In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: '"Elegant" is the word for this production, equally worthy to give or to keep' Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics. Com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas. The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue. The albums explore resonant themes which run through Bach's music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer's harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.
119 106. Mit Fried Und Freud Ich Fahr Dahin (Chorus)
120 107. Aria: Ich Will Auch Mit Gebrochnen Augen (Alto)
121 108. Recitative and Chorale: O Wunder, Dass Ein Herz (Bass)
122 109. Aria: Ein Unbegreiflich Licht (Tenor, Bass)
123 110. Recitative: O Unerschopfter Schatz Der Gute (Alto)
124 111. Chorale: Er Ist Das Heil Und Selig Licht (Chorus)
125 * Trio Sonata No. 1 in E-Flat Major, BWV 525
126 112. Trio Sonata No. 1 in E-Flat Major, BWV 525: III. Allegro
127 * Ich Geh Und Suche Mit Verlangen, BWV 49
128 113. Sinfonia
129 114. Aria: Ich Geh Und Suche Mit Verlangen (Bass)
130 115. Recitative: Mein Mahl Ist Zubereit (Soprano, Bass)
131 116. Aria: Ich Bin Herrlich, Ich Bin SCHÖN (Soprano)
132 117. Recitative: Mein Glaube Hat Mich Selbst So Angezogen (Soprano, Bass)
133 118. Aria: Dich Hab Ich Je Und Je Geliebet (Soprano, Bass)
134 * Wie SCHÖN Leuchtet Der Morgenstern, BWV 1
135 119. Wie SCHÖN Leuchtet Der Morgenstern (Chorus)
136 120. Recitative: Du Wahrer Gottes Und Marien Sohn (Tenor)
137 121. Aria: Erfüllet, Ihr Himmlischen Gottlichen Flammen (Soprano)
138 122. Recitative: Ein Irdscher Glanz, Ein Leiblich Licht (Bass)
139 123. Aria: Unser Mund Und Ton Der Saiten (Tenor)
140 124. Chorale: Wie Bin Ich Doch So Herzlich Froh (Chorus)
141 125. Wie SCHÖN Leuchtet Der Morgenstern, BWV 739
142 * Wachet Auf, Ruft Uns Die Stimme, BWV 140
143 126. Chorale: Wachet Auf, Ruft Uns Die Stimme (Chorus)
144 127. Recitative: Er Kommt, Er Kommt (Tenor)
145 128. Aria Duet: Wenn KÖMMST Du, Mein Heil (Soprano, Bass)
146 129. Chorale: Zion HÖRT Die Wächter Singen (Chorus)
147 130. Recitative: So Geh Herein Zu Mir (Bass)
148 131. Aria Duet: Mein Freund Ist Mein (Soprano, Bass)
149 132. Chorale: Gloria Sei Dir Gesungen (Chorus)
In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: '"Elegant" is the word for this production, equally worthy to give or to keep' Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics. Com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas. The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue. The albums explore resonant themes which run through Bach's music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer's harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.