Background Information
Performer Bios

Poet/Composer Bios

Additional Information

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings

Cantata BWV 131
Aus der Tiefen rufe ich, Herr, zu dir
Discussions - Part 1

About BWV 131

Mario Gatti wrote (January 3, 1998):
(To Henny) I red your message about BWV 131 and I am agree with you that Harnoncourt interpretation [11] is acttually the best. Regarding the dynamics suggestions that bach wrote I have found the following on the score and text (I suppose a urtext:...) in the edition of Teldec (1983):

Adagio from measure 1 to 56 (Chorus “Aus der Tiefe rufe ich”); Vivace from 57 to 97 (motet “Herr, hore meine Stimme”); Andante from 98 to 162 ( Bass solo with oboe and continuo “So du willst, Herr”); Adagio from 163 to 167 ( Chorus “Ich harre des Herrn”); Largo from 168 to 201 ( motet “Meine Seele Harret”); Adagio from 202 to 286 ( Tenor solo with continuo “Meine Seele wartet,” with cantus firmus over choral Herr Jesus Christ, du hochstes Gut); Adagio from 287 to 289 (chorus “Israel”) ;Un poc’Allegro (sic) from 230 to 299 ( chorus “hoffe auf den Herrn”); Adagio from 300 to the middle of 307 (“Denn bei dem Herrn ist Gnade”); Allegro from the middle of 307 to 355 (“und viel Erlosung bei ihm” and final fugue “und er wird Israel erlosen”) ; finally Adagio in the last three measures (356-358 over the words “allein seinen Sunden).

And now my personal opinion (that is obviously matter of discussion ): all these suggestions were introducted by Bach in a period later that composition of this Cantata. So (always in my opinion) there are not apocryf. Otherways, is notorius that JSB was useful to remake and adjust in the maturity the compositions of his youth.

I like very much BWV131 and i am happy for the opportunity to discuss about it, and it’s structure.


Rifkin and alternative versions of BWV 131

Ehud Shiloni wrote (March 9, 1998):
[12] (Snip) As for BWV 106/BWV 131 - I have this CD and it is one of my favorites, especially BWV 131. Of the six versions I have of this beautifull cantata, Rifkin's version is by far the best (for me.. of course). I seem to have failed in drumming-up supporters for Gardiner's dynamic version of BWV 198, so I doubt that many on the list will share my enthusiasm for Rifkin's BWV 131 - after all, his is the version with the quickest tempo!!

Any comments? <Snip>

Mark Dennison wrote (March 9, 1998):
[12] (To Ehud Shiloni) <Snip> I must try and find an alternative version of BWV 131 to Rifkin's. Any suggestions?

Pieter-Jelle de Boer wrote (March 9, 1998):
Marc Seiler wrote, concerning Cantata BWV 131:
[12] < I've heard the version of the BWV 131 by Concentus musicus Wien and Nikolaus Harnoncourtwith the Tölzer Knabenchor [11]. It's the oldest sacred cantatas of J.S . and so must be have a very "lightly interprtation" a real service of the words and no emphase. The simplicity of this work give all the emotion,without needing the emotion of the singers. His interprtation must be techiquelly perfect with precises voices. >
I don't know if I can totally agree on that. These early cantatas always have a profound, pietist (is that proper English?), almost mystic atmosphere about them (like BWV 106), so in my view, they need not an over-emotional approach (I do agree on that one), but not light, or, even worse, light-hearted. These cantatas concern very profound subjects (well... they all do, but these in particular). Actually, I'm speaking mostly about BWV 106, BWV 131 and (which is a bit newer) BWV 21, since I don't know many more of Bachs oldies. Which other cantatas did he write in his youth? Anyway, IMO they need a somewhat distant approach, though very intense, you might say: emotional from within. I find it quite astonishing how Bach, in his youth, seems to be able to touch upon all the different emotions that these cantatas involve so well. One can hear that he went really "into" their texts, and while their compositional level is perhaps not as high as in the later ones, their profundity is enormous. Question: Do the Leipzig cantatas "lack" a certain amount of this profundity due to the fact that Bach had to write them in such little time? <Snip>


BWV 131 "Aus der Tiefe rufe ich, Herr, zu dir" from J.S. Bach

Henny van der Groep wrote (September 14, 1998):
[11] The reflection about this work is based on the record of Harnoncourt only, however I have another one from Koopman too for I did compare them. Have much fun! Hope you don't mind it's so long.

Text: Psalm 130 1,3,5 + Psalm 51; Bartholomaus Ringwaldt (1588) verse 2,5 of The chorale "Herr Jesu Christ, du hochstes Gut."

Some criticism I use:
A. Words or phrases which have certain meanings and where Bach used some Affects to underline the expression musically must be clearly audible.
B. Tempi should be made in similarity with the text and score.
C. The chorus and soli have to sing with passion and expression.
D. Dynamics should be used deliberately when the text contains the word Rufe it should be RUFE.
E. The difference in articulation must be clear.
F. The orchestra and solo instruments should form a unity and must play vividly and passionate.
G. The difference in character between all movements like chorus, aria and recitative must be plain.

Strength according the score: Oboe, Violin, Viole l, Viole 2, Chorus, Soprano, Alto, Tenor, Bass, Fagott, and Continuo

Alan Bergius, Soprano
Paul Esswood, Alto
Kurt Equiluz, Tenor
Robert Holl, Bass

Tölzer Knabenchor
Chorus Master: Gerhard Schmidt-Gaden
Concentus Musicus Wien
Nikolaus Harnoncourt
Teldec Das Kantatenwerk Vol.7 CD5 4509-91761-2

1. Sinfonia +Chorus (SATB): "Aus der Tiefe rufe ich, Herr, zu dir" 5'16
Oboe, Fagot, Violin, Viole, Organ

2. Aria (Duet: Soprano, Basso): "So, du willst, Herr, Sünde zurechnen" 4'30
Oboe, Cello and Organ

3. Chorus (SATB): "Ich harre des Herrn" 4'52
Oboe, Fagott, Violin, Viole, Violoncello, Organ

4. Aria (Tenor, Alto: "Meine Seele wartet auf den Herrn" 5'34
Cello, Organ

5. Chorus (SATB): "Israel, hoffe auf den Herrn" 4'49
Oboe, Fagott, Violin, Viole, Basso Continuo (organ)

The recording of this CD is not always satisfying. The violins often sound shrill and thin.

Pocket score of BWV 131 edited by Hans Grischkat Publisher Ernst Eulenburg Ltd.

1. Adagio = Lento (Herz!) 3/4 MM 58
The Sinfonia begins in a slow tempo suggesting the atmosphere of longing and desperation caused by the falling melody. On the background of the beautiful dialogue between oboe and violin, sound the stately steps of the walking to the Lord, until the boys choir takes over.
A. The word "Tiefe" (deep) that is clearly sung from the bottom of the soul, suggested by Bach through the falling rhythm (nearly struggling) and melody, needs just the tiny sforzando like one can hear. The word "Rufe" (calling) sounds like calling nearly shouting (Bach made a big leap) with a crescendo and the word "Herr" is sung powerful and compelling with a little emphasis just enough to make the sound let's say Largo like Bach suggest in the score.
B. Vivace C
The tempo change to MM 80 should suggest restlessness but sounds corny and is done a bit jolting. Bach repeats the word Herr in a magnificent way. First on the strong beat and secondly very short on the weak part of the measure and the choir is singing very persuasive. The complete sentence "Herr, Herr höre meine Stimme laß deine Ohren merken auf die Stimme meines Flehens" has a certain structure. Bach let the choir sing a. "Herr, herr höre meine Stimme". b. "Herr, herr höre meine Stimme laß deine Ohren merken auf die Stimme meines Flehens" 2x and ends with a. "Herr höre meine Stimme". He moves on by repeating the whole sentence without the word "Herr" in a fugal way of composing. This kind of symmetric edification's is the heart and structure of the cantata and will come back in several different ways. The word "Flehen" (supplication) is beautifully sung by all voices and ssmoothly and soft with balanced dynamics as fantastic diminuendos. Bach expressed this word ("Flehen") with melismas to emphasis the supplication. The echo played by oboe and violin is just perfect: they really sound like a supplication!

On the whole this movement sounds beautiful and dramatically. Except the transition between the first sentence, which goes not very smoothly and the second sentence, which moves along in a somewhat slow tempo. A striking figure in measure 88 is the echo of the word Flehen, this appears in the second part Arioso (measure 98) on the words "du willst", and can be considered as the most important motive of the whole Arioso. It's at least remarkable to find out Bach used this motive in the first movement while it's a segment from the psalm: "Herr Jesus Christ, du Hochsten Gut". Perhaps he wrote the second movement at first. The orchestra and ensemble of the violin and oboe is just perfect. Imperceptible the music moves on to the second part.

2. Andante MM 108 (eighth's uitzoeken)
With a C.F singing Verse 2 of the chorale "Herr Jesus Christ du hochstes Gut", Harnoncourt found a magnificent solution by not placing the Bass and soprano at one place next to one another, but he placed the Bass on the background, so we can hear the Cantus Firmus crystal clear, while he sings his melody above it. The oboe just completes the Trinity. It's sung beautifully with deep emotions by both. The Bass sounds lovely and like a plea. The word "Fürchte" (fear) expressed by the Bass sounds with a natural vibration like someone who is trembling by the thought (in awe) of a confrontation with the Lord. The Cello and Organ support this movement. "Denn bei dir ist die Vergebung" sounds convincingly and very touching. The beauty in this Arioso, conducted by Bach and Harnoncourt is beyond description.

3. Adagio MM 42
A. Three times the choir sings "Ich harre des Herrn". Bach expressed those words by repeating them on three chords while every voice sings the same note from that chord. This suggests a kind of standstill, a waiting for the Lord. The choir sings those words three times differently and somewhat shouting.
B. Largo
Then Harnoncourt changes the tempo slightly in MM 38. The music develops in a real Largo. The choir sings "Meine Seele harret und ich hoffe, ich hoffe, ich hoffe, ich hoffe auf sein Wort" lovely and soft. The oboe and violin weaves the words together. It's like there's no end the music goes on and on. "Ich hoffe" is finally finishing in a fugue. The fugue moves along to a Crescendo, and the longing sounds more desperate. At the end the music is soft and slow. This is the centre of the cantata and Harnoncourt does this very expressively and dramatically.
A. Adagio "Und dich hoffe auf sein Wort" at the last three measures! It's surely no coincidence; Bach used the same instrumentation as no.1.

4.MM 60 (184) quart
With a C.F. singing verse 5 of the same chorale as no.2. This Aria sung by a Tenor with an Alto as Cantus Firmus sounds like a dance rhythm and has an accompaniment from the rocking ostinate Cello and modest Organ. Alto and Tenor are intermingled. The text from the Alt is not always audible and the boy sounds not always convincingly and pure! Again the two voices and Cello form a Trinity. "Meine Seele wartet auf den Herrn" is a mixture of sadness and gladness. "Von einer Morgenwache" sounds desperate at the end.

The way I see the last part is very complicated. Martin Petzoldt wrote an article about it in Volume 1 of The Cantata book from Christoph Wolff and Ton Koopman. Five words are important, they have a key position and one can find them in the five Chapters of the catechisms from Luther. The words refer to the five movements Bach wrote and perhaps even to the structure of the last part, which in my view is related to the same words and also contains five parts.
Lord 1. Intro 3x "Israel" (adagio)
Behold 2. "Hoffe auf den Herrn" 3x + a recapitulation of the whole piece 3x (un poco allegro)
Me 3. "Denn bei dem ist die Genade" 3x (adagio)
4. "Und viel Erlösung" = Fortspinnungs motive, where oboe and violin are playing rising sequence as a kind of transition to the fugal part (measure 21-27 allegro)
Mercy 5. The Conclusion ends in a permutation fugue, the words "Und er will Israel erlosen" are sung repeatedly.

A. The Intro with the words "Israel" sounds the same as the beginning of part three "Ich harre des Herrn" It's like a moment of standstill as before. Again Harnoncourt's choir sings this very convincingly rather firm, three times on three different ways and three different chords loud and not so lovely.
Un poco Allegro
B. "Hoffe auf den Herrn" again three times the whole sentence which Bach repeats fully, goes a bit faster with different dynamics and it reminds me of Chorus 3. "Ich hoffe".
C. Then the chorus sounds slow and tragically "Bei dem Herr ist die Gnade" three times fully repeated, the oboe moves yearning through the whole.
It is followed by a brightly rising melody described in "Und viel Erlösung" (measure 21). This is masterly found by Bach and for me a represent to the fugue.
D. Finally the chorus sings the fugue in a fantastic way especially the boys with the words "Und er will Israel erlosen" for it's simplicity, sincerity and gladness/joy which is clear in at first a rising and later at the end a falling melody. The difficult word "Erlosen" for its melismas is brilliantly done! By it's infinity chromatic runs up and down. At the background Bach used a chromatic augmentation "Aus allen seinen Sünden"!

A. At the end the music again has a standstill and is done full of expression and this magnificent movement ends with 3x "Aus allen seinen Sünden" after another in each voice (the last three measures! are ending in an adagio on the same words).

This movement has the same instrumentation as No.1 and No.3.

Harnoncourt strong view about the Affects makes this cantata varied and exiting. Rhythmically it sounds convincing. This has to do with the accents he is making on certain places it's obvious Harnoncourt must have known the text of this cantata by head and heart! Almost everything sounds magnificent and balanced. With real pianissimos, diminuendos and crescendos, all well considered and yet natural! This version sounds vividly and passionate. It's nice to hear the difference in timbre between the movements. Not one part sounds the same, which is probably due to the fact Harnoncourt used different strength of the voices and instruments. The orchestra is dedicated and sometimes a bit dull. Sometimes there are too heavy accents like in the last movement and this makes it slow and drawn. The solo instruments are beautiful in balance with the voices. I think Harnoncourt made a fine choice to use a boy soprano and a man chorus. It sounds wonderful in this particular cantata. Although there's one problem with young voices, for they are technically not so well in articulation. Very often it sounds Legato. It doesn't disturb me in this cantata but knowing the others...


BWV 131

Kirk McElhearn wrote (October 24, 1999):
In my recent listening of the complete cantatas, I came up to BWV 131 yesterday. I sometimes listen while I work, using them more as background music, and not really paying attention. But yesterday, at the end of the day, I lay down and put on Vol.7 CD 4 of the complete cantatas [11]. I was transfigured, literally, by BWV 131. I suddenly discovered a cantata that was quite different from many of the others, with the most beautifully haunting melodies, and tapestries of choral passages with (whatever it is called) that sinuous melody line floating behind the voices (No.3 of the cantata). The closing Choral is also a masterpiece.

IMHO, this is one of the most beautiful cantatas, and, Simon, if you are reading this, I think you should have given it a 1+ rating.

I then read the liner notes, and discovered that it was Bach's first cantata! No wonder it was so different, he had not yet gotten into a "routine" and a more "stereotyped" style for his cantatas and their movements.

By all means, listen to this one.

BTW, anyone interested in setting up a mailing list to listen to and discuss, say, one cantata per week? It could be interesting...

Ehud Shiloni wrote (October 25, 1999):
(To Kirk McElhearn) What a fitting way to start the new discussion venue with BWV 131! I can say: "My thoughts exactly"! I believe that Simon indicates on his cantata site that he intends to establish a section titled: "Don’t take my word for it", where alternative ratings can be posted. When that happens, we can both pitch-in with our higher rating...

And talking about recordings, my favourite version of BWV 131 is the one by Rifkin and The Bach Ensemble on Decca [12]. It is a "one-voice-per-part" quartet performance, with Ann Monoyios singing heavenly Soprano, and the interpretation brisk and energetic. Highly recommended.

Matthew Westphal wrote (October 28, 1999):
(To Kirk McElhearn) You assumed the shape of a cat? An angel? A Baroque oboe? Sorry, Kirk - I don't mean to mock you, but you've hit a real pet peeve of mine: using the word "literally" when you don't mean “literally” -- that is, when you are in fact describing an experience “with a metaphor”, however intense that experience may have been.

[16] Another very fine one-voice-per-part recording is by the American Bach Soloists. In BWV 131, Julianne Baird isn't quite as heavenly as Ann Monoyios is, but she's very good indeed; the other soloists (Drew Minter, Benjamin Butterfield, and James Weaver) are better on the whole. This disc also includes fine performances of BWV 182 "Himmelskonig, sei willkommen" (Christine Brandes, Judith Malafronte, Jeffrey Thomas, James Weaver) and BWV 4 "Christ lag in Todesbanden" (using cornett and trombones with soloists Judith Nelson [sounding nearly as good as she did in the early-mid 1980's, much better than in other recent recordings], Daniel Taylor, Benjamin Butterfield and Kurt-Owen Richards). The ABS does some of the most interesting and beautiful instrumental work I've ever heard in Bach cantatas.

Joseph Guarascio wrote (November 17, 1999):
So if it is agreed that we begin discussing our current favourite cantatas (and I say "current" because we all know that there is no absolute favourite, only a temporal one), let the discussion begin. I would definitely be interested in discussing BWV 131, one of my current favourites.

Kirk McElhearn wrote (November 17, 1999):
I recently "discovered" BWV 131, and was quite impressed by it. Here is what I wrote about it recently (see message from October 24, 1999). By all means, listen to this one.

Henny van der Groep wrote (November 18, 1999):
May I give some advice? Perhaps it's needless to say. Jan Koster wrote an excellent front page of the cantatas. He describes "the Affects" in the cantatas, which is in my view together with the "Rhetoric" a very important issue. So it might be useful to read this first when we start with BWV 131. I have the feeling if we all know how important this is, we can even convince Simon Crouch to change his rating. If somebody wants to know more about those "Affects" I will try to explain this (I hope with some help from others, please) with words from BWV 131 as an example. Just a thought.

Marie Jensen wrote (November 19, 1999):
Put earphones on my tired Friday evening head (BWV 131 the BCJ) [18]. Took it twice, what I wouldn't have done if it weren’t for my new group. BWV 131 has never been among my favourites. I relaxed, but those Buxtehudian, pre-Italian-influence cantatas doesn't have the special Bach sound, that takes me high. I don't feel so with all the compositions of young Bach, for example BWV 106 and BWV 71 and some instrumental ones.

The oboe however, for me often a symbol of human praying or talking to God is however nice here and definitely Bach. Also the Bass is given value and is not just trivial chords.

Henny van der Groep wrote (November 19, 1999):
(To Marie Jensen) It's funny I had some other thoughts concerning his early works this week. Suddenly it came to my mind how mature this cantata was (I hope you don't mind Marie). Full of Affects and the Fugue at the end but also something unique! He is playing already with numbers in this one. I am enthusiastic about this cantata, let me explain:

The way I see the last movement is very complicated. Martin Petzoldt wrote an article about it in Vol.1 of the Cantata book from Christoph Wolff and Ton Koopman.

Five words are important, they have a key position and one can find them in the five Chapters of the Catechisms from Luther. The words refer to the five movements Bach wrote and perhaps even to the structure of the last part, which in my view is related to the same words and also contains five parts.

LORD 1. Intro 3x Israel (adagio)
BEHOLD 2. Hoffe auf den Herrn 3x + a recapitulation of the whole piece 3x (un poco allegro)
ME 3. Denn bei dem ist die Genade 3x(adagio)
TRANSGRESSIONS 4. Und viel Erlösung = a "Fortspinnungs motive", where oboe and violin are playing a rising sequence as a kind of transition to the fugal part (measure 21-27 Allegro).
MERCY 5. The Conclusion ends in a permutation fugue, the words "Und er will Israel erlosen” are sung repeatedly.

There's more to say about this movement but as you said it's Friday evening.

Yes, I agree with you, I find both movements very beautiful.

Marie Jensen wrote (November 20, 1999):
(To Henny van der Groep) Thank you very much for your interesting and quickly sent comments. BWV 131 is not just another untalented twelve on the dozen baroque cantatas. It is young Bach on his way. But our points of view are very different. I have to do some personal explanation. When it comes to Bach appreciation and listening, it takes place on different levels and for many different purposes. Without looking down on any of them I can mention: the musicologist way, the musician way, the religious way (the text is the centre), the absorbed contemplative way, the therapy way, the entertaining sounding wall paper way, not meant as strictly disjunction, and the ways are more or less analyzing.

When I listen, I try to be very concentrated. Sometimes I listen analyzing, but mostly I try just to flow with the music. I never read scores (but was in a period playing recorder in an amateur baroque ensemble - sorry neighbours!). The ability of the music to lift me up and take me high is important. No one can do that like Bach.

And what cannot be heard in this simple communication musician/audience is not important for me in the first place. Then later I can read analysises, theories, numerological thoughts, biographic comments but never in larger scale, and of course they somehow get integrated in my listening.

Anyway I'm very happy to learn and to read all your comments about BWV 131. The universal Bach sound transcending the baroque cannot be born from day to day. The young Bach gradually takes steps in this direction, directly audible or in deeper structures, which have to be analyzed. In BWV 4 another early one, there is a symmetric structure concerning the numbers of singers, Chorus/duet, solo, Chorus, solo, duo, Chorus, (though I have also heard it Chorus only), which is clear without any explanation. In his later production many "now and here" heard examples often show up. Finally I admire all Bach’s intellectual and structural stunts, audible as non-audible, and I definitely look forward to our future list discussions.

Patrik Enander wrote (November 20, 1999):
But I have always enjoyed Bach after hearing the Goldbergs and for the last couple of years Bach has been the one composer I have always return to, especially the cantatas. One of my first CD’s was BWV 131 with Herreweghe and Collegium Vocale on Virgin [14]. It is still one of my favourite discs. Peter Kooy is excellent, so is the choir and of course Marcel Ponseele, a remarkable oboist. I have alwaenjoyed Herreweghe’s intimate approach to Bach so I really recommend this CD.


Suzuki - Vol. 2

Ryan Michero wrote (December 20, 1999):
[18] If Vol. 1 was a bit tentative, Vol. 2 is where Suzuki and the BCJ really hit their stride. It includes great performances of two "favourite" cantatas (BWV 106 and BWV 131, the latter a particular favourite of Suzuki) and one lesser-known piece (BWV 71). This is an essential volume!

BWV 131 - "Aus der Tiefe rufe ich, Herr, zu dir"
An inspired performance. The Adagio section of the opening choral Sinfonia is gorgeously sung and played, with outstanding oboe playing by Marcel Ponseele. I'm listening to it now through my terrible computer speakers, and it still gives me chills! When the Vivace section begins on the words "Herr, höre meine Stimme", Suzuki shows his talent at conducting fugues. He is helped by clear, alert choral singing. A great first movement! Kooy and Midori Suzuki sing the following aria with chorale beautifully, and Ponseele again impresses with his oboe playing. The central choral movement is relaxed and gentle, with a lovely finish. The tenor aria with alto chorale is also nicely sung, capturing the hope in the text. And never underestimate the importance of a great continuo section: the excellent playing of the cello (Hidemi Suzuki) and organ are crucial to the success of this movement. Suzuki's handling of tempo and dynamics changes in the final chorus are very effective, and the choir sounds amazing. A beautifully shaped chromatic double-fugue brings the work to an exciting close.

Patrik Enander wrote (January 21, 2000):
(Ponseele playing in) BWV 82 with Kuijken, BWV 131 and BWV 21 with Herreweghe is magic to me.

Ryan Michero wrote (February 1, 2000):
(To Patrick Enander) Well, I just listened to BWV 82 with Kuijken last night. WOW. You're right, Patrik. I no longer object to the use of the word "sublime" when discussing Marcel Ponseele. He is a player of rare musical feeling and tonal beauty.


BWV 131 (Aus der Tiefen...) modern instruments

Brennan (Brs36) wrote (March 4, 2000):
I'm looking for a recording of cantata BWV 131 performed on modern instruments with a choir of more than 4. However, I don't want a "cast of thousands" recording. Any recommendations?

ESH Tooter wrote (March 4, 2000):
(To Brennan) Amazing! I'm looking for exactly that cantata but without all of the limitations you specify. Modern or HIP is fine with me so long as its emotionally potent.

Brennan (Brs36) wrote (March 4, 2000):
(To ESH Tooter) I already have a Decca CD with Joshua Rifkin and the Bach Ensemble [12]. I find this BWV 131 (w/ authentic instrument etc.) absolutely beautiful. It has a very intimate sound that fits the text very well. I hope to get everybody's version of it because it's such a wonderful piece.

Don Patterson wrote (March 4, 2000):
(To Brennan) Rilling on Hänssler Classics [8]. Good, conservative reading. I tend to prefer HIP in this music. Even better would be Richter on Archiv. Is this available on CD?

George Murnu wrote (March 5, 2000):
(To Brennan) Rilling [8] or Fritz Werner [4].

Philip Peters wrote (March 5, 2000):
(To ESH Tooter) One of each: Crook, Kooy with Herreweghe (1982) [14] & Jelden, Stämpfli with Werner (1964 and not reissued on CD AFAIK but very good) [4].


Continue on Part 2

Cantata BWV 131: Details
Recordings: Complete:
1900-1949 | 1950-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 1990-1999 | 2000-2009 | 2010-2019 | Individual Movements
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings


Back to the Top

Last update: Sunday, May 28, 2017 05:35