The Bach cantatas project of Ton Koopman was the first complete recording of all the cantatas, including the 21 secular cantatas.[ citation needed ] Koopman conducted the Amsterdam Baroque Orchestra & Choir and guest solo singers. The project began in 1995 and was completed in 2005 on 67 CDs.
It was the second recording of the 193 sacred cantatas after the Harnoncourt-Leonhardt Bach cantatas project to use early instruments. Koopman unlike Nikolaus Harnoncourt and Gustav Leonhardt did not use boy choirs, but female sopranos, although Bach would have mainly used boys' voices to perform the soprano lines of his cantatas.
Koopman's project started on Erato Records, but was nearly derailed when Warner — which had acquired the Harnoncourt-Leonhardt Bach cantata recordings when it acquired Teldec from Telefunken in 1988 — also acquired Erato, thus making Koopman's new project a duplication within Warner's catalogue. Koopman was initially confident, and the project continued under Warner ownership,but Koopman's project was one of the first cutbacks when Warner Classics scaled down new recordings across its classical music subsidiaries and wound up Erato entirely in 2002. Warner cancelled the project and proceeded to dump stocks of volumes 1–12 in the discount bins at retailers like HMV and Tower. However Warner allowed Koopman to buy the tapes to 1–12 so he could continue independently. Koopman then founded his own label "Antoine Marchand" (a pun on his own name in French) distributed by Dutch Jazz and classics distributor Challenge Classics.
Koopman's interpretations — which include favouring a choir with four singers per part — were underpinned by his own musicological researches and those of the Bach scholar Christoph Wolff.Vocal soloists for the project include Lisa Larsson, Sandrine Piau, Sibylla Rubens, Barbara Schlick, Caroline Stam, Cornelia Samuelis, Deborah York and Johannette Zomer (soprano), Bogna Bartosz, Michael Chance, Franziska Gottwald, Bernhard Landauer, Elisabeth von Magnus, Annette Markert and Kai Wessel (alto), Paul Agnew, Jörg Dürmüller, James Gilchrist, Christoph Prégardien and Gerd Türk (tenor) and Klaus Mertens (bass).
Koopman also released a video performance of 6 Bach cantatas with the Amsterdam Baroque Orchestra & Choir in 2007.
Gustav Leonhardt was a Dutch keyboard player, conductor, musicologist, teacher and editor. He was a leading figure in the movement to perform music on period instruments. Leonhardt professionally played many instruments, including the harpsichord, pipe organ, claviorganum, clavichord, fortepiano and piano. He also conducted orchestras and choruses.
Antonius Gerhardus Michael (Ton) Koopman is a Dutch conductor, organist and harpsichordist. He is also professor at the Royal Conservatory of The Hague. In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion.
The Amsterdam Baroque Orchestra & Choir is a Dutch early-music group based in Amsterdam.
Christoph Prégardien is a German lyric tenor whose career is closely associated with the roles in Mozart operas, as well as performances of Lieder, oratorio roles, and Baroque music. He is well known for his performances and recordings of the Evangelist roles in Bach's St John Passion and St Matthew Passion.
Angenehmes Wiederau, freue dich in deinen Auen, BWV 30.1, is a 1737 secular cantata by Johann Sebastian Bach, on a libretto by Christian Friedrich Henrici (Picander). Bach reused some of its music in later works, including Freue dich, erlöste Schar, BWV 30.2, one of his church cantatas, which was nearly entirely modelled after the secular composition.
Jesu, nun sei gepreiset, BWV 41, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for New Year's Day and first performed it on 1 January 1725 as part of his second cantata cycle. It is based on the hymn by Johannes Hermann (1591).
Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland, BWV 62, in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. The chorale cantata is based on Martin Luther's Advent hymn "Nun komm, der Heiden Heiland". It is part of his chorale cantata cycle.
Klaus Mertens is a German bass and bass-baritone singer who is known especially for his interpretation of the complete works of Johann Sebastian Bach for bass voice.
Lisa Larsson is a Swedish classical soprano singer.
Caroline Stam is a Dutch classical soprano who has an international (European) performing career specializing in baroque repertoire, reinforced by a distinguished presence in modern recordings.
Max van Egmond is a Dutch bass and baritone singer. He has focused on oratorio and Lied and is known for singing works of Johann Sebastian Bach. He was one of the pioneers of historically informed performance of Baroque and Renaissance music.
The Netherlands Bach Society is the oldest ensemble for Baroque music in the Netherlands, and possibly in the world. The ensemble was founded in 1921 in Naarden to perform Bach's St Matthew Passion on Good Friday and has performed the work annually since then in the Grote of Sint-Vituskerk. From 1983 until 2018, Jos van Veldhoven was artistic director and conductor. Shunsuke Sato became artistic director on 1 June 2018.
Johann Sebastian Bach composed the church cantata Lobe den Herren, den mächtigen König der Ehren, BWV 137, in Leipzig for the twelfth Sunday after Trinity and first performed it on 19 August 1725. The chorale cantata is based on the hymn by Joachim Neander (1680).
Leichtgesinnte Flattergeister, BWV 181, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Sexagesima and first performed it on 13 February 1724.
Ich bin ein guter Hirt, BWV 85, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the second Sunday after Easter and first performed it on 15 April 1725.
Also hat Gott die Welt geliebt, BWV 68, is a cantata by Johann Sebastian Bach, a church cantata for the second day of Pentecost. Bach composed the cantata in Leipzig and first performed it on 21 May 1725. It is one of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. In a unique structure among Bach's church cantatas, it begins with a chorale and ends with a complex choral movement on a quotation from the Gospel of John. Bach derived the two arias from his Hunting Cantata.
Johann Sebastian Bach composed the church cantata Es reißet euch ein schrecklich Ende, BWV 90, in Leipzig for the 25th Sunday after Trinity and first performed it on 14 November 1723.
Amore traditore, BWV 203, is a secular cantata composed by Johann Sebastian Bach in Köthen between 1718 and 1719, while he was in the service of the court of Leopold, Prince of Anhalt-Köthen. Bach wrote the unusual work on an Italian libretto for a bass soloist and harpsichord.
J. S. Bach - Das Kantatenwerk is a classical music recording project initiated by the record label of Telefunken in 1971 to record all 193 sacred Bach cantatas. The project was entrusted to Nikolaus Harnoncourt and Gustav Leonhardt. Each conductor had his own instrumental ensemble, based in Austria and the Netherlands respectively.
Bach composed Wie schön leuchtet der Morgenstern, BWV 1, as chorale cantata for the Marian feast of the Annunciation, for a first performance in a church service in Leipzig on 25 March 1725. The cantata, for soprano, tenor and bass soloists, four-part choir and Baroque orchestra, takes around 25 minutes to perform.