Utwory na płycie:

• Gott ist mein König, BWV 71 - Gott ist mein konig (Chorus)
• Gott ist mein König, BWV 71 - Chorale Aria
• Gott ist mein König, BWV 71 - Dein Alter sei wie deine Jugend (Chorus)
• Gott ist mein König, BWV 71 - Arioso
• Gott ist mein König, BWV 71 - Aria
• Gott ist mein König, BWV 71 - Du wollest dem Feinde nicht geben (Chorus)
• Gott ist mein König, BWV 71 - Das neue Regiment (Chorus)
• Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 - Sinfonia
• Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 - Aria
• Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 - Ich harre des Herrn (Chorus)
• Christ lag in Todesbanden, BWV 4 - Sinfonia
• Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 - Aria
• Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 - Israel, hoffe auf den Herrn (Chorus)
• Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106 - Sonatina
• Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106 - a. Gottes Zeit ist die allerbeste Zeit (Chorus) b. Arioso
• Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106 - a. Aria
• Christ lag in Todesbanden, BWV 4 - Versus I - Chorus
• Christ lag in Todesbanden, BWV 4 - Versus II - Duet
• Christ lag in Todesbanden, BWV 4 - Versus III - Jesus Christus, Gottes Sohn (tenor)
• Christ lag in Todesbanden, BWV 4 - Versus IV - Chorus
• Christ lag in Todesbanden, BWV 4 - Versus V - Hier ist das rechte Osterlamm (bass)
• Christ lag in Todesbanden, BWV 4 - Versus VI - Duet
• Christ lag in Todesbanden, BWV 4 - Versus VII Choral

Christ lag in Todesbanden, BWV 4
Gott ist mein König, BWV 71
Aus der Tiefe rufe ich, Herr, zu dir, BWV 131
Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106

Bach's sacred music written before he went to Leipzig, including all the works from the Weimar period, are often lumped together as "early" cantatas. This is misleading and ultimately inaccurate, since Bach was already 38 years old when he moved from his post as Kapellmeister at Köthen in 1723 to take up his duties as Kantor at the Thomaskirche in Leipzig. In fact most of Bach's church cantatas date from the Leipzig years, as does the consolidation of the stylistic, structural and technical features of his vocal works, but even the repertoire composed before 1714 can hardly be termed "early". The works composed at Mühlhausen, demonstrating a striking sureness of touch in their conception, placed the 22-year-old among the finest contemporary cantata composers. Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and poly- and homophonic settings and forms.

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Recording: Waalse Kerk, Amsterdam, November – December 1994.