J.S. Bach / Die Elenden sollen essen, BWV 75 (Herreweghe) скачать в хорошем качестве

J.S. Bach / Die Elenden sollen essen, BWV 75 (Herreweghe)

Johann Sebastian Bach (1685-1750) Cantata BWV 75: Die Elenden sollen essen (30 May 1723) Part I. 1. Die Elenden sollen essen (Chorus) 2. Was hilft des Purpurs Majestät (Recitative: B) 04:06 3. Mein Jesus soll mein alles sein (Aria: T) 05:01 4. Gott stürzet und erhöhet (Recitative: T) 09:48 5. Ich nehme mein Leiden mit Freuden auf mich (Aria: S) 10:25 6. Indes schenkt Gott ein gut Gewissen (Recitative: S) 15:15 7. Was Gott tut, das ist wohlgetan (Chorale) 15:54 Part II. 8. Sinfonia 17:28 9. Nur eines kränkt (Recitative: A) 19:54 10. Jesus macht mich geistlich reich (Aria: A) 20:46 11. Wer nur in Jesu bleibt (Recitative: B) 23:19 12. Mein Herze glaubt und liebt (Aria: B) 23:52 13. O Armut, der kein Reichtum gleicht! (Recitative: T) 27:27 14. Was Gott tut, das ist wohlgetan (Chorale) 28:07 Soloists: Soprano: Carolyn Sampson Countertenor: Daniel Taylor Tenor: Mark Padmore Bass: Peter Kooy Performed by Philippe Herreweghe and Collegium Vocale Gent. Recorded by Harmonia Mundi in 2003. "[Bach's] first official duty [in Leipzig], the performance of the newly composed cantata Die Elenden sollen essen (BWV 75), was worthy of a mention in the Acta Lipsiensium academica: 'On 30 May 1723, the First Sunday after Trinity, the new Kantor and Director of the Collegium Musicum, Herr Joh. Sebastian Bach, recently arrived here from the Prince's court at Cöthen, performed his first music to considerable applause [mit guten applausu].' The 'applause' that greeted Bach's work should of course not be understood as an outbreak of demonstrative handclapping; rather, this not particularly effusive remark should be interpreted as signifying that the composer's music had met with approval, and that he had thus discharged the duties required of him, which he was contractually bound to fulfil. The theme of the cantata, the antithesis between poverty and wealth, earthly trifles and divine Providence, was provided by the Gospel for that Sunday, the parable of Lazarus and the rich man. However, the layout of the libretto, which is by an unknown hand, must have been decided by Bach himself. The first part, to be performed before the sermon, applies the parable didactically to the Christian life. Right from the opening chorus Bach presented himself to the people of Leipzig as a composer who was capable of placing the highest artistic skill at the service of a vivid translation of words into music. The first of these ('Die Elenden sollen essen, dass sie satt werden') unfolds in a freely imitative choral texture full of expressive suspensions, which is incorporated in an orchestral style influenced by the French overture. These elements are further developed, and taken up by the choir, in the next section ('und die nach dem Herrn fragen'). After a recapitulation of the orchestral introduction, the words 'Euer Herz wird ewiglich leben' are set as an extended fugue making considerable use of melisma. The companion piece to the opening chorus, a prelude-and-fugue sequence transposed into vocal terms, is the sinfonia that introduces the cantata's second part, a fugal movement in which the chorale 'Was Gott tut, das ist wohlgetan' is heard on solo trumpet. Bach has already placed this melody at the end of the first part, in the form of a chorale setting for four-part chorus, with each line framed by orchestral ritornellos. At the conclusion of the cantata he reprises this setting note-by-note, but with another strophe of the chorale, thus creating a unifying correspondence between the two parts of the work. Interconnections of another kind are also to be found in the solo numbers. In each of the two parts, two arias are framed by three recitatives; all the arias, however different they may be from one another, present a markedly cantabile style when compared with many later works, and (with the exception of the bass aria towards the end of the cantata) all are distinguished by their dance-like character. The 'considerable applause' bestowed on Bach may have been due not least to the fact that he was cunning enough to lean towards the style of Georg Philipp Telemann, who had in fact been the preferred candidate for the Leipzig job." - Thomas Seedorf (trans. Charles Johnston) Painting: Poverty and Wealth, Flemish (17th cen.)