Bach may only have been in his early twenties when he wrote it, but Cantata No 106 (the ‘Actus tragicus’) is a profound contemplation of things final; the motet Komm, Jesu, komm occupies similar eschatalogical territory. This is an inspired programme of some of the most moving vocal music ever written.
Gottes Zeit ist die allerbeste Zeit ‘Actus tragicus’ BWV106[20’13]1
No 1: Sonatina[2’43]2
No 2a, Coro: Gottes Zeit ist die allerbeste Zeit[2’02]3
No 2b, Arioso: Ach, Herr, lehre uns bedenken[2’00]Hiroshi Amako (tenor)
4
No 2c, Aria: Bestelle dein Haus[1’07]Michael Craddock (bass)
5
No 2d, Coro ed Arioso: Es ist der alte Bund[3’24]Bethany Partridge (soprano)
6
No 3a, Aria: In deine Hände befehl ich meinen Geist[2’17]Helen Charlston (mezzo-soprano)
7
No 3b, Arioso con Choral: Heute wirst du mit mir im Paradies sein[3’40]Michael Craddock (bass)
8
No 4, Coro (Choral): Glorie, Lob, Ehr und Herrlichkeit[3’00]9
Partita 8 (Movement 8 of O Gott, du frommer Gott, BWV767)[2’35]Terence Charlston (organ)
Komm, Jesu, komm BWV229[9’18]10
No 1a, Choral: Komm, Jesu, komm, mein Leib ist müde[2’55]11
No 1b, Choral: Komm, komm, ich will mich dir ergeben[4’54]12
No 2, Aria: Drum schließ ich mich in deine Hände[1’29]Himmelskönig, sei willkommen BWV182
13
No 1: Sonata[1’46]14
No 2, Coro: Himmelskönig, sei willkommen[3’24]15
No 3, Recitativo: Siehe, ich komme[0’38]Henry Hawkesworth (bass)
16
No 4, Aria: Starkes Lieben[2’36]Henry Hawkesworth (bass)
17
No 5, Aria: Leget euch dem Heiland unter[9’56]Helen Charlston (mezzo-soprano)
18
No 6, Aria: Jesu, lass durch Wohl und Weh[3’26]Hiroshi Amako (tenor)
19
No 7, Choral (Coro): Jesu, deine Passion[3’32]20
No 8, Coro: So lasset uns gehen in Salem der Freuden![4’13]
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