Utwory na płycie:

• Cantata BWV 100: Versus 1 (Chorus)
• Versus 2 Duetto
• Versus 3 Aria
• Versus 4 Aria
• Versus 5 Aria
• Versus ultimus
• Cantata BWV 14: 1. Wär Gott nicht mit uns diese Zeit
• 2. Aria: Unsre Stärke heißt zu schwach
• 3. Recitativo: Ja, hätt es Gott nur zugegeben
• 4. Aria: Gott, bei deinem starken Schützen
• 5. Choral: Gott Lob und Dank, der nicht zugab
• Cantata BWV 197: 1. Gott ist unsre Zuversicht
• 2. Recitativo: Gott ist und bleibt der beste Sorger
• 3. Aria: Schläfert allen Sorgenkummer
• 4. Recitativo: Drum folget Gott und seinem Triebe
• 5. Choral: Du süße Lieb, schenk uns deine Gunst
• 6. Aria: O du angenehmes Paar
• 7. Recitativo: So wie es Gott mit dir
• 8. Aria: Vergnügen und Lust
• 9. Recitativo: Und dieser frohe Lebenslauf
• 10. Choral: So wandelt froh auf Gottes Wegen
• Cantata BWV 197a: 4. Aria: O! du angenehmer Schatz
• 5. Recitativo: Das Kind ist mein
• 6. Aria: Ich lasse dich nicht
• 7. Choral. Wohlan! so will ich mich

Was Gott tut, das ist wohlgetan, BWV 100
Wär Gott nicht mit uns diese Zeit, BWV 14
Gott ist unsre Zuversicht, BWV 197
Ehre sei Gott in der Höhe, BWV 197a (fragment)

As the penultimate volume in the acclaimed cycle recorded by Masaaki Suzuki and his Bach Collegium Japan sees the light of day, it is a sobering thought that as many as a hundred of Bach's church cantatas may have been lost. The exact number would be difficult to ascertain, but what we do know is that Bach probably composed at least one more complete set of cantatas – for the church year of 1728-29 – and of this set only nine are extant. The fragment Ehre sei Gott in der Höhe, BWV197a, apparently intended for Christmas Day of 1728, is one of these. Bach's autograph score lacks no fewer than 24 pages, meaning that the first three movements and a large proportion of the fourth have been lost. We are fortunate, however, in that nine years later Bach reused parts of the work in the large-scale wedding cantata Gott ist unsre Zuversicht, BWV197. This has made it possible to reconstruct the missing part of the fourth movement – an alto aria addressed to baby Jesus in the manger – and also allows for interesting comparisons between the two versions. The other two works included in this volume were both composed around 1735, and give rich evidence of Bach's versatility in terms of style. The contrast is striking between the decidedly fashionable bass aria BWV100/4, with its syncopated melody and gossamer string writing, and the highly intricate counterpoint that Bach lays out in Wär Gott nicht mit uns, the opening chorus of BWV14.