01	Ich will den Kreuzstab gerne tragen (BWV 56)	Gachinger Kantorei					08:09
	02	Mein Wandel auf der Welt (BWV 56)	Gachinger Kantorei					02:22
	03	Endlich, endlich wird mein Joch (BWV 56)	Gachinger Kantorei					06:27
	04	Ich stehe fertig und bereit (BWV 56)	Gachinger Kantorei					02:07
	05	Komm, O Tod, du schlafes Bruder (BWV 56)	Gachinger Kantorei					01:41
	06	Ich habe genug, ich habe den Heiland (BWV 82)	Bach-Collegium Stuttgart					07:39
	07	Ich habe genug, Mein Trost ist nur allein (BWV 82)	Bach-Collegium Stuttgart					01:34
	08	Schlummert ein, ihr matten Augen (BWV 82)	Bach-Collegium Stuttgart					09:17
	09	Mein Gott! Wenn kommt das schone: Nun! (BWV 82)	Bach-Collegium Stuttgart					00:54
	10	Ich freue mich auf meinen Tod (BWV 82)	Bach-Collegium Stuttgart					03:55

DIETRICH FISCHER-DIESKAU
Dietrich Fischer-Dieskau was born in Berlin in 1925. He began his voice training with George A. Walter in 1941 and continued with Hermann Weissenborn. After his military service and a period of internment as an American prisoner of war in Italy (1943-1947), he gave his first lieder recitals in 1947 and recorded Schubertґs »Winterreise« or RIAS_Berlin. He made his opera debut as Posa in Verdiґs »Don Carlos« under Fricsay at the Stadtische Oper Berlin in 1948. His first recording was Brahm’s »Vier ernste Gesange«. In 1951 he concluded guest contracts with the State Operas of Vienna and Munich, and he made his first appearance at the Salzburg Festival under Furtwangler. His most important
stage roles are in the operas »Le Nozze di Figaro«, »Don Giovanni«, »Cosi fan tutte«, »Tannhauser«,
»Lohengrin«, »Parzival«, »Die Meistersinger«, »Un ballo in maschera«, »La Traviata«, »Macbeth«, »Aida«, »Falstaff«, »Salome«, »Arabella«, »Die Frau ohne Schatten«, »La Boheme«, »Der Freischutz«, »Margarethe«, »Doctor Faust«, »Cardillac«, »Mathis der Maler«, »Woyzeck«, »Lulu«. He has given recitals in all parts of the world, performing with Gerald Moore, Sviatoslav Richter, Leonard Bernstein, Alfred Brendel, Maurizio Pollini, Daniel Barenboim, Murray Perahia, Vladimir Ashkenazy, Hartmut Holl a. o. He has made countless recordings of operas, oratorios and songs from all eras of music history, as well as complete recordings of the songs of Beethoven, Schubert, Schumann,
Brahms, Wolf, Strauss and Schoenberg. Since 1955 he has obtained the Grand Prix du Disque
and other record awards almost every year. He has performed in many world premieres of works
by Dallapiccola, Britten, Fortner, Henze, Reimann, Lutoslawski, von Einem, Ruzicka, Rihm and Matthus (and including the operas Elegie fur junge Liebende by Henze and Reimannґs Lear). He
has appeared as guest conductor of the Camerata Academica Salzburg, Israel Philharmonic
Orchestra, Scottish National Orchestra, Los Angeles Philharmonic Orchestra, RSO_Berlin,
Czech Philharmonic a. o. since 1973. Since 1980, he has exhibited his paintings, watercolors
and drawings in Bamberg, Tokyo, Munich, Berlin, London, Nuremberg, Tours and Stuttgart. He has
published books and writings on Schubert, Schumann, Wagner and Nietzsche, on the history
and aesthetics of vocal music, »Nachklang«, »Wenn Musik der Liebe Nahrung ist«. He has
been awarded honorary doctorates from Oxford University, Yale University and the Sorbonne,
and has held a professorship at the Hochschule der Kunste in Berlin since 1983. He was awarded
Germanyґs Bundesverdienstkreuz mit Stern and the Maximilians Orden. Pour le Merite, and was
named to France's Legion d’Honneur.



HELMUTH RILLING
As a student Helmuth Rilling was initially drawn to music that fell outside the normal performance repertoire. He dug out old works by Lechner, Schutz and others for his musical gatherings with
friends in a little Swabian mountain village called Gachingen, where they sang and played together
from 1954 on. He soon became enthusiastic about Romantic music too, despite the risk of violating the taboos which applied to this area in the 1950s. But it was above all the output of contemporary composers that interested Rilling and his »Gachinger Kantorei«; they soon developed a wide repertoire which they subsequently performed in public. An immense number of the first performances of those years were put on by this passionate musician and his young, hungry ensemble. Even today, Rilling’s repertoire extends from Monteverdi’s »Vespers« to modern works.
He was also responsible for many commissions, including Arvo Part’s »Litany«, Edison Denisov’s completion of Schubert’s »Lazarus« fragments and, in 1995, the »Requiem of Reconciliation«, an international collaboration between 14 composers and 1998 the »Credo« of the Polish composer
Krzysztof Penderecki.
Helmuth Rilling is no ordinary conductor. He has always remained true to his roots in church and
vocal music, yet he has never made any secret of the fact that he is not interested in making music for the sake of making music or in working for work’s sake. The meticulousness and philological accuracy with which he prepares his concerts is matched by the importance he attaches to creating a positive atmosphere, one in which the musicians under his direction can discover the music and its meaning, both for themselves and for the audience. »Making music means learning how to know and understand other people and how to get on peacefully with them« this is his creed. That is why the International Bach Academy Stuttgart founded by Helmuth Rilling in 1981 is often called a »Goethe Institute of music«. Its aim is not to teach culture, but to inspire and to encourage reflection and understanding, between people of different nationalities and backgrounds.
Helmuth Rilling’s philosophy is largely responsible for the many outstanding honours he has received. For the ceremony in Berlin marking the Day of German Unity in 1990 be conducted the Berlin Philharmonic at the request of the German President. In 1985 he received an Honorary Doctorate
in Theology from the University of Tubingen, and in 1993 the Federal Service Medal and ribbon. In 1995, in recognition of his life’s work, he was awarded the Theodor Heuss prize and the UNESCO music prize.
Helmuth Rilling is regularly invited to lead renowned symphony orchestras. As a guest conductor
he has thus led orchestras such as the Israel Philharmonic Orchestra, Bavaria Radio Symphony Orchestra, the Mid-German Radio Orchestra and the Southwest Radio Orchestra, Stuttgart, the New York Philharmonic, the Radio orchestras in Madrid and Warsaw as well as the Vienna Philharmonic in well-received performances of Bach’s »St. Matthew Passion« in 1998.
On 21st March 1985, J.S. Bach’s 300th birthday, Rilling completed a project which is still unparalleled
in the history of recorded music: a complete recording of all Bach’s church cantatas. This achievement was immediately recognized by the award of the »Grand prix du disque«.
By 28th July 2000, the 250th anniversary of Bach’s death, an epoch-making recording of the complete works of Johann Sebastian Bach will for the first time be produced and published under Helmuth Rilling’s artistic directorship by hanssler Classic. The EDITION BACHAKADEMIE will comprise over 160 CDs and is available both on subscription (from 1998) and also as a complete set (from 28th July
2000).


THE GACHINGER KANTOREI
STUTTGART
The Gachinger Kantorei was founded by Helmuth Rilling in 1953. After mastering the entire
a cappella repertoire available at the time, the choir turned towards oratorios of every pe-riod. It has played a considerable part in the re-discovery and representation of the Romantic choral repertoire, especially works by Brahms and Mendelssohn. It is notable for its role in per-forming the first and hitherto only complete cycle of all J.S. Bach’s church cantatas and in giving the first performance of the Requiem of Reconciliation in 1995 in Stuttgart. The choir has won many recording prizes and has received critical acclaim for its CD, radio and television recordings as well as for its concerts throughout
Europe, Asia and the Americas. Named after the village in the Swabian mountains where it was founded, the Gachinger Kantorei is a synonym for excellence in choral singing throughout the world. Today the choir is a flexible body of trained singers, who are brought together as required to suit the demands and scoring of the season’s programme.

THE BACH-COLLEGIUM
STUTTGART
The Bach-Collegium Stuttgart is a group of free-lance musicians, including players from leading
German and foreign orchestras and respected teachers, whose composition varies according to
the requirements of the programme. To avoid being restricted to a particular style, the players
use modern instruments, while taking account of what is known about period performance prac-tice.
They are thus equally at home in the Baroque »sound world« as in the orchestral sonorities
of the nineteenth century or in the soloistic scoring of composers of our own time.