Johannes-Passion (2012)

Bach

La Petite Bande

Sigiswald Kuijken

Let’s start with a simple question : which version have you recorded? Hmm, this is actually a rather complex question. During Bach’s lifetime there were four different performances, each time with new modifications, some in response to the circumstances at the time, others influenced by which musicians and instruments he then had at his disposal. However Bach experimented to the greatest degree with the second version, dating from 1725: for instance, he used a different opening chorus (which was later to become the closing chorus of the first part of the St Matthew Passion, a work yet to be composed at this stage) and a couple of other arias near the end of the work. For the later performances he reverted to his first version from 1724, albeit with some differences in instrumentation. For instance, in the final version he includes a bassono grosso, but no one knows for certain which instrument he had in mind; possibly a 16-foot bassoon, i.e. a contrabassoon, a veritable chimney pot two metres in length. However, he scored this instrument in combination with the delicate sound of the lute and two violas d’amore, of all things! I cannot believe that Bach would opt for such an instrument in this passage; an 8-foot bassoon is more likely and the term bassono grosso probably indicates this more modern type of instrument rather than the earlier dulcian, although the latter had not totally fallen out of fashion at the time. However, I would not venture a definite opinion as to what bassono grosso means in this context. So we did not use this instrument: this was yet another reason to stick with the first version, since it raises fewer uncertain issues. Nevertheless, there are still various grey areas involved. Even prior to the first performance, before making the individual orchestral parts, Bach began to write out the score in fine calligraphy, a task he did not complete; and this score deviates in some aspects from the orchestral material used in the actual performance. The process of determining the most probable historical truth continues to have elements reminiscent of a detective novel; anyway, it will never be possible to clarify certain details. At any rate, we opted for the first version that everyone performs.

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La Petite Bande

La Petite Bande (Belgium) was founded in 1972 by Sigiswald Kuijken at the request of the record company Deutsche Harmonia Mundi in order to record Lully’s “Le Bourgeois Gentilhomme”, under the direction of Gustav Leonhardt. The orchestra takes its name and constitution from Lully’s own orchestra at the court of Louis XIV. All its members are internationally renowned specialists in the early music field.
Although originally La Petite Bande was not meant to become a permanent orchestra, the success of the recordings was such that they began to give concerts regularly. Having initially concentrated mainly on French music, the orchestra’s repertoire has expanded over the years to include music by the Italian masters and that of Bach, Handel, Gluck, Haydn, Mozart and others. La Petite Bande has recorded instrumental as well as vocal music, including operas and oratorios from the Baroque and Classical periods. La Petite Bande currently makes recordings for Deutsche Harmonia Mundi, Denon, Challenge Classics,Accent and Hyperion

Sigiswald Kuijken

Sigiswald Kuijken was born in 1944 close to Brussels. He studied violin at the conservatories of Bruges and Brussels, completing his studies at the latter institution with Maurice Raskin in 1964. He came into contact with early music at a very young age, together with his brother Wieland. Studying on his own, he gained a thorough knowledge of specific 17th and 18th century performance techniques and conventions of interpretation on violin and viola da gamba. This led to the introduction, in 1969, of a more authentic way of playing the baroque violin, whereby the instrument was no longer held under the chin, but lay freely on the shoulder; this was to have a crucial influence on the approach to the violin repertoire and was consequently adopted by many players starting in the early 1970’s. From 1964 to 1972, Sigiswald Kuijken was a member of the Brussels based Alarius Ensemble (with Wieland Kuijken, Robert Kohnen and Janine Rubinlicht), which performed throughout Europe and in the United States. He subsequently undertook individual chamber music projects with a number of Baroque music specialists, chief among which were his brothers Wieland and Barthold and Robert Kohnen, as well as Gustav Leonhardt, Frans Bru?ggen, Anner Bylsma and René Jacobs.

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Johannes-Passion (2012)

Bach

La Petite Bande

Cables: Siltech
Digital Converters: Dcs
Mastering Equipment: Avalon Acoustic
Microphones: Sonodore
Producer: Bert van der wolf
Recording Engineer: Bert van der Wolf
Recording location: Academiezaal, St. Truiden, Belgium
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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CC72545: Johannes-Passion
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Tracks.
1.
First Part- Chorus- Herr, unser Herrscher
Bach
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2.
First Part- Recitative- Jesus ging mit seinen Jungern - Chorus- Jesum von Nazareth - Recitative- Jes
Bach
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3.
First Part- Chorale- O grosse Lieb
Bach
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4.
First Part- Recitative- Auf dass das Wort erfullet wurde
Bach
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5.
First Part- Chorale- Dein Will gescheh
Bach
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6.
First Part- Recitative- Die Schar aber und der Oberhauptmann
Bach
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7.
First Part- Aria- Von den Stricken meiner Sunden
Bach
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8.
First Part- Recitative- Simon Petrus aber folgete Jesu
Bach
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9.
First Part- Aria- Ich folge dir gleichfalls
Bach
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10.
First Part- Recitative- Derselbige Junger
Bach
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11.
First Part- Chorale- Wer hat dich so geschlagen
Bach
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12.
First Part- Recitative- Und Hannas sandte ihn - Chorus- Bist du nicht seiner Junger einer? - Recitat
Bach
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13.
First Part- Aria- Ach, mein Sinn
Bach
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14.
First Part- Chorale- Petrus, der nicht denkt zuruck
Bach
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15.
Second Part- Chorale- Christus, der uns selig macht
Bach
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16.
Second Part- Recitative- Da fuhreten sie Jesum von Kaipha vor das Richthaus - Chorus- Ware dieser ni
Bach
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17.
Second Part- Chorale- Ach, grosser Konig
Bach
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18.
Second Part- Recitative- Da sprach Pilatus zu ihm - Chorus- Nicht diesen, sondern Barrabam! - Recita
Bach
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19.
Second Part- Arioso- Betrachte, meine Seel
Bach
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20.
Second Part- Aria- Erwage, wie sein blutgefarbter Rucken
Bach
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21.
Second Part- Recitative- Und die Kriegsknechte flochten - Chorus- Sei gegrusset, lieber Judenkonig -
Bach
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22.
Second Part- Chorale- Durch dein Gefangnis
Bach
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23.
Second Part- Recitative- Die Juden aber schrieen und sprachen - Chorus- Lassest du diesen los - Reci
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24.
Second Part- Chorus & Aria- Eilt, ihr angefochtnen Seelen
Bach
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25.
Second Part- Recitative- Allda kreuzigten sie ihn - Chorus- Schreibe nicht- der Juden Konig - Recita
Bach
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26.
Second Part- Chorale- In meines Herzens Grunde
Bach
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27.
Second Part- Recitative- Die Kriegsknechte aber - Chorus- Lasset uns den nicht zerteilen - Recitativ
Bach
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28.
Second Part- Chorale- Er nahm alles wohl in acht
Bach
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29.
Second Part- Recitative- Und von Stund an
Bach
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30.
Second Part- Aria- Es ist vollbracht
Bach
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31.
Second Part- Recitative- Und neigte das Haupt
Bach
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32.
Second Part- Chorus & Aria- Mein teurer Heiland
Bach
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33.
Second Part- Recitative- Und siehe da
Bach
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34.
Second Part- Aria- Mein Herz, in dem die ganze Welt
Bach
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35.
Second Part- Aria- Zerfliesse, mein Herze
Bach
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36.
Second Part- Recitative- Die Juden aber
Bach
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37.
Second Part- Chorale- O hilf, Christe, Gottes Sohn
Bach
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38.
Second Part- Recitative- Darnach bat Pilatum
Bach
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39.
Second Part- Chorus- Ruht wohl, ihr heiligen Gebeine
Bach
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40.
Second Part- Chorale- Ach Herr, la? dein lieb Engelein
Bach
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