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Bach: Cantatas 8

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Audio CD, May 10, 2005
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Editorial Reviews


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Product Details

  • Conductor: John Eliot Gardiner
  • Composer: J.S. Bach
  • Audio CD (May 10, 2005)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: SDG - Soli Deo Gloria
  • ASIN: B0006OR17U
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #131,925 in Music (See Top 100 in Music)

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15 of 15 people found the following review helpful By GEORGE RANNIE on November 21, 2005
Format: Audio CD
This compilation of the Cantatas by J.S. Bach is the second installment of Gardiner's pilgrimage of Bach's Cantatas although in actuality it's numbered Volume 8. As I stated in my review of Volume One of this pilgrimage, I'm enthralled in every way with these recordings. Although, I have a dislike of the countertenor voice, the ones used in this recording are marvelous and easy on the ear. (You "authentic performance" militia can prosecute me. But I DON'T usually enjoy the countertenor voice.) Fortunately (for me), treble unchanged boy's voices are NOT used and the soprano(s) that are used are wonderful delivering their solos beautifully. In fact the featured soloists are all wonderful as is the chorus and orchestra. Gardiner is simply stupendous in his leadership of these works.
Although I've vowed not to get launched on yet another Bach Cantata series, I'm afraid that I'm so besotted by these Gardiner's recordings of Bach's Cantatas that I am indeed launched once again. This series continues to delight in every way!
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17 of 18 people found the following review helpful By Jesse Knight on September 29, 2006
Format: Audio CD
Malin Hartelius is not as famous as she should be. In a culture that rates singers more by power, singers with exceptional technique and expressive capabilities tend to have a slower acceptance. I discovered her on DVD where she displays acting ability that is also exceptional.

Trumpeter Niklas Eklund in the first and final movements of Cantata 51 is equally great.

Gardiner has a unique ability to choose just the right soloists for all his recordings. This 2000 pilgrimage is no exception. I am a choral singer of the amateur type and use his recordings as a reference for style, as well as enjoyment. Being picked for Cantata 51 is possibly one the best endorsements Hartelius can get.

The singing in all the cantatas on this two CD set is top notch.

I have never before been a fan of the male alto or countertenor voice but this CD and the Alles Mit Gott CD from Gardiner changed my thinking instantly.

The sound quality is superb, especially considering the time constraints the singers and engineers had to work with, in new venues every week. This is quite possibly the most important recording project of all time. The cost of buying the whole series is beyond my means, but I certainly will continue to pick up a few more here and there.
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20 of 22 people found the following review helpful By Vegan Daddy on December 10, 2005
Format: Audio CD Verified Purchase
This is not really a review but a helpful tool for potential buyers. Listed below are the BWV numbers as well as names of the cantatas contained on this set (since amazon.com only lists by name and not the necessary BWV#).

It is hard to be disappointed by Gardiner's craftsmanship. While some think his tempi on some cantatas to be distasteful, it provides a different approach than other conductors and Bach fellows.

Cantatas on this set:

Liebster Gott, wenn werd' ich sterben?, BWV 8

Wer weiss, wie nahe mir mein Ende, BWV 27

Jauchzet Gott in allen Landen, BWV 51 (SIDE NOTE: Reviewer's All-time favourite Bach Cantata)

Christus, der ist mein Leben, BWV 95

Was Gott tut, das ist wohlgetan, BWV 99

Was Gott tut, das ist wohlgetan, BWV 100

Warum betrübst du dich, mein Herz?, BWV 138

Komm, du süsse Todesstunde, BWV 161

What's your favourite Bach cantata?
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2 of 2 people found the following review helpful By DAVID BRYSON VINE VOICE on December 28, 2008
Format: Audio CD
This issue looks likely to be one of the very best in this great series. For newcomers, Gardiner and his colleagues devoted the year 2000, which was the 250th anniversary of Bach's death, to a `pilgrimage', mainly in Europe but finishing in New York, in which they performed all the master's surviving cantatas on the liturgical dates for which he had composed them. For newcomers again, this set would be as good a place to start becoming familiar with the series as I have so far encountered in the 13 issues I have collected. All the works here find Bach at his most approachable, and one in particular, Jauchzet Gott BWV 51, is rather a famous one, and it's not hard to appreciate why. For some reason the last addition to my collection, numbered 3 in their inscrutable numbering system, was not the best. However 13 has turned out to be quite the opposite of an unlucky number for me.

In other respects the processes by which numbers have been allocated defeat my understanding. In the first place the BWV numeration of the cantatas is unrelated to their sequence of composition. BWV 99 dates from 11 years earlier than BWV 100, which is to the same basic text, to take an obvious case. The series number allocated by the editors to each set is completely at variance with the date of each performance and also, so far as I can see, with the order in which the sets have been released to the public. As a bonus here, Gardiner in his introductory essay seems to speak of BWV 99 and 100 as being the first and third of Bach's settings of the text in question, whereas when we come to the actual texts we find them referred to as `II' and `III'. Which is the one that is actually missing, and where has it got to anyway?
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