To celebrate their 20th anniversary, the Black Crowes decided to revisit several of their staples from the past two decades, giving them acoustic rearrangements. While some of the songs are revised heavily, some are merely given strength by the new setting, not so much because the songs sound better stripped down to bare bones, but because the Crowes are still riding the wave that started with their 2008 comeback Warpaint, retaining the rustic, ragged live vibe of Before the Frost/Until the Freeze…

Although Bach's sacred cantatas span a huge expressive range and display a striking stylistic diversity, they were all composed for performance during a church service. In the case of the secular cantatas, on the other hand, their respective purpose is as varied as their subject matter and emotional content. They were usually commissions intended for occasions such as weddings, funerals and birthdays. As such they were sometimes performed in churches, and some of them have religious texts, but as the works gathered here exemplify, they were not related to the particular theme of the church service on a certain day.

Continuing their exploration of Bach’s vocal music, Bach Collegium Japan and Masaaki Suzuki have now reached the fifth volume of secular cantatas, with the previous instalment being ‘urgently recommended’ by the reviewer in Fanfare, and its contents described as ‘unusually colourful and vivid performances, even by the standards so far set by Suzuki’s Collegium Japan’ (International Record Review). Both cantatas on the present disc were first performed in 1733 by Bach and his Collegium Musicum at public concerts in Leipzig.

The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called ‘dramma per musica’. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the ‘drammi per musica’ do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved. Both cantatas recorded here are ‘academic’ cantatas, composed in honour of eminent members of the faculty at the University of Leipzig.

2CD Japanese compilation features records of tenor saxophonists Kaoru Akimoto, Don Byas, Sil Austin, Sam Taylor, originally released in 1969.

Kolsimcha’s new collusion with the London Symphony Orchestra is a magnificent, refreshing and truly original departure – a brilliant fusion of cultures and styles, and comedy and sympathy.

Although two of the works on this disc were composed for weddings, they are completely different in character. Weichet nur, betrübte Schatten is a charming and gracious garland of recitatives and arias for soprano solo in which Spring, Flora, Apollo and Amor are all invoked in a blessing of the newly wedded couple and their union.
The Quodlibet (Latin for ‘what pleases’) on the other hand, is an altogether unceremonious composition which was probably intended for a private function in Bach’s own circle or family. All we have is a fragment of the work – in Bach’s own hand – and the beginning and ending of the piece, including the title page, are missing.

Using piano, strings, a wind ensemble, and light percussion, Brion’s score subtly and deftly mirrors the existential ambling of Greta Gerwig’s outstanding coming-of-age film.

Compared with J.S. Bach’s production of church music his secular vocal works occupy a modest place in his output: today we know of the existence of some fifty secular cantatas, but only about half of these have survived in performable condition. They were occasional pieces, tailored especially to the situation that engendered them. Unlike the church cantatas they could therefore not be performed again in unaltered form, and were thus of little practical interest for Bach’s heirs. The earliest surviving secular cantata is the ‘Hunt’ Cantata, composed in 1713 in Weimar for the birthday of Duke Christian of Sachsen-Weißenfels.

Just over twenty secular cantatas by JS Bach have survived, and we know of almost thirty other cantatas that are now lost. The secular cantatas were almost all composed for some important, festive event in a family or in public, academic or political life. The present disc includes one of the most regularly performed of these works, the Coffee Cantata. This was written around 1734, probably for a performance at the Zimmermann Coffee House in Leipzig.
The disc opens with O holder Tag, a wedding cantata for solo soprano dated, in the version here performed, to 1741. (The piece was actually used in more or less modified form by Bach on at least five different occasions, from as early on as 1729.) The solo soprano, in her first BIS recording, is Carolyn Sampson who is one of the most exciting performers in her field today. A stunning introduction to the world of Bach's cantatas and to the incomparable Bach Collegium Japan directed by Masaaki Suzuki.

Bien avant que Cecilia Bartoli n'attire l'attention sur Agostino Steffani avec son disque "Mission", Divox Antiqua et le groupe Sonatori de la Gioiosa Marca avaient essayé de le faire avec ce très beau CD consacré à des ouvertures et suites orchestrales tirées d'opéras comme "Henrico Leone" (Hanovre 1688), "Il trionfi del fato" (Hanovre 1695), "Niobe Regina di Tebe" (Münich 1688), et "Amor vien dal destino" (Düsseldorf 1709).