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Two of Bach's finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here
coupled with Pergolesi's Stabat Mater of 1736, the eighteenth century's favourite sacred work. The gap between austere
Lutheran piety and searing Mediterranean emotionalism might seem unbridgeable. Yet Bach so admired the composition of
his Neapolitan colleague that he made his own 'parody' of it to a German text. On this recording, La Nuova Musica and its two
eminent soloists display equal mastery of both idioms.
Johann Sebastian Bach
Widerstehe doch der Sünde, BWV 54
1 I. Aria: Widerstehe doch der Sünde 7'03
2 II. Recitativo: Die Art verruchter Sünden 1'13
3 III. Aria: Wer Sünde tut, der ist vom Teufel 2'45
Giovanni Battista Pergolesi
Stabat Mater
4 I. Duo: Stabat Mater dolorosa 4'25
5 II. Aria: Cujus animam gementem (soprano) 1'39
6 III. Duo: O quam tristis et afflicta 1'57
7 IV. Aria: Quae moerebat et dolebat (alto) 1'36
8 V. Duo: Quis est homo qui non fleret 2'16
9 VI. Aria: Vidit suum dulcem natum (soprano) 2'47
10 VII. Aria: Eja, mater, fons amoris (alto) 2'28
11 VIII. Duo: Fac, ut ardeat cor meum 2'02
12 IX. Duo: Sancta mater, istud agas 4'35
13 X. Aria: Fac, ut portem Christi mortem (alto) 3'15
14 XI. Duo: Inflammatus et accensus 1'36
15 XII. Duo: Quando corpus morietur 3'17
16 XIII. Duo: Amen 1'08
Johann Sebastian Bach
Vergnügte Ruh! beliebte Seelenlust!, BWV 170
17 I. Aria: Vergnügte Ruh! beliebte Seelenlust! 6'24
18 II. Recitativo: Die Welt, das Sündenhaus 1'11
19 III. Aria: Wie jammern mich doch die verkehrten Herzen 6'05
20 IV. Recitativo: Wer sollte sich demnach 1'08
21 V. Aria: Mir ekelt mehr zu leben 5'15 |
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