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Kammerorchester BerlinPeter SchreierEdith MathisPeter SchreierArleen AugerLucia PoppCantata 36c Schwingt freudiig euch empor BWV36c. Cantata 201 Geshwinde Ihr wirbein den Winde Phoebus und Pan BWV201. Cantata 202 Wedding Cantata BWV202. Cantata 203 Amore Traditore BWV203. Cantata 204 Ich bin in mir vergnugt BWV204. Cantata 205 Zufreiderengestelle Aolus BWV205. Cantata 206 Schleicht spielende Wellen BWV206. Cantata 207 Vereinigte Zweitrachtder wechseinden Saiten BWV207. Cantata 208 Hunt Cantata BWV208. Cantata 209 Non sa che sia dolore - Departure of a Scholar BWV209. Cantata 210 O holder Tag erwunschte Zeit Wedding BWV210. Cantata 211 Coffee Cantata BWV211. Cantata 212 Peasant Cantata BWV212. Cantata 213 Hercules auf dem Scheiderwege BWV213. Cantata 215 Preise dein Glucke gesegnetes Sachsen BWV215. Cantata 214 Tonet Ihr Pauken! Erschallet Trompeten Birthday of Electress Maria BWV214.

Taking its cue from the rediscovered union between music and words, the cantata underwent a serious transformation during the 17th century, giving voice to affetti (the language of emotions) through adopting a range of formal structures that adhered to the poetic text in question. The genre became the brand name of composers considered Italian ? including Agostino Steffani, one of the leading opera composers of Scarlatti?s generation. Having trained as a priest, Steffani spent the majority of his career balancing between musical and ecclesiastical duties (which were not always reconcilable). His output, besides approximately 20 operas, includes sacred music, instrumental works and collections of cantatas for one to three voices.

Taking its cue from the rediscovered union between music and words, the cantata underwent a serious transformation during the 17th century, giving voice to affetti (the language of emotions) through adopting a range of formal structures that adhered to the poetic text in question. The genre became the brand name of composers considered Italian – including Agostino Steffani, one of the leading opera composers of Scarlatti’s generation. Having trained as a priest, Steffani spent the majority of his career balancing between musical and ecclesiastical duties (which were not always reconcilable). His output, besides approximately 20 operas, includes sacred music, instrumental works and collections of cantatas for one to three voices....