Cantata No. 12 'Weinen, Klagen, Sorgen, Zagen', BWV 12 (BC A68): 'Wir mussen durch viel Trubsal', Recitative for alto
Cantata No. 12 'Weinen, Klagen, Sorgen, Zagen', BWV 12 (BC A68): 'Kreuz und Krone sind verbunden', Aria for alto
Cantata No. 12 'Weinen, Klagen, Sorgen, Zagen', BWV 12 (BC A68): 'Ich folge Christo nach', Aria for bass
Cantata No. 12 'Weinen, Klagen, Sorgen, Zagen', BWV 12 (BC A68): 'Sei getreu, alle Pein', Aria for tenor
Cantata No. 12 'Weinen, Klagen, Sorgen, Zagen', BWV 12 (BC A68): 'Was Gott tut, das ist wohlgetan, dabei will ich verbleiben', Chorus
Cantata No. 54, 'Widerstehe doch der S?nde,' BWV 54 (BC A51): 'Widerstehe doch der Sunde', Aria for alto
Cantata No. 54, 'Widerstehe doch der S?nde,' BWV 54 (BC A51): 'Die Ar verruchter Sunden ist zwar von aussen wunderschon', Recitative
Cantata No. 54, 'Widerstehe doch der S?nde,' BWV 54 (BC A51): 'Wer Sunde tut, der ist vom Teufel', Aria for alto
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'Ach! ich sehe, itzt da ich zur Hochzeit gehe', A
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'O grosses Hochzeitsfest', Recitative for tenor
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'Jesu, Brunnquell aller Gnaden', Aria for soprano
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'Mein Jesu, lass mich nicht', Recitative for alto
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'In meinem Gott bin ich erfreut', Duo for alto &
Cantata No. 162, 'Ach! ich sehe, itzt, da ich zur Hochzeit gehe,' BWV 162 (BC A90): 'Ach, ich habe schon erblicket', Chorus
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): Sonata for flute in G major
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Himmelskonig, sei willkommen', Chorus
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Siehe, siehe, ich komme, Im Buch ist von mir geschreiben', Recita
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Starkes Lieben, das dich, grosser Gottes-Sohn', Aria for bass
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Leget euch dem Heiland unter', Aria for alto
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Jesu, lass durch Wohl und Weh', Aria for tenor
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'Jesu, deine Passion ist mir lauter Freude', Chorus
Cantata No. 182, 'Himmelsk?nig, sei willkommen,' BWV 182 (BC A53): 'So lasset uns gehn in Salem der Freuden', Chorus
This probably was the first disc to bring serious attention to the talented Japanese countertenor Yoshikazu Mera. This diminutive, baby-faced young man has quite a voice--sweet, very nimble, and with real body on low no... more »tes (a rarity among countertenors); he does a smashing job with the solo cantata No. 54, Widerstehe doch der Sünde ("Then resist sin"), as well as in the animated alto/tenor duet in cantata No. 162. Yet Mera is far from the only pleasure to be found on this disc. Cantata No. 12, Weinen, Klagen, Sorgen, Zagen ("Weeping, complaining, worries, fears") opens with a beautifully plangent sinfonia for oboe and strings, while the title chorus (performed with more emotional tension than one might expect from these musicians) later became the "Crucifixus" of the Mass in B Minor. Best of all is the sprightly Palm Sunday cantata Himmelskönig, sei willkommen ("Be welcome, Heavenly King"), which features an elegant opening sinfonia featuring recorder and violin, radiant fugal choruses, and several movements with delicious obbligato parts for recorder, which are played with real charisma by Yoshimichi Hamada. --Matthew Westphal« less
This probably was the first disc to bring serious attention to the talented Japanese countertenor Yoshikazu Mera. This diminutive, baby-faced young man has quite a voice--sweet, very nimble, and with real body on low notes (a rarity among countertenors); he does a smashing job with the solo cantata No. 54, Widerstehe doch der Sünde ("Then resist sin"), as well as in the animated alto/tenor duet in cantata No. 162. Yet Mera is far from the only pleasure to be found on this disc. Cantata No. 12, Weinen, Klagen, Sorgen, Zagen ("Weeping, complaining, worries, fears") opens with a beautifully plangent sinfonia for oboe and strings, while the title chorus (performed with more emotional tension than one might expect from these musicians) later became the "Crucifixus" of the Mass in B Minor. Best of all is the sprightly Palm Sunday cantata Himmelskönig, sei willkommen ("Be welcome, Heavenly King"), which features an elegant opening sinfonia featuring recorder and violin, radiant fugal choruses, and several movements with delicious obbligato parts for recorder, which are played with real charisma by Yoshimichi Hamada. --Matthew Westphal