J. S. Bach: Ein feste Burg. Cantata BWV 80 & Missa in g BWV 235 (Bernius) - CD, Choir Coach, multimedia | Carus-Verlag

J. S. Bach: Ein feste Burg. Cantata BWV 80 & Missa in g BWV 235 (Bernius)

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With its highly complex and artful opening chorus, the cantata Ein feste Burg is one of the highlights among Bach's cantatas. With the Kammerchor Stuttgart under Frieder Bernius and the soloists Sarah Wegener, David Allsopp, Thomas Hobbs and Peter Harvey, this masterpiece finds a more than adequate recording here. The cantata is supplemented by the Missa brevis in G minor, BWV 235, one of the four Lutheran masses Bach composed at the end of the 1730s.
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Compléments
  • 1. Choral

    A mighty fortress is our God,
    a stronghold never failing.
    He helps us when with troubles fraught
    and freely grants his caring.
    The evil enemy,
    attacks us with glee
    his weapons are cruel,
    treachery would rule,
    on earth is none beside him.

    2. Aria (Soprano e Basso)

    All those born of God are praising
    and in victory rejoicing.

    With all our strength is nothing done,
    for soon we are defeated.
    For us the right defense has come,
    whom God himself selected.

    Those who by the blood of Christ
    ...
  • 1. Choral

    Ein feste Burg ist unser Gott,
    ein gute Wehr und Waffen.
    Er hilft uns frei aus aller Not,
    die uns itzt hat betroffen.
    Der alte böse Feind,
    mit Ernst ers itzt meint;
    groß Macht und viel List
    sein grausam Rüstung ist,
    auf Erd ist nicht seinsgleichen.

    2. Aria (Soprano e Basso)

    Alles, was von Gott geboren,
    ist zum Siegen auserkoren.

    Mit unser Macht ist nichts getan,
    wir sind gar bald verloren.
    Es streit’ vor uns der rechte Mann,
    den Gott selbst hat erkoren.

    Wer bei Christi Blutpanier
    ...
  • Text from the CD Carus 83.282

    Klaus Hofmann
    Translation: (abridged): Elizabeth Robinson

    No hymn is as closely associated with the figure of Martin Luther and the Reformation as Ein feste Burg ist unser Gott. The hymn which Luther wrote in 1527, based on Psalm 46, became the confessional hymn of the Protestant movement soon after it was written. With his chorale cantata for Reformation Day, Johann Sebastian Bach paid a unique homage to the Lutheran hymn. It is the introductory chorale movement for chorus on the first verse of the hymn in particular which sets the work apart from the majority of Bach’s church cantatas. With its 114 breves, the movement has no equal in its form. The architectural concept, as it were, is unique. Here a four-part choral motet, in which all the lines of the hymn are treated individually in fugal form, is overarched by the outer orchestral parts with a canon on the same hymn melody.

    ...
  • Booklet-Text der CD Carus 83.282

    Klaus Hofmann

    Kein Kirchenlied ist im allgemeinen Bewusstsein so eng mit der Person Martin Luthers, der Reformation und dem lutherischen Bekenntnis verbunden wie Ein feste Burg ist unser Gott. Das von Luther in einer Zeit innerer und äußerer Anfechtung um 1527 in Anlehnung an Psalm 46 („Gott ist unsre Zuversicht und Stärke“) geschaffene Lied wurde schon bald nach seiner Entstehung zum Bekenntnishymnus der protestantischen Bewegung. Und bis heute erklingt es in allen evangelischen Kirchen am Reformationsfest, das alljährlich am 31. Oktober im Gedenken an den legendären Wittenberger Thesenanschlag Martin Luthers im Jahre 1517 begangen wird.

    Johann Sebastian Bach hat mit seiner Choralkantate zum Reformationsfest dem Luther’schen Hymnus ein einzigartiges Denkmal gesetzt. Dabei ist es vor allem der einleitende Choralchor über

    ...
  • 1. Coro

    Lord, have mercy on us.
    Christ, have mercy on us.
    Lord, have mercy on us.

    2. Coro

    Glory be to God on high.
    And on earth peace to men of good will.
    We praise thee. We bless thee. We adore thee. We glorify thee.

    3. Basso solo

    We give thee thanks for thy great glory.
    Lord God, heavenly King,
    almighty Father.

    4. Alto solo

    O Lord, the only-begotten Son, Jesus Christ,
    O Lord God, Lamb of God, Son of the Father.

    5. Tenore solo

    Thou who takest away the sins of the world, receive our prayer.
    Thou that sittest at the right hand of the Father, have mercy upon us.
    For thou alone art the Holy One,
    ...
  • 1. Coro

    Herr, erbarme dich.
    Christus, erbarme dich unser.
    Herr, erbarme dich unser.

    2. Coro

    Ehre sei Gott in der Höhe.
    Und Friede auf Erden den Menschen, die guten Willens sind.
    Wir loben dich. Wir preisen dich. Wir beten dich an. Wir rühmen dich.

    3. Basso solo

    Wir danken dir, denn groß ist deine Herrlichkeit. Herr und Gott, König des Himmels,
    allmächtiger Vater.

    4. Alto solo

    Herr Jesus Christus, eingeborener Sohn.
    Herr und Gott, Lamm Gottes, Sohn des Vaters.

    5. Tenore solo

    Du nimmst hinweg die Sünden der Welt, nimm an unser Gebet.
    Du sitzest zur Rechten des Vaters, erbarme dich unser.
    Denn du allein bist der Heilige,
    ...
  • 1. Coro

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    2. Coro

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.
    Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

    3. Basso solo

    Gratias agimus tibi propter magnam gloriam tuam.
    Domine Deus, Rex coelestis,
    Deus Pater omnipotens.

    4. Alto solo

    Domine Fili unigenite, Jesu Christe.
    Domine Deus, Agnus Dei, Filius Patris.

    ...
  • Text from the CD Carus 83.282

    Klaus Hofmann
    Translation (abridged): Elizabeth Robinson

    Johann Sebastian Bach’s four Lutheran Masses (BWV 233-236) were composed towards the end of the 1730s and are so-called because they comprise just Kyrie and Gloria, as was customary in Protestant practice of the time. They are almost entirely parodies of cantata movements. With the Mass in G minor, Bach appears to have started with a plan to make full use of his cantata Es wartet alles auf dich (BWV 187) of 1726. Here, he used all the movements which were suitable for parody treatment in the mass. The opening chorus “Es wartet alles auf dich” became the final chorus with the text “Cum Sancto Spiritu in gloria Dei Patris. Amen”. The three solo arias in the cantata recur in the mass as inner movements (3–5) in the Gloria section. For the Kyrie and the opening movement of the Gloria, Bach needed two further choral pieces, and for these he drew on the opening choruses of cantatas BWV 102 and BWV 72, also written in 1726.

    It goes almost without saying that Bach’s reworking is not limited to the underlay of the new text and associated modifications of the vocal parts. In two cases, in

    ...
  • Booklet-Text der CD Carus 83.282

    Klaus Hofmann

    Johann Sebastian Bachs gegen Ende der 1730er Jahre entstandene vier Lutherischen Messen (BWV 233-236) – so genannt, weil sie sich nach protestantischer Praxis auf Kyrie und Gloria beschränken – bestehen fast vollständig aus Parodien von Kantatensätzen. Bei der Messe in g-Moll scheint Bach von dem Plan ausgegangen zu sein, seine Kantate Es wartet alles auf dich (BWV 187) aus dem Jahre 1726 möglichst ausgiebig zu nutzen. So hat er hier alle zur Parodierung überhaupt geeigneten Sätze (d. h. alles außer den beiden Rezitativen und dem Schlusschoral) in die Messe übergeführt. Der Eingangschor „Es wartet alles auf dich“ wurde zum Schlusschor mit dem Text „Cum Sancto Spiritu in gloria Dei Patris. Amen“. Die drei Soloarien der Kantate kehren in der Messe als Binnensätze des Gloria-Teils wieder. Für das Kyrie und den Anfangssatz des Gloria brauchte Bach noch zwei Chorstücke und griff hierfür auf die Eingangschöre der ebenfalls 1726 entstandenen Kantaten Herr, deine Augen sehen nach dem Glauben (BWV 102) und Alles nur nach Gottes Willen (BWV 72)

    ...
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  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Plus d'information sur la personne
  • The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. Plus d'information sur la personne
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Plus d'information sur la personne
  • In the course of his short career, the young English tenor Thomas Hobbs has already earned consider - able esteem. Still as a student, he was was awarded numerous prizes and scholarships. In addition to developing his solo career, Hobbs has sung in some of England’s leading vocal ensembles, such as The Cardinall’s Musick, The Tallis Scholars, I Fagiolini, and The Sixteen. In the genre of opera, he has performed Acis and other roles in Handel’s Acis and Galathea, Ferrando in Cosi fan tutte and, most recently, the title role in Britten’s Albert Herring at the Royal Academy Opera. During the 2010/11 season he made his debut at the English National Opera in Monteverdi’s Il ritorno d'Ulisse. Thomas Hobbs regularly gives Lieder recitals; his repertoire in cludes Vaughan- Williams’s On Wenlock Edge as well as Schubert’s Die schöne Müllerin and Schumann’s Liederkreis. He is also much in demand as a concert soloist. In 2009, he participated in the Academy of the Festival Aix-en-Provence and performed with the Camerata Salzburg under Louis Langrée. Plus d'information sur la personne
  • Peter Harvey’s hundred or so recordings span eight centuries of music, with the High Baroque particularly well represented. He has performed and recorded all of J. S. Bach’s major vocal works and many of the cantatas. From the French Baroque, he has made many recordings of Campra, Lully, Lalande and others, including a recent solo disc with London Baroque of Rameau’s secular cantatas for bass voice. The Gabrieli Consort’s recording of Haydn’s Creation, on which Peter sings Adam, won the 2008 Gramophone Award. Peter directs the Magdalena Consort, specializing in the performance of the music of Bach with small ensembles. He is increasingly returning to the Lied repertoire, and has recently recorded Schubert’s Die Winterreise with pianist Gary Cooper. Plus d'information sur la personne

Critiques

Insgesamt ist die Carus-CD eine wertvolle Erweiterung der Bach-Diskographie.
Toccata, Mai-Juni 2018

Transparent im Klang, textverständlich, äußerst sauber musizierend und immer harmonierend in sich, gelingen in der ‘Missa’ wunderbare Akzente, die eine große Feierlichkeit ... vermitteln.
Silke Meier-Künzel, klassik.com, 29.03.2018

Bernius’s performances are of an entirely different class: his soloists and his choir and orchestra are of excellent quality.
Johann van Veen, musica dei donum, 13.02.2018

La précision et la cohésion du Kammerchor Stuttgart ne seront pas une surprise, sauf pour ceux qui ne connaîtraient toujours pas cette formation d’élite!
Jean-Luc Macia, Diapason, Februar 2018

Kurzum: zum kompositorischen Handwerk Bachs gesellt sich Bernius' Kenntnis interpretatorisch.
Markus Schauermann, singende kirche, Januar 2018

Unter der Leitung von Frieder Bernius meistert der Kammerchor Stuttgart die Chorpassagen ebenso ausgezeichnet - und wortdeutlich - wie die Solisten...
Austria Presse Agentur, 19.02.2018

Der Kammerchor Stuttgart unter Leitung von Frieder Bernius trägt seinen Teil dazu bei, dass dieses Meisterwerk hier eine mehr als gebührende Einspielung findet...
Musik und Liturgie, Januar 2018

Der Kammerchor ist mit seinem schlanken Klang und seiner mustergültigen Artikulation ein ideales Ensemble für Bach’sche Satzkünste wie im fugierten Einleitungschor... Ein Glanzstück im Luther-Jahr.
Augsburger Allgemeine, 22.12.2017

Was die Stuttgarter daraus machen, ist ein sanftes, heiteres Fließen, ohne Schärfen, abgehoben von der Erdenschwere, transparent bis ins Detail und doch ein unverbrüchliches Ganzes.
Johannes Mundry, Chorzeit, Dezember 2017

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