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Bach 2000
 : Bach 2000



from: Teldec




Audience Rating: NR (Not Rated)
Binding: Audio CD
EAN: 0639842570428
Edition: Limited Edition
Format: Box set, Limited Edition
Item Dimensions: 675230021651900
Label: Teldec
Manufacturer: Teldec
Number Of Discs: 153
Number Of Items: 153
Publisher: Teldec
Release Date: September 14, 1999
Studio: Teldec




Disc 1:
  1. Wie schon leuchtet der Morgenstern
  2. Du Wahrer Gottes und Marien Sohn
  3. Erfuellet, ihr himmlischen goettlichen Flammen
  4. Ein irdscher Glanz, wein leiblich Licht
  5. Unser Mund und Ton der Saiten
  6. Wie Schon Leuchtet Der Morgenstern, BWV 1: Chor: 'Wie Bin Ich Doch So Herzlich Froh' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  7. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Chor: 'Ach Gott, Vom Himmel Sieh Darein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  8. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Recitativo: 'Sie Lehren Eitel Falsche List' - Kurt Equiluz
  9. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Aria: 'Tilg, O Gott, Die Lehren' - Paul Esswood
  10. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Recitativo: 'Die Armen Sind Verstort' - Max Van Egmond
  11. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Aria: 'Durchs Feuer Wird Das Silber Rein' - Kurt Equiluz
  12. Ach Gott, Vom Himmel Sieh Darein, BWV 2: Chor: 'Das Wollst Du, Gott, Bewahren Rein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  13. Ach Gott, Wie Manches Herzeleid, BWV 3: Chor: 'Ach Gott, Wie Manches Herzeleid' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  14. Ach Gott, Wie Manches Herzeleid, BWV 3: Choral Recitativo: 'Wie Schwerlich Lasst Sich Fleisch Und... - Wiener Sangerknaben/Hans Gillesberger/Paul Esswood/Kurt Equiluz/Max Van Egmond...
  15. Ach Gott, Wie Manches Herzeleid, BWV 3: Aria: 'Empfind Ich Hollenangst Und Pein' - Max Van Egmond
  16. Ach Gott, Wie Manches Herzeleid, BWV 3: Recitativo: 'Es Mag Mir Leib Und Geist Verschmachten' - Kurt Equiluz
  17. Ach Gott, Wie Manches Herzeleid, BWV 3: Aria: 'Wenn Sorgen Auf Mich Dringen' - Wiener Sangerknaben/Hans Gillesberger/Paul Esswood
  18. Ach Gott, Wie Manches Herzeleid, BWV 3: Chor: 'Erhalt Mein Herz Im Glauben Rein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Disc 10:
  1. Prelude and Fugue in A minor: Praeludium
  2. Prelude and Fugue in A minor: Fuga
  3. Prelude and Fughetta in E minor: Praeludium
  4. Prelude and Fughetta in E minor: Fuga
  5. Prelude in G major BWV 902a
  6. Fant And Fugue in a, BWV 904: Fant - Zuzana Ruzickova
  7. Fant And Fugue in a, BWV 904: Fuga - Zuzana Ruzickova
  8. Clavier-Buchlein Vor W.F. Bach: Prld in C, BWV 924 - Zuzana Ruzickova
  9. Clavier-Buchlein Vor W.F. Bach: Prld in D, BWV 925 - Zuzana Ruzickova
  10. Clavier-Buchlein Vor W.F. Bach: Prld in d, BWV 926 - Zuzana Ruzickova
  11. Clavier-Buchlein Vor W.F. Bach: Prld in F, BWV 927 - Zuzana Ruzickova
  12. Clavier-Buchlein Vor W.F. Bach: Prld in F, BWV 928 - Zuzana Ruzickova
  13. Clavier-Buchlein Vor W.F. Bach: Prld in g, BWV 930 - Zuzana Ruzickova
  14. Clavier-Buchlein Vor W.F. Bach: Prld in a, BWV 931 - Zuzana Ruzickova
  15. Prld in E, BWV 937 - Zuzana Ruzickova
  16. Prld in C, BWV 939 - Zuzana Ruzickova
  17. Prld in d, BWV 940 - Zuzana Ruzickova
  18. Applicatio in C, BWV 994 - Zuzana Ruzickova
Disc 11:
  1. Suite in G minor BWV 995: Prelude
  2. Suite in G minor BWV 995: Allemande
  3. Suite in G minor BWV 995: Courante
  4. Suite in G minor BWV 995: Sarabande
  5. Suite in G minor BWV 995: Gavotte I - Gavotte II en Rondeau
  6. Ste in g, BWV 995: Gigue - Luca Pianca
  7. Ste in e, BWV 996: Prld (Passagio-Presto) - Michele Barchi
  8. Ste in e, BWV 996: Allemande - Michele Barchi
  9. Ste in e, BWV 996: Courante - Michele Barchi
  10. Ste in e, BWV 996: Sarabande - Michele Barchi
  11. Ste in e, BWV 996: Bourree - Michele Barchi
  12. Ste in e, BWV 996: Gigue - Michele Barchi
  13. Ste in c, BWV 997: Prld - Michele Barchi/Luca Pianca
  14. Ste in c, BWV 997: Fuga - Michele Barchi/Luca Pianca
  15. Ste in c, BWV 997: Sarabande - Michele Barchi/Luca Pianca
  16. Ste in c, BWV 997: Gigue-Double - Michele Barchi/Luca Pianca
Disc 12:
  1. Concerto for two violins BWV 1043: Vivace
  2. Concerto for two violins BWV 1043: Largo, ma non tanto
  3. Concerto for two violins BWV 1043: Allegro
  4. Concerto BWV 1042: Allegro
  5. Concerto BWV 1042: Adagio
  6. Con in E, BWV 1042: Allegro Assai - Alice Harnoncourt
  7. Con in a, BWV 1041: Allegro - Alice Harnoncourt
  8. Con in a, BWV 1041: Andante - Alice Harnoncourt
  9. Con in a, BWV 1041: Allegro Assai - Alice Harnoncourt
  10. Con in g, BWV 1056R: (Allegro) - Alice Harnoncourt
  11. Con in g, BWV 1056R: Largo - Alice Harnoncourt
  12. Con in g, BWV 1056R: Presto - Alice Harnoncourt
  13. Con in g, BWV 1060R: Allegro - Jurg Schaeftlein/Alice Harnoncourt
  14. Con in g, BWV 1060R: Adagio - Jurg Schaeftlein/Alice Harnoncourt
  15. Con in g, BWV 1060R: Allegro - Jurg Schaeftlein/Alice Harnoncourt
Disc 2:
  1. Ich elender Mensch, wer wird mich erloesen
  2. O Schmerz, o Elend, so mich trifft
  3. Solls ja so sein
  4. Ach lege das Sodom der suendlichen Glieder
  5. Hier aber tut des Heilands Hand
  6. Ich Elender Mensch, Wer Wird Mich Erlosen, BWV 48: Aria: 'Vergibt Mir Jesus Meine Sunden' - Kurt Equiluz
  7. Ich Elender Mensch, Wer Wird Mich Erlosen, BWV 48: Chor: 'Herr Jesu Christ, Einiger Trost' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  8. Ich Geh Und Suche Mit Verlangen, BWV 49: Sinf - Concentus Musicus Wien/Nikolaus Harnoncourt
  9. Ich Geh Und Suche Mit Verlangen, BWV 49: Aria: 'Ich Geh Und Suche Mit Verlangen' - Ruud Van Der Meer
  10. Ich Geh Und Suche Mit Verlangen, BWV 49: Recitativo Ed Arioso: 'Mein Mahl Ist Zubereit'' - Ruud Van Der Meer/Peter Jelosits
  11. Ich Geh Und Suche Mit Verlangen, BWV 49: Aria: 'Ich Bin Herrlich, Ich Bin Schon' - Peter Jelosits
  12. Ich Geh Und Suche Mit Verlangen, BWV 49: Recitativo: 'Mein Glaube Hat Mich Selbst So Angezogen' - Peter Jelosits/Ruud Van Der Meer
  13. Ich Geh Und Suche Mit Verlangen, BWV 49: Aria (Duetto): 'Dich Hab Ich Je Und Je Geliebet' - Peter Jelosits/Ruud Van Der Meer
  14. Nun Ist Das Heil Und Die Kraft, BWV 50: Chor: 'Nun Ist Das Heil Und Die Kraft' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
  15. Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Jauchzet Gott In Allen Landen!' - Marianne Kweksilber
  16. Jauchzet Gott In Allen Landen, BWV 51: Recitativo: 'Wir Beten Zu Dem Tempel An' - Marianne Kweksilber
  17. Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Hochster, Mache Deine Gute' - Marianne Kweksilber
  18. Jauchzet Gott In Allen Landen, BWV 51: Chor: 'Sei Lob Und Preis Mit Ehren' - Marianne Kweksilber
  19. Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Alleluja!' - Marianne Kweksilber
Disc 3:
  1. (Caro) Was Gott tut, das ist wohlgetan
  2. (Alto, Tenore) Was Gott tut, das ist wohlgetan
  3. (Soprano) Was Gott tut, das ist wohlgetan
  4. (Basso) Was Gott tut, das ist wohlgetan
  5. (Alto) Was Gott tut, das ist wohlgetan
  6. Was Gott Tut, Das Ist Wohlgetan, BWV 100: Chor: 'Was Gott Tut, Das Ist Wohlgetan' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
  7. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Chor: 'Nimm Von Uns, Herr, Du Treuer Gott' - Tolzer Knabenchor/Gerhard Schmidt-Gaden
  8. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria: 'Handle Nicht Nach Deinen Rechten' - Kurt Equiluz
  9. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Recitativo-Chor: 'Ach! Herr Gott, Durch Die Treue Dein' - Wilhelm Wiedl
  10. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria: 'Warum Willst Du So Zornig Sein?' - Philippe Huttenlocher
  11. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Recitativo-Chor: 'Die Sund Hat Uns Verderbet Sehr' - Kurt Equiluz
  12. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria (Duetto): 'Gedenk An Jesu Bittern Tod!' - Wilhelm Wiedl/Paul Esswood
  13. Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Chor: 'Leit Uns Mit Deiner Rechten Hand' - Tolzer Knabenchor/Gerhard Schmidt-Gaden
  14. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Chor: 'Herr, Deine Augen Sehen... - Tolzer Knabenchor/Gerhard Schmidt-Gaden
  15. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Recitativo: 'Wo Ist Das Ebenbild' - Philippe Huttenlocher
  16. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Aria: 'Weh Der Seele' - Paul Esswood
  17. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Arioso: 'Verachtest Du Den... - Philippe Huttenlocher
  18. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Aria: 'Erschrecke Doch, Du... - Kurt Equiluz
  19. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Recitativo: 'Beim Warten Ist... - Paul Esswood
  20. Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Chor: Heut Lebst Du, Heut... - Tolzer Knabenchor/Gerhard Schmidt-Gaden
Disc 4:
  1. Sinfonia
  2. Nach dir, Herr, verlanget mich
  3. Doch bin und bleibe ich vergnuegt
  4. Leite mich in deiner Wahrheit
  5. Zedern muessen von den Winden
  6. Nach Dir, Herr, Verlanget Mich, BWV 150: Chor: 'Meine Augen Sehen Stets Zu Dem Herrn' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
  7. Nach Dir, Herr, Verlanget Mich, BWV 150: Chor: 'Meine Tage In Dem Leide' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
  8. Susser Trost, Mein Jesus Kommt, BWV 151: Aria: 'Susser Trost, Mein Jesus Kommt' - Sebastian Hennig
  9. Susser Trost, Mein Jesus Kommt, BWV 151: Recitativo: 'Erfreue Dich, Mein Herz' - Max Van Egmond
  10. Susser Trost, Mein Jesus Kommt, BWV 151: Aria: 'In Jesu Demut Kann Ich Trost' - Paul Esswood
  11. Susser Trost, Mein Jesus Kommt, BWV 151: Recitativo: 'Du Teurer Gottessohn' - Kurt Equiluz
  12. Susser Trost, Mein Jesus Kommt, BWV 151: Chor: 'Heut Schleusst Er Wieder Auf Die Tur' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
  13. Tritt Auf Die Glaubensbahn, BWV 152: Con - Concentus Musicus Wien/Nikolaus Harnoncourt
  14. Tritt Auf Die Glaubensbahn, BWV 152: Aria: 'Tritt Auf Die Glaubensbahn' - Thomas Hampson
  15. Tritt Auf Die Glaubensbahn, BWV 152: Recitativo: 'Der Heiland Ist Gesetzt' - Thomas Hampson
  16. Tritt Auf Die Glaubensbahn, BWV 152: Aria: 'Stein, Der Uber Alle Schatze' - Christoph Wegmann
  17. Tritt Auf Die Glaubensbahn, BWV 152: Recitativo: 'Es Argre Sich Die Kluge Welt' - Thomas Hampson
  18. Tritt Auf Die Glaubensbahn, BWV 152: Duetto: 'Wie Soll Ich Dich, Liebster Der Seelen, Umfassen?' - Christoph Wegmann/Thomas Hampson
  19. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Schau, Lieber Gott, Wie Meine Feind' - Tolzer Knabenchor//Gerhard Schmidt-Gaden
  20. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Mein Liebster Gott' - Stefan Rampf
  21. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Furchte Dich Nicht, Ich Bin Mit Dir' - Thomas Hampson
  22. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Du Sprichst Zwar, Lieber Gott' - Kurt Equiluz
  23. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Und Ob Gleich Alle Teufel - Tolzer Knabenchor//Gerhard Schmidt-Gaden
  24. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Sturmt Nur, Sturmt, Ihr Trubsalswetter' - Kurt Equiluz
  25. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Getrost! Mein Herz, Erdulde Deinen... - Thomas Hampson
  26. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Soll Ich Meinen Lebeslauf' - Stefan Rampf
  27. Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Drum Will Ich, Weil Ich Lebe Noch' - Tolzer Knabenchor//Gerhard Schmidt-Gaden
Disc 5:
  1. Die Zeit, die Tag und Jahre macht
  2. Auf, Sterbliche, lasset ein Jauchzen ertoenen
  3. So bald, als dir die Sternen hold
  4. Es streiten, es siegen die kuenftigen Zeiten
  5. Bedenke nur, begluecktes Land
  6. Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Aria: 'Der Zeiten Herr Hat Viel Vergnugte Stunden' - Michael Chance
  7. Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Recitativo: 'Hilf, Hochster, Hilf' - Michael Chance/Paul Agnew
  8. Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Chor: 'Ergetzet Auf Erden' - The Amsterdam Baroque Chor/Ton Koopman
  9. Durchlauchtster Leopold, BWV 173A: Recitativo: 'Durchlauchtster Leopold' - Lisa Larsson
  10. Durchlauchtster Leopold, BWV 173A: Aria: 'Guldner Sonnen Frohe Stunden' - Lisa Larsson
  11. Durchlauchtster Leopold, BWV 173A: Aria: 'Leopolds Vortrefflichkeiten' - Klaus Mertens
  12. Durchlauchtster Leopold, BWV 173A: Aria: 'Unter Seinem Purpursaum' - Lisa Larsson/Klaus Mertens
  13. Durchlauchtster Leopold, BWV 173A: Recitativo: 'Durchlauchtigster, Den Anhalt Vater Nennt' - Lisa Larsson/Klaus Mertens
  14. Durchlauchtster Leopold, BWV 173A: Aria: 'So Schau Des Holden Tages Licht' - Lisa Larsson
  15. Durchlauchtster Leopold, BWV 173A: Aria: 'Dein Name Gleich Der Sonnen Geh' - Klaus Mertens
  16. Durchlauchtster Leopold, BWV 173A: Chor: 'Nimm Auch, Grosser Furst, Uns Auf' - Lisa Larsson/Klaus Mertens
Disc 6:
  1. Kyrie eleison
  2. Christe eleison
  3. Kyrie eleison
  4. Gloria in excelsis Deo
  5. Laudamus te
  6. Mass in b, BWV 232: I. Missa: Gloria: Gratias Agimus Tibi - Arnold Schoenberg Chor/Erwin Ortner
  7. Mass in b, BWV 232: I. Missa: Gloria: Domine Deus - Angela Maria Blasi/Kurt Equiluz
  8. Mass in b, BWV 232: I. Missa: Gloria: Qui Tollis - Arnold Schoenberg Chor/Erwin Ortner
  9. Mass in b, BWV 232: I. Missa: Gloria: Qui Sedes - Jadwiga Rappe
  10. Mass in b, BWV 232: I. Missa: Gloria: Quoniam To Solus - Arnold Schoenberg Chor/Erwin Ortner
  11. Mass in b, BWV 232: I. Missa: Gloria: Cum Sancto Spiritu - Arnold Schoenberg Chor/Erwin Ortner
Disc 7:
  1. Singet dem Herrn ein neres Lied
  2. Der Geist hilft unser Schwachheit auf
  3. Komm, Jesu, komm
  4. Jesu, meine Freude
  5. Fuerchte dich nicht, ich bin bei dir
  6. Lobet Den Herrn, Alle Heiden, BWV 230 - Stockholm Bach Chor/Anders Ohrwall
Disc 8:
  1. Fantasia et Fuga in g BWV 542
  2. Fuga in g BWV 578
  3. Canzona in d BWV 588
  4. Praeludium et Fuga in h BWV 544
  5. Praeludium et Fuga in a BWV 543
  6. Fant in c, BWV 562 - Ton Koopman
  7. Prld Et Fuga in C, BWV 531 - Ton Koopman
  8. Fant in G, BWV 572 - Ton Koopman
  9. Fant in C, BWV 570 - Ton Koopman
  10. Passacaglia in c, BWV 582 - Ton Koopman
Disc 9:
  1. Inventio 1 BWV 772
  2. Inventio 2 BWV 773
  3. Inventio 3 BWV 774
  4. Inventio 4 BWV 775
  5. Inventio 5 BWV 776
  6. Inventio 6 in E, BWV 777 - Zuzana Ruzickova
  7. Inventio 7 in e, BWV 778 - Zuzana Ruzickova
  8. Inventio 8 in F, BWV 779 - Zuzana Ruzickova
  9. Inventio 9 in f, BWV 780 - Zuzana Ruzickova
  10. Inventio 10 in G, BWV 781 - Zuzana Ruzickova
  11. Inventio 11 in g, BWV 782 - Zuzana Ruzickova
  12. Inventio 12 in A, BWV 783 - Zuzana Ruzickova
  13. Inventio 13 in a, BWV 784 - Zuzana Ruzickova
  14. Inventio 14 in B flat, BWV 785 - Zuzana Ruzickova
  15. Inventio 15 in b, BWV 786 - Zuzana Ruzickova
  16. Sinf 1 in C, BWV 787 - Zuzana Ruzickova
  17. Sinf 2 in c, BWV 788 - Zuzana Ruzickova
  18. Sinf 3 in D, BWV 789 - Zuzana Ruzickova
  19. Sinf 4 in d, BWV 790 - Zuzana Ruzickova
  20. Sinf 5 in E flat, BWV 791 - Zuzana Ruzickova
  21. Sinf 6 in E, BWV 792 - Zuzana Ruzickova
  22. Sinf 7 in e, BWV 793 - Zuzana Ruzickova
  23. Sinf 8 in F, BWV 794 - Zuzana Ruzickova
  24. Sinf 9 in f, BWV 795 - Zuzana Ruzickova
  25. Sinf 10 in G, BWV 796 - Zuzana Ruzickova
  26. Sinf 11 in g, BWV 797 - Zuzana Ruzickova
  27. Sinf 12 in A, BWV 798 - Zuzana Ruzickova
  28. Sinf 13 in a, BWV 799 - Zuzana Ruzickova
  29. Sinf 14 in B flat, BWV 800 - Zuzana Ruzickova
  30. Sinf 15 in b, BWV 801 - Zuzana Ruzickova
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Editorial Review:

Product Description:
Volume 1, 15 Discs
Sacred Cantatas Nos. 1-14, 16-47; 15 CDs; Harnoncourt/Leonhardt

Volume 2, 15 Discs
Sacred Cantatas Nos. 48-52, 54-69, 69A, 70-99; 15 CDs; Harnoncourt/Leonhardt

Volume 3, 15 Discs
Sacred Cantatas Nos. 100-117, 119-140,143-149; 15 CDs; Harnoncourt/Leonhardt

Volume 4, 15 Discs
Sacred Cantatas BWV 150-159, 161-188, 192, 194-199; 15 CDs; Harnoncourt/Leonhardt

Volume 5, 11 Discs
Secular Cantatas App. Sacred Cantatas; 11 CDs; Koopman, Harnoncourt, Koopman, Goebel and others

Volume 6, 14 Discs
The Sacred Vocal Works Masses,Magnificat, Passions, Oratorios; 14 CDs; Harnoncourt, Koopman, Corboz and others

Volume 7
, 7 Discs
The Motets, Chorales & Songs Kirnberger Chorales,Schemelli Songs, Quodlibet

Volume 8, 16 Discs
The Organ Works; 16 CDs; Ton Koopman

Volume 9, 11 Discs
The Keyboard Works (I) The Well-Tempered Clavier, English & French Suites, Partitas etc; 11 CDs; Curtis, Ross, Wilson, Ruzickova

Volume 10, 11 Discs
The Keyboard Works (II) Goldberg Variations, Toccatas, Fugues, Italian Concerto, etc; 11 CDs; Staier, Barchi, Leonhardt, von Asperen, Baumont, and others

Volume 11, 13 Discs
The Chamber Music Violin Sonatas & Partitas, Flute Sonatas, Works for Lute, Art of Fugue, Musical Offering, etc; 13 CDs; Harnoncourt, Pianca, Tachezi, Brggen, Zehetmair, and others

Volume 12, 10 Discs
The Orchestral Works The Concertos & Orchestral Suite; 10 CDs; Il Giardino Armonico, Harnoncourt, Leonhardt

Amazon.com:
The Bach renaissance--which began in earnest in the early 19th century thanks to the efforts of Felix Mendelssohn and others--inspired an endeavor of far-reaching significance. It led to the founding of the Bach Society in 1850, with the goal of gathering and publishing the composer's complete works, and thus set into motion one of the great projects of musical scholarship. That effort has continued and been refined throughout the 20th century, ultimately influencing not only our perception of how to perform early music but fundamental ideas of musical history, evolution, and reception as well.

Teldec's mammoth Bach 2000 box set represents a kind of culmination of that original attempt to come to terms with Johann Sebastian Bach's unparalleled legacy. This set brings together performances recorded over the last several decades--a small percentage of the recordings are previously unreleased--of all the extant works determined by modern scholarship to be authentic. There are also some pieces the authorship of which is still in question and a few now deemed "inauthentic" but familiarly associated with the composer. Bach was a prodigious reviser of his compositions, and alternate versions of a particular work have been included "where the changes seemed sufficiently important," such as the glorious Magnificat. No doubt manuscripts will continue to be unearthed here and there in various archives (Bach 2000 contains, for example, the "Neumeister chorales," which were rediscovered in 1984), but the set does not represent the many fragments of music that consist of just a few bars; however, there are some reconstructions of lost concertos (such as one for three violins reconstructed by Christopher Hogwood from an extant concerto for harpsichords).

Of course a truly comprehensive recorded edition of every note Bach wrote remains a utopian impossibility--about one-third of his cantatas, for example, have not survived. Even so, the dimensions of Bach 2000 are staggering. With its 12 boxes comprising 153 CDs, the set can be compressed into fewer boxes to save shelf space yet is still about ten times as long as the Ring cycle. (It should be noted that the packaging--using thin cardboard sleeves for the CDs--is distinctively unattractive.) That adds up to just under 160 hours of music--but a lifetime of discovery. Each box (grouped according to genre) contains a booklet with excellent notes on individual works and--for all the choral works--texts and translations. Tracking indexes are useful and thorough. Also included is a profusely illustrated hardbound volume of 24 Inventions, in which journalist Wolfgang Sandberger uses the composer's biography as a peg for some enigmatic and fascinating musings on the meaning of Bach today.

The presiding philosophy behind this project and its approach to musical interpretation can be largely ascribed to Nikolaus Harnoncourt, a true musical pioneer and galvanizing force of the "period performance" movement. Harnoncourt's epoch-making recordings of the sacred cantatas (using, for instance, boy sopranos and choristers according to the practice in Bach's time) with the Concentus musicus Wien and colleague Gustav Leonhardt comprise the first four volumes here (those who already own them can turn to the Bach 2000 Light edition, which contains everything sans the cantatas). These recordings--which were not remastered for this set--have long been controversial and are notably uneven, embracing some magnificent accounts as well as others that lack fire and seem clearly underrehearsed. But Harnoncourt is one of the most fascinating conductors of our era, and his interpretations amply bear out his assertion: "I have never felt that Bach worked in a routine manner, that he repeated himself in his works." Harnoncourt--who has articulated many of his ideas in his book The Musical Dialogue--displays his gifts as a cellist in a remarkably probing performance of the Cello Suites (originally recorded in 1965) and in his concertizing for a number of chamber works. For the St. Matthew Passion, you get Harnoncourt's groundbreaking earlier account from 1970, while his 1986 recording of the sublime B Minor Mass is also represented here (the St. John Passion included is Harnoncourt's 1995 acount).

Other artists included are colleague Gustav Leonhardt, whose thoughtful if occasionally dry harpsichord artistry is heard in the Goldberg Variations as well as in the concertos and chamber music. The harpsichord is in fact used throughout in preference to piano for the keyboard works. Ton Koopman (himself the conductor of an ongoing complete cantata series and of the Easter Oratorio included here) performs the organ works, including some newly recorded offerings, while Il Giardino Armonico's well-known high-energy account represents the Brandenburg Concertos. Violinist Thomas Zehetmair is exceptionally compelling in the unaccompanied sonatas and partitas, and the Concentus musicus Wien--again under Harnoncourt--perform a superb Musical Offering that richly repays frequent listening.

The result of Bach 2000 as a whole is an aptly encyclopedic grappling with the infinite legacy of this most compendious of composers, whose works are on one level a summation of all the styles available to him. Bach was once thought to represent a "terminal point" (to use Albert Schweitzer's famous formulation), the end of an era; today he is at least equally recognized as a fertile source of inspiration for composers since. To be sure, individual recordings of particular works will be found to be preferable, and it would be misguided to consider Bach 2000 any kind of "final" or "definitive" word. Instead, it's an indispensable starting point that represents a monumental achievement for our own contemporary understanding of Bach. --Thomas May



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