The Complete Bach Recordings, 1927-1939

On this CD:

1. Bist du bei mir, aria for voice & continuo (spurious, by Stölzel), BWV 508
Composed by Johann Sebastian Bach
Performed by Elisabeth Schumann

2. Cantata No. 202, "Weichet nur, betrübte Schatten," ("Wedding Cantata"), BWV 202
Composed by Johann Sebastian Bach
Performed by Elisabeth Schumann

3. Matthäuspassion (St. Matthew Passion), BWV 244 Aus Liebe Will Mein Heiland Sterben
Composed by Johann Sebastian Bach
Performed by Elisabeth Schumann

4. Johannespassion (St. John Passion), BWV 245 Es Ist Vollbracht
Composed by Johann Sebastian Bach
Performed by Elisabeth Schumann

5. Mass in B minor, BWV 232
Composed by Johann Sebastian Bach
Performed by Elisabeth Schumann

The Complete Bach Recordings, 1927-1939, Music, Johann Sebastian Bach, Elisabeth Schumann, Cantata, Choral, Classical, Mass, Passion, Solo Voice and Continuo, Vocal

Average customer rating: Bach singing from the past. Too much Viennese pre-war manners

The Complete Bach Recordings, 1927-1939 Manufacturer: Pearl ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music ASIN: B000000WWU Release Date: 1993-01-20

Tracks:

1. Bist Du Bei Mir (From The Anna Magdalena Bach Notebook), BWV508
2. 'Wedding' Cant, 'Weichet Nur, Betrubte Schatten' BWV202: Aria: Weichet Nur, Betrube Schatten
3. 'Wedding' Cant, 'Weichet Nur, Betrubte Schatten' BWV202: Recitative: Die Welt Wir Wieder Neu/Aria...
4. 'Wedding' Cant,' Weichet Nur, Betrubte Schatten' BWV202: Recitative: Drum Suchtauch Amor Sein...
5. 'Wedding' Cant,' Weichet Nur, Betrubte Schatten' BWV202: Recitative: Das Gluck Es Ist Gefunden...
6. 'Wedding' Cant, 'Weichet Nur, Betrubte Schatten' BWV202: Recitative: So Sei Das Band Der Keuchen...
7. Aus Liebe Will Mein Heiland Sterben (From St. Matthew Passion), BWV244
8. Es Ist Vollbracht (From Cant, BWV159)
9. Mass in b, BWV232: Kyrie: Kyrie Eleison
10. Mass in b, BWV232: Kyrie: Christe Eleison
11. Mass in b, BWV232: Kyrie: Kyrie Eleison
12. Mass in b, BWV232: Gloria: Gloria In Excelsis Deo
13. Mass in b, BWV232: Gloria: Laudamus Te
14. Mass in b, BWV232: Gloria: Gratias Agimus Tibi
15. Mass in b, BWV232: Gloria: Domine Deus

Tracks:

1. Mass in b, BWV232: Gloria: Qui Tollis Peccata Mundi
2. Mass in b, BWV232: Gloria: Qui Sedes Ad Dexteram Patris
3. Mass in b, BWV232: Gloria: Quoniam Tu Solus Sanctus
4. Mass in b, BWV232: Gloria: Cum Sancto Spiritu
5. Mass in b, BWV232: Credo: Credo In Unum Deum
6. Mass in b, BWV232: Credo: Patrem Omnipotentem
7. Mass in b, BWV232: Credo: Et In Unum Dominum
8. Mass in b, BWV232: Credo: Et Incarnatus Est
9. Mass in b, BWV232: Credo: Crucifixus
10. Mass in b, BWV232: Credo: Et Resurrexit
11. Mass in b, BWV232: Credo: Et In Spiritum Sanctum
12. Mass in b, BWV232: Credo: Confeteor Una Baptisma
13. Mass in b, BWV232: Sanctus: Sanctus
14. Mass in b, BWV232: Sanctus: Osanna In Excelsis
15. Mass in b, BWV232: Sanctus: Benedictus, Qui Venit
16. Mass in b, BWV232: Agnus Dei: Agnus Dei
17. Mass in b, BWV232: Agnus Dei: Dona Nobis Pacem

Customer Reviews:

Bach singing from the past........2001-02-16

Of course performances were very
different, and much less frequent, in 1929 from the way the Mass can
be heard today. Recording large choral masses of tone was a hit
and miss affair and one cannot expect the intricacies of Bach's
polyphonic writing to be clear in this ancient recording.
Nevertheless restoration work enables everything to be heard much more
easily and clearly than it ever was on the original 78s. If anyone
reading this is old enough to remember how the work sounded on its
original 78, he won't deny that the surface hiss was horrendous.
Now, it is all gone.

This first ever recording survived for more
than 20 years in the EMI catalogue. At the end of that time, when a
replacement seemed imminent, the writers of "The Record
Guide" forecast, "There is a feature of the Albert Coates
set which will not easily be matched - the solo singing of Elisabeth
Schumann and Friedrich Schorr".

Well, on these CDs the Albert
Coates set is once more available. Music lovers will be aware that of
the four soloists required in this work, the soprano has the least to
do. No solos are allotted to her and she features in only two short
duets. Lucky the collector who locates it, therefore, under the title
"Elisabeth Schumann, the Complete Bach Recordings".

Further classification problems arise with the item on the first
track - "Bist du bei mir". Although attributed to Bach in
1934, when Schumann recorded it (because it featured in Bach's
"Anna Magdelena Notebook"), it is now believed to have been
composed by Bach's contemporary, Gottfried Heinrich Stölzel. My
Swedish fellow reviewer who complains that Elisabeth Schumann does not
sing it in the pure Bach style(whatever that may be), is therefore
arguing from a false premise. The complaint about excessive
portamento could be met by understanding the singers of her time tried
to achieve a pure legato.

Next comes Bach's so called
"Wedding Cantata", also receiving, I believe, its first
recording (although abbreviated) and showing Elisabeth Schumann, in
very good voice, in 1939.

The next two items comprised a 78
released in 1928 - arias from the St Matthew Passion and a Bach
Cantata. This record of exquisite singing was voted in the
"Gramophone" the best vocal record of its year.

I hope
all this helps a curious or hopeful browser to gain a clear
perspective on what this set offers and what he might expect to hear.
Production is by Mark Obert-Thorn, program notes by Alan Jefferson,
and duration 157 minutes.

Too much Viennese pre-war manners.......2000-07-28

But if you're a great fan of Bach's pure, light, airy music - Go for any other of the hundreds of new recordings of Bach-specialists during the last few years instead. For the interpretations on this record is extremely un-Bach indeed, at least as I see it, since when I hear it I feel like I'm in a Viennese operetta theatre.

To its defense, you have to say that the recording is very much in style with the common understanding of music, when it was made - the bold & pompous romantic influence from earlier decades was still strong, with all its habits in vocal technique such as sliding heavily between the notes. And you hear it at once - the first song "Bist du bei mir" is a perfect example. The lovely, soft and dreamlike melody is here turned into a romantic operetta aria - ES sounds like an elevator going up and down by random, with few exact stops at the written tones. The fact that it is nowadays claimed that a contemporary to Bach (Stötzel) has written the piece is irrelevant, I think. It's actually one of The worst Bach-interpretations I've ever heard. And that goes for the rest of the works on this album as well.

Since I do not like hearing Bach as operetta, since I like Bach for his purity, I'm very happy that I've only borrowed this record, and I will gladly return it, not buying it. Only real ES-fans and perhaps people with an interest in recording/performing-history needs this one.

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