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J.S.Bach / The Solo Cantatas for Bass

J.S. Bach
J.S.Bach / The Solo Cantatas for Bass
Cena: 59,00 zł
Cena netto: 47,97 zł

The Solo Cantatas for Bass

Christian Senn, bass-baritone

Ruben Jais, direction

Production details

Total playing time 54:38
Recorded in Milan (Auditorium di Milano), Italy, on 2-4 April 2017
Engineered and produced by Stefano Barzan
Booklet essay by Marc Trautmann
English – Français – Deutsch
Made in Austria

Ich will den Kreuzstab gerne tragen, BWV 56
01 Aria: Ich will den Kreuzstab gerne tragen
02 Recitativo: Mein Wandel auf der Welt
03 Aria: Endlich, endlich wird mein Joch
04 Recitativo ed Arioso: Ich stehe fertig und bereit
05 Choral: Komm, o Tod, du Schlafes Bruder

Der Friede sei mit dir, BWV 158
06 Recitativo: Der Friede sei mit dir
07 Aria con Choral: Welt, ade, ich bin dein müde
08 Recitativo ed Arioso: Nun, Herr, regiere meinen Sinn
09 Choral: Hier ist das rechte Osterlamm

Ich habe genug, BWV 82
10 Aria: Ich habe genug
11 Recitativo: Ich habe genug
12 Aria: Schlummert ein, ihr matten Augen
13 Recitativo: Mein Gott, wenn kömmt das schöne: Nun!
14 Aria: Ich freue mich auf meinen Tod

About this album

With a new disc given over to three cantatas for bass by JS Bach, Christian Senn gives valid voice to that ever-continuing need of bringing the Kantor’s scores alive in fresh recordings. The career of the Chileanborn baritone Senn currently sees him having a strong – and much-applauded – affinity for music of the Baroque, be it in Vivaldi operas, or the Passions and other choral masterpieces by Bach; this is in addition to him impressing greatly in bel canto repertory – notably in Mozart.

On this new release from Glossa (where Senn is operating with a rich and deep bass-baritone colouring to his voice) there are not just the two principal Bach cantatas for solo bass – Ich will den Kreuzstab gerne tragen, BWV 56 and Ich habe genug, BWV 82 – but also the third and more rarely aired work, Der Friede sei mit dir, BWV 158, in which the soloist is joined by a chorus of sopranos.

In his exploration of the mystery of these sacred cantatas, Senn is beautifully supported by Ruben Jais and his Milan-based laBarocca. This is not the period ensemble’s first recording for Glossa – Jais directed it on a previous occasion when accompanying Sonia Prina in her Gluck recital, Heroes in love– and more releases can be expected from this combination in the near future. There is space also for Marc Trautmann to contribute a wry and lively booklet essay placing the three Bach cantatas – and Senn’s recording of them – in an illuminating context.

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