Rip and scans from *.ape. Mp3 320 CBR. I have all the 22 volumes and I'm planning of releasing them all.
Johann Sebastian Bach left a magnificent collection of vocal music to posterity.
among which he supposedly included compositions of his own. Certain types of pieces for constantly recurring occasions such as weddings and funerals, as well as settings of frequently used psalms were composed mainly in order to build up a reserve.
Nonetheless, Bach's reasonable hopes were not fulfilled in Mühlhausen, for here too he was only required to compose works for specific events. Cantatas extant from the period up to about 1708 are BWV 4, 71,106,131,150 and 196.
Following his experiences at Arnstadt and Mühlhausen, Bach appears to have lowered his expectations, for his new responsibilities as court organist to the Duke of Weimar did not in any case include vocal composition. The decisive step up, namely from organ and keyboard virtuoso to composer of vocal music for performance, was finally achieved in the spring of 1714, when he was offered the chance to succeed Handel's teacher, Friedrich Wilhelm Zachau, at Halle. Having turned down the post at St Mary's Church with its extensive obligation to provide vocal music, Bach was promoted to Konzertmeister by the Duke. He was also commissioned to compose and perform a new cantata once a month. This resulted in an impressive series of works for voice in which Bach attempted for the first time to take into consideration, as far as possible, every Sunday and holy day in the liturgical year. The existing Weimar repertoire consists of the cantatas BWV 12,18, 21, 31,54,61, 63,132,152, 155,161,162,163,165,172,182 and 199.
Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. For example the use of twice the number of violins is of French origin, the treatment of the first violins is Italian, while the motetto concertato choral passages and the inclusion of plainsong and chorale arrangements is German. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and polyand homophonic settings and forms. He painstakingly avoids any standardisation, adopting neither established conventions nor repeating his own solutions and models. Equally noticeable are Bach's many original ideas for making the music reflect the text (e.g. all the voices on a rising scale on the words "leite mich" (lead me) in BWV 150/4) and never previously heard harmonies, especially in cadences (e.g. contrasting the words "Gnade" (mercy) and "Sünde" (sin) in BWV 131/5.).
Before the Weimar period, settings of a mixture of biblical and hymn texts - only occasionally interspersed with freely conceived poetry - predominated.
Thus, musically and formally, each movement has a unified structure, assuring its artistic independence, while flowing coherently one into the other. However, the movements are seldom arranged as self-contained units. At the same time, there is strong emphasis on certain extracts of the text and even on particular words. Only later, with the appearance of the printed cantata libretti of Weimar court poet Salomo Franck, did Bach turn to the modern cantata setting in which individual sections are distinctly separate and types of text are arranged in specific order: recitative and aria, biblical text and chorale. This was to be the definitive musical and textual form of all Bach's subsequent vocal compositions. Likewise, in the area of musical expression, the accent moved from the deliberate differentiation of single words and short textual extracts to a unified spirit binding the whole text.
Download from Uploadstation
Download Part1
Download Part2
Download Part3
Download Part4
Download Part5
Download from Filesonic
Download Part1
Download Part2
Download Part3
Download Part4
Download Part5
Files are interchangeables!!
Use Winrar to unpack.
among which he supposedly included compositions of his own. Certain types of pieces for constantly recurring occasions such as weddings and funerals, as well as settings of frequently used psalms were composed mainly in order to build up a reserve.
Nonetheless, Bach's reasonable hopes were not fulfilled in Mühlhausen, for here too he was only required to compose works for specific events. Cantatas extant from the period up to about 1708 are BWV 4, 71,106,131,150 and 196.
Following his experiences at Arnstadt and Mühlhausen, Bach appears to have lowered his expectations, for his new responsibilities as court organist to the Duke of Weimar did not in any case include vocal composition. The decisive step up, namely from organ and keyboard virtuoso to composer of vocal music for performance, was finally achieved in the spring of 1714, when he was offered the chance to succeed Handel's teacher, Friedrich Wilhelm Zachau, at Halle. Having turned down the post at St Mary's Church with its extensive obligation to provide vocal music, Bach was promoted to Konzertmeister by the Duke. He was also commissioned to compose and perform a new cantata once a month. This resulted in an impressive series of works for voice in which Bach attempted for the first time to take into consideration, as far as possible, every Sunday and holy day in the liturgical year. The existing Weimar repertoire consists of the cantatas BWV 12,18, 21, 31,54,61, 63,132,152, 155,161,162,163,165,172,182 and 199.
Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. For example the use of twice the number of violins is of French origin, the treatment of the first violins is Italian, while the motetto concertato choral passages and the inclusion of plainsong and chorale arrangements is German. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and polyand homophonic settings and forms. He painstakingly avoids any standardisation, adopting neither established conventions nor repeating his own solutions and models. Equally noticeable are Bach's many original ideas for making the music reflect the text (e.g. all the voices on a rising scale on the words "leite mich" (lead me) in BWV 150/4) and never previously heard harmonies, especially in cadences (e.g. contrasting the words "Gnade" (mercy) and "Sünde" (sin) in BWV 131/5.).
Before the Weimar period, settings of a mixture of biblical and hymn texts - only occasionally interspersed with freely conceived poetry - predominated.
Thus, musically and formally, each movement has a unified structure, assuring its artistic independence, while flowing coherently one into the other. However, the movements are seldom arranged as self-contained units. At the same time, there is strong emphasis on certain extracts of the text and even on particular words. Only later, with the appearance of the printed cantata libretti of Weimar court poet Salomo Franck, did Bach turn to the modern cantata setting in which individual sections are distinctly separate and types of text are arranged in specific order: recitative and aria, biblical text and chorale. This was to be the definitive musical and textual form of all Bach's subsequent vocal compositions. Likewise, in the area of musical expression, the accent moved from the deliberate differentiation of single words and short textual extracts to a unified spirit binding the whole text.
Download from Uploadstation
Download Part1
Download Part2
Download Part3
Download Part4
Download Part5
Download from Filesonic
Download Part1
Download Part2
Download Part3
Download Part4
Download Part5
Files are interchangeables!!
Use Winrar to unpack.
3 comments:
thank you. i love the cantatas. i have another recording but have never heard koopman do this most beautiful music. the cantatas put me in a serene space.
thanks again. just listened to cantata 4. magnificent. by the way, i used 7-zip to unpack the links and all came out in one piece easily.
thank you for the comment swamielmo. yes 7-zip will do the work perfectly...!
this music comes from an extra terrestrial dimension.
i'm going heavy on the complete opera (22 volumes of 3 cds each one) and i hope that a lot of people will find engaging the aural experience that is bach.
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