 131, "Aus der Tiefe rufe ich, Herr, zu dir," BWV 131 (BC B25)
Cantata No. 182, "Himmelskönig, sei willkommen," BWV 182 (BC A53)
Cantata No. 4, "Christ lag in Todes Banden," BWV 4 (BCA 54)
Belgium's Ricercar Consort has a long record of Bach performances that transcend national styles; it has something of the dramatic Italian approach, the lush sound from Francophone lands, and well-drilled German clarity. In this set of Bach cantatas it uses the currently fashionable one-voice-per-part approach, with the "chorus" consisting simply of the voices massed together. No doubt there is evidence that the procedure was used in Bach's time; whether it was considered desirable in North German communities where the ...
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Belgium's Ricercar Consort has a long record of Bach performances that transcend national styles; it has something of the dramatic Italian approach, the lush sound from Francophone lands, and well-drilled German clarity. In this set of Bach cantatas it uses the currently fashionable one-voice-per-part approach, with the "chorus" consisting simply of the voices massed together. No doubt there is evidence that the procedure was used in Bach's time; whether it was considered desirable in North German communities where the bourgeousie observed the big choirs of noble houses and powerful churches elsewhere in Europe is another matter. The results in this collection of early works, however, are musically persuasive. Included are three early Bach cantatas, including by many reckonings the very first one, the Cantata No. 131, "Aus der Tiefen ruf ich Herr zu dir," BWV 131 (From the depths, Lord, I call out to you). This work is not at all in the usual Bach cantata patterns with chorus and chorale framing a...
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