Johann Sebastian Bach - Cantatas - Christus, der ist mein Leben (2008) [FLAC], Collegium Vocale Gent, Philippe Herreweghe - conductor
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 Posted: 06-12-2008, 22:29 (post 1, #868983)

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Collegium Vocale Gent, Philippe Herreweghe - conductor - Johann Sebastian Bach - Cantatas - Christus, der ist mein Leben
Артист: Collegium Vocale Gent, Philippe Herreweghe - conductor
Альбом: Johann Sebastian Bach - Cantatas - Christus, der ist mein Leben, 2008
Издатель: Harmonia Mundi / HMC 901969
Жанр: Classical
Формат файла: EAC / FLAC / LOG / CUE
Ссылка: CD
Нахождение: Torrent

Johann Sebastian Bach (1685 - 1750)

Cantatas - Christus, der ist mein Leben


Label: Harmonia Mundi, HMC 901969
Year: 2008



Performers:

Thomas Bauer - bass
Hans Jorg Mammel - tenor
Dorothee Mields - soprano
Matthew White - countertenor

Collegium Vocale Gent

Philippe Herreweghe - conductor


This 2008 Harmonia Mundi recording of Philippe Herreweghe leading the Collegium Vocale Gent represents Bach at his most poetically grim. Opening with "Wer weiss, wie nahe mir mein Ende" (Who knows how soon my end is) (BWV 27) and closing with "Komm, du susse Todesstunde" (Come, sweet hour of death) (BWV 161), it incarnates the grim ethos of the great Baroque composer.
Herreweghe's recording is warmly polished and deeply expressive. The vocal soloists, particularly the sweet soprano Dorothee Mields in "Ich bin vergnugt mit meinem Glucke" (I am content with my fate) (BWV 84), are consistently impressive. The chorus is small, only 16 voices, but its refined tone, clear articulation, and sheer enthusiasm are winning, especially in the polyphonic choral that opens "Christus, der ist mein Leben" (Christ, there is my Life) (BWV 95). Herreweghe is an able and expressive Bach conductor who knows how to clarify dense counterpoint and reveal the emotional and spiritual core of a work. For those listeners who can either ignore or embrace poetic ideas like "Come, put an end to my distress, O long desired death" from the tenor aria in "Christus, der ist mein Leben," this disc will offer substantial rewards. Those looking for more upbeat sentiments should look elsewhere. Harmonia Mundi's digital sound is richly detailed and lushly colorful.


Although Bach had dreamt of establishing a ‘well-regulated church music’ since his early days, it was only between 1723 and 1750 that he finally had the chance to do so, as Kantor and Director Musices in Leipzig. Here he invented the ‘modern’ cantata, combining chorales and traditional biblical texts with arias and recitatives on freely composed texts. The four cantatas recorded by Philippe Herreweghe offer a magisterial demonstration of the transition from cantatas initially judged ‘too theatrical’ to a perfectly achieved form – as in the cantata BWV 84, among the very last to be written.

It's supposed to be spring, but the snow is falling heavily outside, and, after an extraordinarily long winter the formerly abstract concept of depression is assuming a more personal presence with every passing minute. Then, you hear Dorothee Mields singing "Ich esse mit Freuden mein weniges Brot" (I eat my meager bread with joy), and somehow your dimmed spirit is lightened and uplifted--and you realize once again the transcendent power of Bach's music. (Perhaps it's no surprise that this cantata's theme is to be happy with what you have!) Even this practical, functional music can bring light and life to all who listen--and certainly also to those who sing and play it.
The cantatas featured on this program--first-rate performances all--span the years 1716 to 1727, and those who wish to explore changes in style or practice will have much to indulge their interest. But for the pure listener these four cantatas also offer tremendous variety of voices, instrumental color and texture, and plentiful examples of Bach's uniquely imagined and integrated melody and obbligato parts.

The three-section opening chorus of BWV 95, which joins two chorales by means of an almost oddly interrupting tenor recitative, is one of Bach's most curious, fascinating, unusual, and surprising cantata choruses--well worth hearing several times by itself; but also worth a repeat or two is Mields' tenderly sung "Valet will ich dir geben", her melody (which many church-goers will recognize as the tune to "All glory, laud, and honor"--in triple meter) accompanied by two oboes d'amore in one of those inimitable Bachian obbligatos.

Also notable are bass Thomas Bauer, his rich, confident voice particularly compelling in "Gute Nacht..." from BWV 27, tenor Hans Jorg Mammel in the difficult "Ach, schlage doch bald" aria and delicate "Welt! deine Lust ist Last!" recitative, and alto Matthew White in the poignant aria "Komm, du su?e Todesstunde" (here the original Weimar version with two recorders). And by programming the earliest cantata last (BWV 161), we're left hearing one of Bach's more delightfully, perfectly scored choruses that makes something inside us dance every time we hear it. The sound is fittingly intimate but with plenty of body and resonance appropriate to bring out the natural qualities of instrumental and vocal timbres. Exceptional!

--David Vernier, ClassicsToday.com




Tracklist:

Wer weiss, wie nahe mir mein Ende, BWV 27
Ich bin vergnugt mit meinem Glucke, das mir der liebe Gott beschert, BWV 84
Christus, der ist mein Leben, BWV 95
Komm, du susse Todesstunde, BWV 161


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This post has been edited by kgkk on 06-12-2008, 22:32
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 monstererer
   Posted: 02-04-2012, 15:46 (post 2, #1050522)

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QUOTE (kgkk @ 06-12-2008, 22:29)
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