Utwory na płycie:

• Dem Gerechten muss das Licht immer wieder aufgehen
• Recitative - Dem Freudenlicht gerechter Frommen
• Aria - Ruhmet Gottes Gut und Treu
• Recitative - Wohlan, so knupfet denn ein Band
• Wir kommen, deine Heiligkeit
• Chorale - Nun danket all und bringet Ehr
• Chorus - Nun danket alle Gott
• Duet - Der ewig reiche Gott
• Lob, Ehr und Preis sei Gott
• Duet - Ich lasse dich nicht, du segnest mich denn!
• Aria - Ich halte meinen Jesum feste
• Recitative - Mein lieber Jesu du
• Aria, Recitative and Arioso - Ja, ja, ich halte Jesum feste
• Chorale - Meinen Jesum lass ich nicht
• Beherrscher aller Dinge - Chorus
• Recitative and Chorus - Wie wunderbar, o Gott, sind deine Werke
• Aria - Leit, o Gott, durch deine Liebe
• Sinfonia
• Recitative - Herr Zebaoth
• Aria - Herr, fange an und sprich den Segen
• Recitative - Der Herr, Herr unser Gott
• Choral - Lobe den Herren

Dem Gerechten muss das Licht immer wieder aufgehen, BWV195
Nun danket alle Gott, BWV192
Ich lasse dich nicht, du segnest mich denn, BWV157
Herr Gott, Beherrscher aller Dinge, BWV120a

The four cantatas gathered here were all composed for specific events such as funerals and weddings. Like all the sacred cantatas, they contain biblical references and include chorales, but Bach’s sacred occasional pieces are independent works and did not form part of his cantata cycles for the Sundays and feast days of the church year. This makes it to some extent difficult to place the individual works in context: for instance two of cantatas included here were intended for wedding ceremonies, and one for a funeral, but we do not know the circumstances regarding the fourth piece, Nun danket alle Gott, BWV 192. Similarly, we do know the identity of the person whose death was mourned to the music of Ich lasse dich nicht… BWV 157, but the names of the couples whose weddings were accompanied by BWV 195 and BWV 120a respectively are unknown. Nevertheless the music speaks for itself – BWV 195 suitably joyous with timpani and trumpets, and BWV 157 expressing a mellowness and quiet confidence in eternal life through its exquisite chamber-musical combination of solo instruments: transverse flute, oboe d’amore and viola d’amore. As elsewhere in his production, Bach would at times reuse material from other compositions, and a striking example is the Sinfonia in BWV 120a, a reworking for organ solo and orchestra of the famous prelude from the E major violin partita. With another four volumes yet to come, the cycle of cantatas initiated by Masaaki Suzuki and his Bach Collegium Japan in 1995 is nearing completion, without any signs of flagging, as witness the warm welcome extended to Volume 50 by reviewers remarking upon the consistently high quality of both interpretations and performances throughout the series.