Die Augen Der Dunkelheit

The cantatas in this fourteenth series fall into four unequal groups: BWV 26, 123,125 and 178 form part of the second yearly cycle of Leipzig church cantatas, which was abruptly broken off in March 1725.The chorale cantatas - based on strophes of church Lieder or church Lieder paraphrased into recitatives and arias - lent the cycle its distinct character. We do not know any tangible reason for the abrupt break-off, but we may assume that it is connected to the death of the author of Bach's texts, Andreas Stübel, deputy headmaster of the Thomasschule, who is presumed to have died on 31 January 1725.For evidently the composer had at his disposal only texts up to the Marian Feast of the Annunciation, 25 March 1725 (BWV 1).While the texts for BWV 6 and 42 are the work of an unknown poet, in Cantatas BWV 74,68 and 103 Bach set texts by the Leipzig poet Mariane von Ziegler, who evidently filled the gap left by the poet of the chorale cantatas. Finally, BWV 1045 is a sinfonia of a cantata dating from the mid-1740s, the other movements of which have not survived.

Sammlung: Carl Hanser Verlag - Sach/Fachbücher, Romane etc. 857 Bücher

As one of the most legendary champions of Bach Karl Richter's many (and in some instances multiple) recordings of the composers Cantata's arguably is his greatest achievement. Richter enlisted many of the finest vocalists in their prime during the 1950's through the early 70's for these recordings elevating the neglected form at the time to the level of Grand Opera. His conducting, especially for his day as well remains remarkably animated and fluent yet always respectful of Bach's underlying powerful architectural components. These recordings set the standard and for many today remain the benchmark performances by which all new ones continue to be judged.

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the ’70s and ’80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach’s sacred cantatas that they began in 1971 and completed in 1988. This body of work has served as a beacon for younger musicians seeking a fuller understanding of Bach’s work, and will forever be regarded as one of the pioneering projects in the history of recording classical music. 60 CDs in all.

This is a two-disc collection of music, either recorded on France's Naïve label or acquired by that label, that arose in Vienna during the years on either side of 1900. It might be argued that the music of the Viennese fin de siècle was all about extremes – of length, of concision, of orchestration – and that the best way to appreciate the musical culture of Vienna in 1900 would be to sit down and listen to a Mahler symphony from beginning to end. Still, for a program of short excerpts devoted to music that did not think in those terms, this one works remarkably well. It draws key connections that are usually ignored, and the biggest one is between Brahms on the one hand and the Second Viennese School on the other.