| 1. Soli |
| 2. People |
| 3. Pay, Pay, Pay |
| 4. Io E Te |
| 5. Amore No |
| 6. Non E' |
| 7. Stivali E Colbacco |
| 8. Medley |
Editorial Reviews
Product Description
Reissue of the Original Album.
Volume 23 is filled with some wonderful choruses and with some glorious instrumental writing by J.S. Bach. Listen to the opening chorus of cantata" Halt im Gedachtnis" on the first disc and the first chorus of the cantata "Der Herr ist Mein" on the second disc--glorious! The Sinfonias used at the beginnings of the cantatas of BMW 150 AND 42 are great. The soloist through out the entire recording are great too.
Alto Daniel Taylor is sublime in his very beautiful aria in the first disc from cantata "Am Abend aber disselbigen". On the second disc the tenor soloist wonderfully displays his vocal technique in his arias from the cantatas "Du Hirte Israel" and Ich bin ein gutter". I loved the trio between the alto tenor and bass in the cantata BMW 150.
This 12th release (volume 23)is marvelous because it finds JS at his compositional peak and Gardiner and his forces at their very best!
There are seven cantatas in this 2-disc set, one (the earliest of all the cantatas) for an unknown feast, three for `Low Sunday' as the Catholic communion knows the Sunday after Easter, and the balance for the following Sunday. In my own experience, they are not among the best-known of the cantatas. Nothing in them has the wide popularity of Jesu Joy or Sheep May Safely Graze; and I suspect that nothing in them enjoys the celebrity among connoisseurs of, say, Schlummert ein from cantata 82 or Wir eilen from cantata 78. I would say to that simply -- just hear this collection a couple of times and you will find yourself enjoying inspiration of an order equal to any of those more celebrated pieces. Gardiner and his colleagues understand fully what they are taking on here - for this composer and these compositions anything less than the very best they can do would be an affront. I have no real fault to find with anything they do here. The direction is insightful and deeply sympathetic, and I like the four vocal soloists without exception. In particular the counter-tenor Daniel Taylor has a pure and unaffected tone that comes as a great relief after one has endured certain other singers of this type. The choir and the instrumentalists are established and accomplished experts, and after I started by regretting that the solo violin at one point did not have the gorgeous tone of his or her counterpart at Erbarme dich in my beloved old Muenchinger set of the St Matthew Passion I came round to the view that in the context of the more severe style adopted here such a tone would have been a concession to my own sentimentality and decadence.
The recordings are from the millennium year 2000, which was also the 250th anniversary of Bach's death. Like their artistic counterparts the technical personnel have demanded the highest standards of themselves, and I found the sound at all points both easy on the ear and suitable to the style and scale of the music. Gardiner himself contributes a lengthy and highly personal essay with a strong emphasis on the reactions that this great music evokes from him as an individual, as well as providing insights into the issues of interpretation that he had to resolve. Such were the circumstances of this musical journey that he was under constant pressure of time. He says modestly that he has not aimed at any definitive set of renderings, and I hope he thinks better of us his music-loving public than to expect us to look for that from him or from anyone in music like this.
The set is attractively packaged as a kind of book, and I would only counsel care in extracting the discs, as this is tricky to do without touching the surfaces. Be careful about that: this is sacred music in more senses than one.
BWV 150 Nach dir, Herr, verlanget mich
BWV 67 Halt im Gedächtnis Jesum Christ, der auferstanden ist von der Todten
BWV 104 Du Hirte Israel, höre
BWV 112 Der Herr ist mein getreuer Hirt
The following vocal soloists appear on this set: Katharine Fuge (soprano), Gillian Keith (soprano), Daniel Taylor (countertenor), William Towers (countertenor), Charles Daniels (tenor), Norbert Meyn (tenor), Stephen Varcoe (baritone).
Happy pilgramage!
..and promptly put down my order for the lot. I already have two sets of cantatas, those by Rilling (the first complete cantatas ever recorded) and the Brilliant label set by Leusink, the former recorded over many years, the latter recorded in a breakneck 15 months. I also have many of the excellent Bach Collegium Japan/Suzuki set for BIS. As you may have gathered, I like the cantatas! However, this promises to be something special. It seems to me that Gardiner's Bach now is fully rounded, as good in the reflective material as in the bright, festive stuff, capturing the soul of Bach's work. In addition, these are the most beautifuly packaged CDs I've seen - little hardback books with the CDs in sleeves at either end and the texts in the middle, along with excerpts from a journal kept by Gardiner on the pilgrimage, with his thoughts on the particular cantatas. And of course Steve McCurry's gorgeous cover photos. Subsequent volumes have lived up to the promise of this one, so I'm making room on the shelves for a lot more. In my opinion, the only serious competition that this set has is Suzuki. If only I had enough money... Highly recommended.
Long life to Bach!!!!
These performances of Cantatas No. 7, 20, 30, 39, 75 and 167 are beautifully performed by the English Baroque Soloists (instrumentalists and chorus) with Wilke te Brummelstroete , Dietrich Henschel , Gillian Keith , Paul Agnew, and Joann Lund as the extraordinary soloists.
Gardiner finds the right tempi, flavor, and drama of each of these cantatas, emphasizing the style of performance from Bach's time. The results are top-notch, technically superb, elegantly performed works that stand with the best of the recorded versions. The Sonics of the recordings are excellent and the 'packaging' includes translations and informative, if somewhat exhaustive, notes on the derivation and history of each of the cantatas. This is Volume 1 and to be sure it will encourage the listener to purchase the entire set. Recommended. Grady Harp, February 06
Per usual, the works in Volume Seven are performed by Gardiner and his forces magnificently! Listen to the opening chorus of BWV 78 on the first disc and the Choral "Ach Herr, lass deir lieb" on the second disc--glorious! The orchestra and chorus are wonderful. Again, I was very much impressed with the soloist too.
Malin Hartelius, soprano, posses a sweet clear and very flexible voice. Listen to her aria on the second disc, tract 18. She is also great in the rather familiar duet with alto "Wir elin mit schwachen" tract 8, first disc. Tenor, James Gilchrist, once again is most impressive. He displays a wonderful legato in his aria in the first disc tract 10 and his virtuosity is astounding in tract 6 of the second disc. Bass Peter Harvey sings with a full, rich and flexible voice. His aria on tract 16 of the second disc is most impressive.
In conclusion, Volume Seven is a most impressive release. I continue my adoration of Gardiner's "Bach Pilgrimage" and I DO look forward to future releases.
Trumpeter Niklas Eklund in the first and final movements of Cantata 51 is equally great.
Gardiner has a unique ability to choose just the right soloists for all his recordings. This 2000 pilgrimage is no exception. I am a choral singer of the amateur type and use his recordings as a reference for style, as well as enjoyment. Being picked for Cantata 51 is possibly one the best endorsements Hartelius can get.
The singing in all the cantatas on this two CD set is top notch.
I have never before been a fan of the male alto or countertenor voice but this CD and the Alles Mit Gott CD from Gardiner changed my thinking instantly.
The sound quality is superb, especially considering the time constraints the singers and engineers had to work with, in new venues every week. This is quite possibly the most important recording project of all time. The cost of buying the whole series is beyond my means, but I certainly will continue to pick up a few more here and there.
It is hard to be disappointed by Gardiner's craftsmanship. While some think his tempi on some cantatas to be distasteful, it provides a different approach than other conductors and Bach fellows.
Cantatas on this set:
Liebster Gott, wenn werd' ich sterben?, BWV 8
Wer weiss, wie nahe mir mein Ende, BWV 27
Jauchzet Gott in allen Landen, BWV 51 (SIDE NOTE: Reviewer's All-time favourite Bach Cantata)
Christus, der ist mein Leben, BWV 95
Was Gott tut, das ist wohlgetan, BWV 99
Was Gott tut, das ist wohlgetan, BWV 100
Warum betrübst du dich, mein Herz?, BWV 138
Komm, du süsse Todesstunde, BWV 161
What's your favourite Bach cantata?
Although I've vowed not to get launched on yet another Bach Cantata series, I'm afraid that I'm so besotted by these Gardiner's recordings of Bach's Cantatas that I am indeed launched once again. This series continues to delight in every way!
The recording speaks for itself.
If there can be any criticism of the disc, it is that, at times, the towering force of Gardiner's musical personality is perhaps a little too dominant. In his defence, Gardiner makes no pretence that this is anything but a highly idiosyncratic account, a fact as obvious from the presentation (note the CD cover and booklet notes featuring personal reflections from himself [pp.1-2] and members of the choir [pp.34-5]) as from the performances themselves. A number of the interpretations, for example, rely on a rhetorical approach to dynamics and tempo arguably more appropriate to late 16th/early 17th century secular music than 'prima prattica' (and earlier) sacred music, and whilst this musicological liberty is often effective, sometimes it is not. The declamatory 'forte' outbursts of Dufay's 'Rite majorem' are indicative of this over-emphasis on text; similarly the rather organic tempo in Victoria's motet 'O quam gloriosum' sounds a little mannered in places and seems to contradict what is known about tempo in Renaissance music (see below *). Additionally, the choice of forces (see below **) and occasional mannerisms (such as the clipped 'Hosanna' in the Sanctus and Benedictus of Victoria's Mass) are powerfully suggestive of the mixed-voice Cambridge choral tradition of Rutter, Marlow and Brown (Gardiner himself having studied there). And incidentally, why is the Credo from Victoria's Mass silently omitted...?!
If the overall result, then, is really more a personal invitation to Gardiner's insight than an accurate representation of the selected works, this does not detract from the profound and ethereal experience which is created upon listening to this marvellous release. Highly recommended.
(*) It would be dangerous to interpret sources too literally, but it surely significant that contemporary theorists almost consistently relate the tactus to mediums with a regular factor, most commonly the heartbeat (e.g. Ramis de Pareia [1482], Adam of Fulda [1490], etc...), but also breathing (Gaffurius, 1496), walking (Buchner c.1520), etc.
(**) Performance of Iberian polyphony with instruments - rather than 'a cappella' (as here) - is well documented, and Santiago Cathedral itself boasted 4 salaried ministriles from 1539. In Rome too, where Victoria's Mass was published (1583), instrumental participation was common. The English jesuit Gregory Martin, describing music in Roman churches c.1576-8, for example, notes: "...with the Organs a childes voice shriller and louder than the instrument, tuneable with every pipe: Among the quyre, Cornet or Sagbut, or such like above the voices..." (Roma Sancta, 1581, p.96)
This issue has a stunning version of one of the giants, BWV80 "Ein feste Burg". Gardiner has thankfully dispensed with the trumpets and drums shoved in by eldest son Wilhelm Friedmann to tart it up (after the old man died). It doesn't really need them. The rest are marvellous. I'm going to go broke and love it...
O.k. you (what I call) "Authenticity Police" can "call off" the dogs-I provisionally acquiesce to the use of the countertenor voice. (At least in these recordings!) This is in contrast to my previous held opinion. I am actually enjoying the Countertenors in Gardiner's Bach pilgrimage. I especially enjoyed the Countertenor, in this Volume 10. William Towers sings most beautifully and accurately and most of all his singing is very pleasing to my ear-no hoots are to be heard; there's even a hint of "chest" voice used by him when it is required. More importantly he does sing Bach's beautiful vocal lines splendidly! Once again, tenor James Gilchrist is overwhelmingly good. He has a sweet tenor voice that can turn heroic when required plus his runs are awe inspiring. (Just listen to track 15 of the first disc--fabulous!)Peter Harvey the bass has a rock solid voice well able to do justice to Bach's vocal demands. The soprano (Joanne Lunn) is very good also. (I am on record on this board of preferring the use of the female soprano voice in these works as opposed to the use of the pubescent unchanged little boy's voices trying to negotiate the vocal writing for sopranos in Bach's works.)
Obviously, I'm still thrilled with this Cantata series and intend to purchase additional releases as they become available.
In closing, for a complete magnificent overview of the contents of Volume 10, see the first review herein. I truly admire that reviewer's thoroughness!
Gardiner's interpretations bring clarity and distinctness amongst other Cantata recordings. His work is always meticulous.
Cantatas on this set:
Wo soll ich fliehen hin?, BWV 5 (A wonderful cantata by Bach done in the unusual key of Bb - one of 3 in the cantata cycles).
Ich elender Mensch, wer wird mich erlösen vom Leibe dieses Todes, BWV 48
Ich will den Kreuzstab gerne tragen, BWV 56
Gott, der Herr, ist Sonn und Schild, BWV 79
Ein feste Burg ist unser Gott, BWV 80
Es reisset euch ein schrecklich Ende, ihr sündlichen verächter, hin, BWV 90 (Another cantata in Bb - the Aria with Bass and trumpet is superb - and difficult to play!)
Nun danket alle Gott, BWV 192
Enjoy!!
Stephen Varcoe's bass voice has never been particularly appealing to me; however, in this recording, he delivers his solos admirably executing the "runs" trills, grace notes, etc., wonderfully. Again, tenor James Gilchrist, is most splendid singing his arias and recitatives accurately and beautifully easily meeting Bach's many vocal challenges--listen to tracts 13 and 14 of the 1st disc and tract 8 of the second disc. Male alto, Daniel Taylor, is good too singing with full rich tones--no "countertenor hoots" are to be heard. The two soprano soloists are "easy on the ear" possessing sweet light lyric and very flexible soprano voices.
Some fine examples of Bach's great instrumental writing are also very evident in Volume 22 with some wonderful trumpet, oboe, violin and cello obbligatos. I loved the lively "Sonata" that serves as an instrumental introduction to the cantata, "Der Himmell Lache" as well as the "Sinfonia" to the cantata
"Christ lag in Todesbanden".
Although, this is a "live" recording, the extraneous noise level is very low. One would never know that it is "live" if it were not so indicated on the "jacket" as such. Plus the recorded sound is marvelous being so clear, rich and full.
Per usual, Gardiner's notes (in the very nice booklet-type recording sleeve) are very informative giving the historical and religious significance of the works contained therein (I just wish that there were photos of the soloist--just a very minor quibble on my part--I do, however, really like the cover photos on all of the releases thus far--they are wonderful).
In conclusion, I adore this release, as I'm sure you will too, if you purchase Volume 22 of Gardiner's "Bach Pilgrimage"; it's truly wonderful.
There really is very little that can be said to review the releases from the Bach Cantata Pilgrimage. Each performance is glorious, soaring, intimate, meaningful, and moving, and Volume 22 does not disappoint. The highlight is probably the magnificent BWV 4 (Christ lag in Todesbanden), with its theme of Christ's triumph over death, but BWV 6 (Bleib bei uns, denn es will Abend werden) is the most personal and complex of this disk.
As with all releases in this series, the packaging is exquisite with Gardiner's lucid liner notes. Highest recommendation for both this release and the series.
Contents:
Cantatas for Easter Sunday
BWV 4, "Christ lag in Todesbanden"
BWV 31, "Der Himmel lacht! die Erde jubliliert"
Cantatas for Easter Monday
BWV 66, "Erfreut euch, ihr Herzen"
BWV 6, "Bleib bei uns, denn es will Abend werden"
Cantatas for Easter Tuesday
BWV 134, "Ein Herz, das seinen Jesum lebend weiss"
BWV 145, "Ich lebe, mein Herze, zu deinem Ergotzen"
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
The works comprising this volume are more of J.S. Bach's cantatas composed for the Christmas season that are not performed too often, for some strange reason. . I particularly loved the "Dialogue" Cantata for soprano and bass as the Soul and Jesus. It's is as close to operatic writing as we get from Johann. The virtuosic aria for bass on tract 18 is splendidly sung by bass Peter Harvey--he is really good. Likewise, the soprano's aria from this Cantata is also a delight. Joanne Lunn the soprano soloist performs it magnificently.
This volume also includes the rather recently (I believe) discovered cantata "Ich freue mich in dir" written in 1724. Gardiner and his forces give it a wonderfully spirited reading closing this set of J.S. Bach's Cantatas that were written for the third day after Christmas in a wonderful manner.
Volume 15 of Gardiner's Bach Pilgrimage has certainly helped to put me more in the "Holiday spirit". It is a wonderful recording.
This Rigoletto is supreme. Sutherland sings up a storm, tossing of high D's and E's with extreme ease. Her trill is a marvel indeed. She is completely match with a young Pavarotti that matches Dame Joan's gorgeous voice. Pavarotti's high D is stunning.
The only competition with this Rigoletto is the one with Callas.
But Callas can't touch Sutherland in voice or technique.
In conclusion, this is the Rigoletto to get if you only want the highlights.
Reissue of the Original Album.
Soli,Adriano Celentano,Bmg Int'l,Int'l & World Music,Italian Pop,Italy,Pop
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Bach: Cantatas Vol. 23, Arstadt/Echternach
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD  All Works by J.S. Bach
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ASIN: B000OZ6ZAU Release Date: 2007-06-12 |
Tracks:
- 1.Sinfonia (Nach dir, Herr, verlanget mich bwv 150)
- 2.Coro: Nach dir, Herr, verlanget mich
- 3. Aria: Soprano: Doch bin und bleibe ich vergnugt
- 4.Coro: Leite mich in deiner Wahrheit
- 5.Aria (Trio- Alto, Tenor, Bass): Zedern mussen von den Winden
- 6. Coro: Meine Augen sehen stets zu dem Hern
- 7. Coro: Meine Tage in den Leiden
- 1. Coro: Halt im Gedachtnis Jesum Christ (Halt im Gedachtnis Jesum
- 2.Aria: Tenor : Mein Jesus ist erstanden
- 3. Recitativo:Alto : Mein Jesu, helbest du des Todes Gift
- 4. Choral: Esrschienen is der herrlich Tab
- 5. Recitativo: Alto: Doch scheinet fast
- 6. Aria: Bass with Chorus: Friede sei mit euch!
- 7. Choral: Du Friedefurst, Herr Jesu Christ
- 1. Sinfonia (am Abend aber desselbigen Sabbats BWV 42
- 2. Recitativo: Tenor: Am Aben aber desselbigen Sabbats
- 3. Aria: Alto: wo zwei und drei versammlet sind
- 4. Choral(Duet); soprano, tenor: Verzage nicht, o Haulflein klein
- 5. Recitativo: Bass: Man kanni hiervon ein schon Exempel sehen
- 6. Aria: Bass: Jesus ist ein Schild der Seinen
- 7.Choral: Verleih uns Frieden gnadiglich
- 1. Recitativo: Bass: Der Friede sei mit dir (Der Friede sei mit dir
- 2. Aria: Bass with Choral: Welt, ade, ich bin dein mude
- 3. Recitativo ed Arioso: Bass: Nun, Herr, regiere meinen Sinn
- 4. Choral Hier is das rechte Osterlamm
Tracks:
- 1. Coro Du Hirte Israel, hore (Du Hirte Israel, hore BWV 104)
- 2. Recitativo: Tenor: Der hoschste Hirte sorgt vor mich
- 3. Aria: Tenor: Verbirgt mein Hirte sich zu lange
- 4. Recitativo: Bass: ja, dieses Wort is meiner Seelen Speise
- 5. Aria: Bass: Begluckte Herde, Jesu Schafe
- 6. Choral: Der Herr is mein getreuer Hirt
- 1. Aria: Bass Ich bin ein guter Hirt (Ich bin ein guter Hirt BWV 85)
- 2. Aria: Alto Jesus ist ein guter Hirt
- 3. Choral: Soprano: Der Herr ist mein getreuer Hirt
- 4. Recitativo: Tenor: Wenn die Mieltlinge schlafen
- 5. Aria: Teno;; Seht, was die Liebe tut
- 6. Choral Ist Gott mein Schutz und treuer Hirt
- 1. Versus I: Coro; Der Herr is mein getreuer Hirt (Der Herr is mein
- 2. Versus II: alto Zum reinen Wasser er mich weist
- 3. Versus III: Bass: und ob ich wandelt im finstern Tal
- 4. Versus IV: Soprano, Tenor: Du bereitest fur mir einen Tisch
- 5. Versus V: Choral Gutes und die Barmherzigkeit
Customer Reviews:
REPETITIOUS.......2007-07-09
Volume 23 is filled with some wonderful choruses and with some glorious instrumental writing by J.S. Bach. Listen to the opening chorus of cantata" Halt im Gedachtnis" on the first disc and the first chorus of the cantata "Der Herr ist Mein" on the second disc--glorious! The Sinfonias used at the beginnings of the cantatas of BMW 150 AND 42 are great. The soloist through out the entire recording are great too.
Alto Daniel Taylor is sublime in his very beautiful aria in the first disc from cantata "Am Abend aber disselbigen". On the second disc the tenor soloist wonderfully displays his vocal technique in his arias from the cantatas "Du Hirte Israel" and Ich bin ein gutter". I loved the trio between the alto tenor and bass in the cantata BMW 150.
This 12th release (volume 23)is marvelous because it finds JS at his compositional peak and Gardiner and his forces at their very best!
MASS-PRODUCED MIRACLES.......2007-07-04
There are seven cantatas in this 2-disc set, one (the earliest of all the cantatas) for an unknown feast, three for `Low Sunday' as the Catholic communion knows the Sunday after Easter, and the balance for the following Sunday. In my own experience, they are not among the best-known of the cantatas. Nothing in them has the wide popularity of Jesu Joy or Sheep May Safely Graze; and I suspect that nothing in them enjoys the celebrity among connoisseurs of, say, Schlummert ein from cantata 82 or Wir eilen from cantata 78. I would say to that simply -- just hear this collection a couple of times and you will find yourself enjoying inspiration of an order equal to any of those more celebrated pieces. Gardiner and his colleagues understand fully what they are taking on here - for this composer and these compositions anything less than the very best they can do would be an affront. I have no real fault to find with anything they do here. The direction is insightful and deeply sympathetic, and I like the four vocal soloists without exception. In particular the counter-tenor Daniel Taylor has a pure and unaffected tone that comes as a great relief after one has endured certain other singers of this type. The choir and the instrumentalists are established and accomplished experts, and after I started by regretting that the solo violin at one point did not have the gorgeous tone of his or her counterpart at Erbarme dich in my beloved old Muenchinger set of the St Matthew Passion I came round to the view that in the context of the more severe style adopted here such a tone would have been a concession to my own sentimentality and decadence.
The recordings are from the millennium year 2000, which was also the 250th anniversary of Bach's death. Like their artistic counterparts the technical personnel have demanded the highest standards of themselves, and I found the sound at all points both easy on the ear and suitable to the style and scale of the music. Gardiner himself contributes a lengthy and highly personal essay with a strong emphasis on the reactions that this great music evokes from him as an individual, as well as providing insights into the issues of interpretation that he had to resolve. Such were the circumstances of this musical journey that he was under constant pressure of time. He says modestly that he has not aimed at any definitive set of renderings, and I hope he thinks better of us his music-loving public than to expect us to look for that from him or from anyone in music like this.
The set is attractively packaged as a kind of book, and I would only counsel care in extracting the discs, as this is tricky to do without touching the surfaces. Be careful about that: this is sacred music in more senses than one.
The pilgramage continues..........2007-06-19
BWV 150 Nach dir, Herr, verlanget mich
BWV 67 Halt im Gedächtnis Jesum Christ, der auferstanden ist von der Todten
BWV 104 Du Hirte Israel, höre
BWV 112 Der Herr ist mein getreuer Hirt
The following vocal soloists appear on this set: Katharine Fuge (soprano), Gillian Keith (soprano), Daniel Taylor (countertenor), William Towers (countertenor), Charles Daniels (tenor), Norbert Meyn (tenor), Stephen Varcoe (baritone).
Happy pilgramage!
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Bach Cantatas, Vol. 1: City of London
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B0006OR17K Release Date: 2005-05-10 |
Tracks:
- I. Aria: Ihr Menschen, Ruhmet Gottes Liebe
- II. Recitativo: Gelobet Sei Der Herr Gott Israel
- III. Aria (Duetto): Gottes Wort, Das Truget Nicht
- IV. Recitativo: Des Weibes Samen Kam
- V. Choral: Sei Lob Und Preis Mit Ehren
- I. Coro: Christ Unser Herr Zum Jordan Kam
- II. Aria: Merkt Und Hort, Ihr Menschenkinder
- III. Recitativo: Dies Hat Gott Klar
- IV. Aria: Des Vaters Stimme Liess Sich Horen
- V. Recitativo: Als Jesus Dort Nach Seinen Leiden
- VI. Aria: Alto Menschen, Glaubt Doch Dieser Gnade
- VII. Choral: Das Aug Allein Das Wasser Sieht
- I. Coro: Freue Dich, Erloste Schar
- II. Recitativo: Wir Haben Rast
- III. Aria: Gelobet Sei Gott, Gelobet Sein Name
- IV. Recitativo: Der Herold Kommt Und Meldt Den Konig An
- V. Aria: Kommt, Ihr Angefochtnen Sunder
- VI. Choral: Eine Stimme Lasst Sich Horen
- VII. Recitativo: So Bist Du Denn, Mein Heil, Bedacht
- VIII. Aria: Ich Will Nun Hassen
- IX. Recitativo: Und Obwohl Sonst Der Unbestand
- X. Aria: Eilt, Ihr Stunden, Kommt Herbei
- XI. Recitativo: Geduld, Der Angenehme Tag
- XII. Coro: Freue Dich, Geheil'gte Schar
Tracks:
- Coro: Die Elenden Sollen Essen
- II. Recitativo: Was Hilft Des Purpurs Majestat
- III. Aria: Mein Jesus Soll Mein Alles Sein!
- IV. Recitativo: Gott Sturzet Und Erhohet
- V. Aria: Ich Nehme Mein Leiden Mit Freuden Auf Mich
- VI. Recitativo: Indes Schenkt Gott Ein Gut' Geweissen
- VII. Choral: Was Gott Tut, Das Ist Wohlgetan
- VIII. Sinfonia
- IX. Recitativo: Nur Eines Krankt
- X. Aria: Jesus Macht Mich Geistlich Reich
- XI. Recitativo: Wer Nur In Jesu Bleibt
- XII. Aria Mein Herze Glaubt Und Liebt
- XIII. Recitativo: O Armut, Der Kein Reichtum Gleicht!
- XIV. Choral: Was Gott Tut, Das Ist Wohlgetan
- I. Coro: Brich Dem Hungrigen Dein Brot
- II. Recitativo: Der Reiche Gott Wirft Seinen Uberfluss
- III. Aria: Seinem Schopfer Noch Auf Erden
- IV. Aria: Wohlzutun Und Mitzuteilen Vergesset Nicht
- V. Aria: Hochster, Was Ich Habe
- VI. Recitativo: Wie Soll Ich Dir, O Herr
- VII. Choral Selig Sind, Die Aus Erbarmen
- I. Coro: O Ewigkeit, Du Donnerwort
- II. Recitativo: Tenor Kein Ungluck Ist In Aller Welt Zu Finden
- III. Aria: Ewigkeit, Du Machst Mir Bange
- IV. Recitativo: Gesetzt, Es Dau'rte Der Verdammten Qual
- V. Aria: Gott Ist Gerecht In Seinen Werken
- VI. Aria: O Mensch, Errette Deine Seele
- VII. Choral: Solang Ein Gott Im Himmel Lebt
- VIII. Aria: Wacht Auf, Wacht Auf, Verloren Schafe
- IX. Recitativo: Verlass, O Mensch, Die Wollust Dieser Welt
- X. Aria (Duetto): O Menschenkind
- XI. Choral: O Ewigkeit, Du Donnerwort
Amazon.com
This is the first of many volumes recording a Pilgrimage made in 2000, when John Eliot Gardiner, his remarkable instrumentalists and chorus and a team of outstanding soloists performed each Bach Cantata on the feast day for which it was originally composed. Each box will contain 2 CDs, copious notes, and full texts and translations. The fact of the Pilgrimage aside, these performances are simply stunning. Gardiner treats each cantata like a little drama, and his players and singers make certain to dramatize the music and text vividly. When, in Cantata No. 20, the tenor sings of "flames that burn forever," for example, the wildly difficult coloratura and accompanying strings slash with heat. Elsewhere, the listener will bask in Cantata 30's oddly rhythmic alto solo with flute and muted violins. The chorus is excellent throughout, but they dazzle in the 8-minute opening to Cantata 7. The soloists are well-known Bach singers, lieder singers, and performers from the world of opera. Bass Dietrich Henschel and tenor Paul Agnew are, perhaps, the finest of the five, and they have the most to do as well. This is a glorious set of six cantatas, a splendid 2.5 hours of great music-making. --Robert LevineCustomer Reviews:
Wonderful music, poor quality control........2006-11-29
So, I bought this one..........2006-10-12
..and promptly put down my order for the lot. I already have two sets of cantatas, those by Rilling (the first complete cantatas ever recorded) and the Brilliant label set by Leusink, the former recorded over many years, the latter recorded in a breakneck 15 months. I also have many of the excellent Bach Collegium Japan/Suzuki set for BIS. As you may have gathered, I like the cantatas! However, this promises to be something special. It seems to me that Gardiner's Bach now is fully rounded, as good in the reflective material as in the bright, festive stuff, capturing the soul of Bach's work. In addition, these are the most beautifuly packaged CDs I've seen - little hardback books with the CDs in sleeves at either end and the texts in the middle, along with excerpts from a journal kept by Gardiner on the pilgrimage, with his thoughts on the particular cantatas. And of course Steve McCurry's gorgeous cover photos. Subsequent volumes have lived up to the promise of this one, so I'm making room on the shelves for a lot more. In my opinion, the only serious competition that this set has is Suzuki. If only I had enough money... Highly recommended.
Forget Suzuki and Koopman, Gardiner is the man!.......2006-04-28
Two exquisite CDs!!!.......2006-03-18
Long life to Bach!!!!
A Pinnacle Achievement.......2006-02-16
These performances of Cantatas No. 7, 20, 30, 39, 75 and 167 are beautifully performed by the English Baroque Soloists (instrumentalists and chorus) with Wilke te Brummelstroete , Dietrich Henschel , Gillian Keith , Paul Agnew, and Joann Lund as the extraordinary soloists.
Gardiner finds the right tempi, flavor, and drama of each of these cantatas, emphasizing the style of performance from Bach's time. The results are top-notch, technically superb, elegantly performed works that stand with the best of the recorded versions. The Sonics of the recordings are excellent and the 'packaging' includes translations and informative, if somewhat exhaustive, notes on the derivation and history of each of the cantatas. This is Volume 1 and to be sure it will encourage the listener to purchase the entire set. Recommended. Grady Harp, February 06
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Cantatas, Vol. 7
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B000ICLTZK Release Date: 2006-10-10 |
Tracks:
- Coro Con Choral Es Ist Nichts Gesundes An Meinem Leibe
- Recitativo: Tenor Die Ganze Welt Ist Nur Ein Hospital
- Aria: Bass Ach, Wo Hol Ich Armer Rat?
- Recitativo: Sopran O Jesu, Lieber Meister
- Aria: Sopran Offne Meinem Schlechten Liedern
- Choral Ich Will Alle Meine Tage
- Coro (Choral) Jesu, Der Du Meine Seele
- Aria (Duetto): Sopran, Alt Wir Eilen Mit Schwachen
- Recitativo: Tenor Ach! Ich Bin Ein Kind Der Sunden
- Aria: Tenor Dein Blut, So Meine Schuld Durchstreicht
- Recitativo: Bass Die Wunden, Nagel, Kron Und Grab
- Aria: Bass Nun Du Wirst Mein Gewissen Stillen
- Choral Herr, Ich Glaube, Hilf Mir Schwachem
- Coro Wer Dank Opfert, Der Preiset Mich
- Recitativo: Alt Es Muss Die Ganze Welt Ein Stummer Zeuge Werden
- Aria: Sopran Herr, Deine Gute Reicht
- Recitativo: Tenor Einer Aber Unter Ihnen
- Aria: Tenor Welch Ubermass Der Gute
- Recitativo: Bass Sieh Meinen Willen An
- Choral Wie Sich Ein Vat'r Erbarmet
Tracks:
- Coro Nun Ist Das Heil Und Die Kraft
- Coro (Choral) Herr Gott, Dich Loben Alle Wir
- Recitativo: Alt Ihr Heller Glanz Und Hohe Weisheit Zeigt
- Aria: Bass Der Alte Drache Brennt Vor Neid
- Recitativo (Duetto): Sopran, Tenor Wohl Aber Uns, Daas Tag Und Nacht
- Aria: Tenor Lass, O Furst Der Cherubinen
- Choral Darum Wir Billig Loben Dich
- Coro Es Erhub Sich Ein Streit
- Recitativo: Bass Gottlob! Der Drache Liegt
- Aria: Sopran Gott Schickt Uns Mahanaim Zu
- Recitativo: Tenor Was Ist Der Schnode Mensch, Das Erdenkind?
- Aria Con Choral: Tenor Bleibt, Ihr Engel, Bleibt Bei Mir!
- Recitativo: Sopran Lasst Uns Das Angesicht
- Choral Lass Dein' Engel Mit Mir Fahren
- Coro Man Singet Mit Freuden Vom Sieg
- Aria: Bass Kraft Und Starke Sei Gesungen
- Recitativo: Alt Ich Furchte Mich Vor Tausend Feinden Nicht
- Aria: Sopran Gottes Engel Weichen Nie
- Recitativo: Tenor Ich Danke Dir
- Aria (Duetto): Alt, Tenor Seid Wachsam, Ihr Heiligen Wachter
- Choral Ach Herr, Lass Dein Lieb Engelein
Customer Reviews:
PER USUAL .......2006-11-27
Per usual, the works in Volume Seven are performed by Gardiner and his forces magnificently! Listen to the opening chorus of BWV 78 on the first disc and the Choral "Ach Herr, lass deir lieb" on the second disc--glorious! The orchestra and chorus are wonderful. Again, I was very much impressed with the soloist too.
Malin Hartelius, soprano, posses a sweet clear and very flexible voice. Listen to her aria on the second disc, tract 18. She is also great in the rather familiar duet with alto "Wir elin mit schwachen" tract 8, first disc. Tenor, James Gilchrist, once again is most impressive. He displays a wonderful legato in his aria in the first disc tract 10 and his virtuosity is astounding in tract 6 of the second disc. Bass Peter Harvey sings with a full, rich and flexible voice. His aria on tract 16 of the second disc is most impressive.
In conclusion, Volume Seven is a most impressive release. I continue my adoration of Gardiner's "Bach Pilgrimage" and I DO look forward to future releases.
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Bach Cantatas, Vol. 8: Bremen, Santiago
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B0006OR17U Release Date: 2005-05-10 |
Tracks:
- I. Coro E Recitativo: Warum Betrubst Du Dich, Mein Herz?
- II. Recitativo: Bass Ich Bin Veracht'
- III. Choral E Recitativo: Er Kann Und Will Dich Lassen Nicht
- IV. Recitativo: Ach, Susser Trost!
- V. Aria: Auf Gott Steht Meine Zuversicht
- VI. Recitativo: Ei Nun!
- VII. Choral: Weil Du Mein Gott Und Vater Bist
- I. Coro: Was Gott Tut, Das Ist Wohlgetan
- II. Recitativo: Sein Wort Der Wahrheit Stehet Fest
- III. Aria: Erschuttre Dich Nur Nicht, Verzagte Seele
- IV. Recitativo: Nun, Der Von Ewigkeit Geschlossne Bund
- V. Aria (Duetto): Wenn Des Kreuzes Bitterkeiten
- VI. Choral: Was Gott Tut, Das Ist Wohlgetan
- I. Aria: Jauchzet Gott In Allen Landen!
- II. Recitativo: Wir Beten Zu Dem Tempel An
- III. Aria: Hochster, Mache Deine Gute
- IV. Choral: Sei Lob Und Preis Mit Ehren
- V. Aria: Alleluja!
- I. Coro: Was Gott Tut, Das Ist Wohlgetan
- II. Duetto: Was Gott Tut, Das Ist Wohlgetan
- III. Aria: Was Gott Tut, Das Ist Wohlgetan
- IV. Aria: Was Gott Tut, Das Ist Wohlgetan
- V. Aria: Was Gott Tut, Das Ist Wohlgetan
- VI. Choral: Was Gott Tut, Das Ist Wohlgetan
Tracks:
- I. Aria: Komm, Du Susse Todesstunde
- II. Recitativo: Welt, Deine Lust Ist Last
- III. Aria: Mein Verlangen
- IV. Recitativo: Der Schluss Ist Schon Gemacht
- V. Coro: Wenn Es Meines Gottes Wille
- VI. Choral: Der Leib Zwar In Der Erden
- I. Coro E Recitativo: Wer Weiss, Wie Nahe Mir Mein Ende?
- II. Recitativo: Mein Leben Hat Kein Ander Ziel
- III. Aria: Willkommen! Will Ich Sagen
- IV. Recitativo: Ach, Wer Doch Schon Im Himmel War!
- V. Aria: Gute Nacht, Du Weltgetummel!
- VI. Choral: Welt, Ade! Ich Bin Dein Mude
- I. Coro: Liebster Gott, Wenn Werd Ich Sterben?
- II. Aria: Was Willst Du Dich, Mein Geist, Entsetzen
- III. Recitativo: Zwar Fuhlt Mein Schwaches Herz
- IV. Aria: Doch Weichet, Ihr Tollen, Vergeblichen Sorgen!
- V. Recitativo: Behalte Nur, O Welt, Das Meine!
- VI. Choral: Herrscher Uber Tod Und Leben
- I. Coro E Recitativo: Christus, Der Ist Mein Leben
- II. Recitativo: Nun, Falsche Welt!
- III. Choral: Valet Will Ich Dir Geben
- IV. Recitativo: Ach, Konnte Mir Doch Bald So Wohl Geschehn
- V. Aria: Tenor Ach, Schlage Doch Bald, Sel'ge Stunde
- VI. Recitativo: Bass Denn Ich Weiss Dies
- VII. Choral: Weil Du Vom Tod Erstanden Bist
Customer Reviews:
BEST CANTATA 51 SO FAR.......2006-09-30
Trumpeter Niklas Eklund in the first and final movements of Cantata 51 is equally great.
Gardiner has a unique ability to choose just the right soloists for all his recordings. This 2000 pilgrimage is no exception. I am a choral singer of the amateur type and use his recordings as a reference for style, as well as enjoyment. Being picked for Cantata 51 is possibly one the best endorsements Hartelius can get.
The singing in all the cantatas on this two CD set is top notch.
I have never before been a fan of the male alto or countertenor voice but this CD and the Alles Mit Gott CD from Gardiner changed my thinking instantly.
The sound quality is superb, especially considering the time constraints the singers and engineers had to work with, in new venues every week. This is quite possibly the most important recording project of all time. The cost of buying the whole series is beyond my means, but I certainly will continue to pick up a few more here and there.
Cantatas on Set by BWV # and name........2005-12-11
It is hard to be disappointed by Gardiner's craftsmanship. While some think his tempi on some cantatas to be distasteful, it provides a different approach than other conductors and Bach fellows.
Cantatas on this set:
Liebster Gott, wenn werd' ich sterben?, BWV 8
Wer weiss, wie nahe mir mein Ende, BWV 27
Jauchzet Gott in allen Landen, BWV 51 (SIDE NOTE: Reviewer's All-time favourite Bach Cantata)
Christus, der ist mein Leben, BWV 95
Was Gott tut, das ist wohlgetan, BWV 99
Was Gott tut, das ist wohlgetan, BWV 100
Warum betrübst du dich, mein Herz?, BWV 138
Komm, du süsse Todesstunde, BWV 161
What's your favourite Bach cantata?
GLORIOUS BACH CONTINUES.......2005-11-22
Although I've vowed not to get launched on yet another Bach Cantata series, I'm afraid that I'm so besotted by these Gardiner's recordings of Bach's Cantatas that I am indeed launched once again. This series continues to delight in every way!
Volume 8.......2005-10-21
The recording speaks for itself.
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Pilgrimage to Santiago
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by Dufay
| Dufay, Guillaume
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ASIN: B000IFRPUA Release Date: 2006-11-14 |
Tracks:
- Dum Pater Familias
- Congaudeant Catholici
- O Virgo Splendens
- Parce Mihi Domine
- Alma Perpetui
- Jesu Rex Admirabilis
- Rite Majorem
- O Quam Gloriosum/Missa O Quam Gloriosum
- Kyrie
- Psallat Chorus Caelestium
- Gloria
- O Lux Et Decus Hispaniae
- Sanctus
- Benedictus
- O Venerande Christi
- Agnus Dei
- Nesciens Mater
- O Maria Vernans Rosa
- Vadam Et Circuibo
- Justorum Animae
- Sanctus
Customer Reviews:
Transcendant spiritual beauty.......2007-05-19
More Gardiner than "Renaissance", but nonetheless undeniably vivid..........2007-01-22
If there can be any criticism of the disc, it is that, at times, the towering force of Gardiner's musical personality is perhaps a little too dominant. In his defence, Gardiner makes no pretence that this is anything but a highly idiosyncratic account, a fact as obvious from the presentation (note the CD cover and booklet notes featuring personal reflections from himself [pp.1-2] and members of the choir [pp.34-5]) as from the performances themselves. A number of the interpretations, for example, rely on a rhetorical approach to dynamics and tempo arguably more appropriate to late 16th/early 17th century secular music than 'prima prattica' (and earlier) sacred music, and whilst this musicological liberty is often effective, sometimes it is not. The declamatory 'forte' outbursts of Dufay's 'Rite majorem' are indicative of this over-emphasis on text; similarly the rather organic tempo in Victoria's motet 'O quam gloriosum' sounds a little mannered in places and seems to contradict what is known about tempo in Renaissance music (see below *). Additionally, the choice of forces (see below **) and occasional mannerisms (such as the clipped 'Hosanna' in the Sanctus and Benedictus of Victoria's Mass) are powerfully suggestive of the mixed-voice Cambridge choral tradition of Rutter, Marlow and Brown (Gardiner himself having studied there). And incidentally, why is the Credo from Victoria's Mass silently omitted...?!
If the overall result, then, is really more a personal invitation to Gardiner's insight than an accurate representation of the selected works, this does not detract from the profound and ethereal experience which is created upon listening to this marvellous release. Highly recommended.
(*) It would be dangerous to interpret sources too literally, but it surely significant that contemporary theorists almost consistently relate the tactus to mediums with a regular factor, most commonly the heartbeat (e.g. Ramis de Pareia [1482], Adam of Fulda [1490], etc...), but also breathing (Gaffurius, 1496), walking (Buchner c.1520), etc.
(**) Performance of Iberian polyphony with instruments - rather than 'a cappella' (as here) - is well documented, and Santiago Cathedral itself boasted 4 salaried ministriles from 1539. In Rome too, where Victoria's Mass was published (1583), instrumental participation was common. The English jesuit Gregory Martin, describing music in Roman churches c.1576-8, for example, notes: "...with the Organs a childes voice shriller and louder than the instrument, tuneable with every pipe: Among the quyre, Cornet or Sagbut, or such like above the voices..." (Roma Sancta, 1581, p.96)
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Bach Cantatas, Vol. 10: Potsdam/Wittenberg
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B000ANPXDG Release Date: 2005-11-08 |
Tracks:
- Coro Con Choral
- Recitativo
- Choral
- Aria
- Recitativo
- Aria
- Choral
- Cora
- Recitativo
- Aria
- Recitativo
- Aria
- Recitativo
- Choral
- Aria
- Recitativo
- Aria
- Recitativo
- Choral
- Aria
- Rectativo
- Aria
- Recitativo
- Choral
Tracks:
- Coro
- Aria
- Choral
- Recitativo
- Aria
- Choral
- Coro
- Aria
- Coro Lob
- Coro
- Aria
- recitatvio
- Aria
- Choral
- Recitativo
- Aria
- Choral
Customer Reviews:
There's really no point in reviewing these cantatas..........2007-03-19
This issue has a stunning version of one of the giants, BWV80 "Ein feste Burg". Gardiner has thankfully dispensed with the trumpets and drums shoved in by eldest son Wilhelm Friedmann to tart it up (after the old man died). It doesn't really need them. The rest are marvellous. I'm going to go broke and love it...
GARDINER AND I CONTINUE OUR BACH PILGRIMAGE MOST SPLENDIDLY .......2006-02-24
O.k. you (what I call) "Authenticity Police" can "call off" the dogs-I provisionally acquiesce to the use of the countertenor voice. (At least in these recordings!) This is in contrast to my previous held opinion. I am actually enjoying the Countertenors in Gardiner's Bach pilgrimage. I especially enjoyed the Countertenor, in this Volume 10. William Towers sings most beautifully and accurately and most of all his singing is very pleasing to my ear-no hoots are to be heard; there's even a hint of "chest" voice used by him when it is required. More importantly he does sing Bach's beautiful vocal lines splendidly! Once again, tenor James Gilchrist is overwhelmingly good. He has a sweet tenor voice that can turn heroic when required plus his runs are awe inspiring. (Just listen to track 15 of the first disc--fabulous!)Peter Harvey the bass has a rock solid voice well able to do justice to Bach's vocal demands. The soprano (Joanne Lunn) is very good also. (I am on record on this board of preferring the use of the female soprano voice in these works as opposed to the use of the pubescent unchanged little boy's voices trying to negotiate the vocal writing for sopranos in Bach's works.)
Obviously, I'm still thrilled with this Cantata series and intend to purchase additional releases as they become available.
In closing, for a complete magnificent overview of the contents of Volume 10, see the first review herein. I truly admire that reviewer's thoroughness!
Cantatas by BWV # and name.......2005-12-11
Gardiner's interpretations bring clarity and distinctness amongst other Cantata recordings. His work is always meticulous.
Cantatas on this set:
Wo soll ich fliehen hin?, BWV 5 (A wonderful cantata by Bach done in the unusual key of Bb - one of 3 in the cantata cycles).
Ich elender Mensch, wer wird mich erlösen vom Leibe dieses Todes, BWV 48
Ich will den Kreuzstab gerne tragen, BWV 56
Gott, der Herr, ist Sonn und Schild, BWV 79
Ein feste Burg ist unser Gott, BWV 80
Es reisset euch ein schrecklich Ende, ihr sündlichen verächter, hin, BWV 90 (Another cantata in Bb - the Aria with Bass and trumpet is superb - and difficult to play!)
Nun danket alle Gott, BWV 192
Enjoy!!
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Bach: Cantatas, Vol. 22
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B000N39HP8 Release Date: 2007-04-10 |
Tracks:
- 1. Sinfonia
- 2. Versus I: Coro-Christ Lag In Todesbanden
- 3. Versus II: Sopran, Alt-Den Tod Niemand Zwingen Kunnt
- 4. Versus III: Tenor-Jesus Christus, Gottes Sohn
- 5. Versus IV: Coro-Es War Ein Wunderlicher Krieg
- 6. Versus V: Bass-Hier Ist Das Rechte Osterlamm
- 7. Versus VI: Sopran, Tenor-So Feiern Wir Das Hohe Fest
- 8. Versus VII: Choral-Wir Essen Und Leben Wohl
- 1. Sonata
- 2. Coro-Der Himmel Lacht! Die Erde Jubilieret
- 3. Recitativo: Bass-Erwunschter Tag! Sei, Seele, Wieder Froh!
- 4. Aria: Bass-Furst Des Lebens, Starker Streiter
- 5. Recitativo: Tenor-So Stehe Dann, Du Gottergebne Seele
- 6. Aria: Tenor-Adam Muss In Uns Verwesen
- 7. Recitativo: Sopran-Weil Dann Das Haupt Sein Glied
- 8. Aria Con Choral: Sopran-Letzte Stunde, Brich Herein
- 9. Choral-So Fahr Ich Hin Zu Jesu Christ
- 1. Coro-Erfreut Euch, Ihr Herzen
- 2. Recitativo: Bass-Es Bricht Das Grab Und Damit Unsre Not
- 3. Aria: Bass-Lasset Dem Hochsten Ein Danklied Erschallen
- 4. Recitativo (Dialogo) Ed Arioso (Duetto): Tenor, Alt-Bei Jesu Leben Freudig Sein
- 5. Aria (Duetto): Alt, Tenor-Ich Furchte Zwar Des Grabes Finsternissen
- 6. Choral-Halleluja! Halleluja! Halleluja!
Tracks:
- 1. Coro-Bleib Bei Uns, Denn Es Will Abend Werden
- 2. Aria: Alt-Hochgelobter Gottessohn
- 3. Choral: Sopran-Ach Bleib Bei Uns, Herr Jesu Christ
- 4. Recitativo: Bass-Es Hat Die Dunkelheit
- 5. Aria: Tenor-Jesu, Lass Uns Auf Dich Sehen
- 6. Choral-Beweis Dein Macht, Herr Jesu Christ
- 1. Recitativo: Tenor, Alt-Ein Herz, Das Seinen Jesum Lebend Weiss
- 2. Aria: Tenor-Auf, Glaubige, Singet Die Lieblichen Lieder
- 3. Recitativo: Tenor, Alt-Wohl Dir, Gott Hat An Dich Gedacht
- 4. Aria (Duetto): Alt, Tenor-Wir Danken Und Preisen Dein Brunstiges Lieben
- 5. Recitativo: Tenor, Alt-Doch Wurke Selbst Den Dank In Unserm Munde
- 6. Coro-Erschallet, Ihr Himmel, Erfreue Dich, Erde
- 1. Aria (Duetto): Tenor, Sopran-Ich Lebe, Mein Herze, Zu Deinem Ergotzen
- 2. Recitativo: Tenor-Nun Fordre, Moses, Wie Du Willt
- 3. Aria: Bass-Merke, Mein Herze, Bestandig Nur Dies
- 4. Recitativo: Sopran-Mein Jesus Lebt
- 5. Choral-Drum Wir Auch Billig Frohlich Sein
Customer Reviews:
I'M BACK!!.......2007-06-05
Stephen Varcoe's bass voice has never been particularly appealing to me; however, in this recording, he delivers his solos admirably executing the "runs" trills, grace notes, etc., wonderfully. Again, tenor James Gilchrist, is most splendid singing his arias and recitatives accurately and beautifully easily meeting Bach's many vocal challenges--listen to tracts 13 and 14 of the 1st disc and tract 8 of the second disc. Male alto, Daniel Taylor, is good too singing with full rich tones--no "countertenor hoots" are to be heard. The two soprano soloists are "easy on the ear" possessing sweet light lyric and very flexible soprano voices.
Some fine examples of Bach's great instrumental writing are also very evident in Volume 22 with some wonderful trumpet, oboe, violin and cello obbligatos. I loved the lively "Sonata" that serves as an instrumental introduction to the cantata, "Der Himmell Lache" as well as the "Sinfonia" to the cantata
"Christ lag in Todesbanden".
Although, this is a "live" recording, the extraneous noise level is very low. One would never know that it is "live" if it were not so indicated on the "jacket" as such. Plus the recorded sound is marvelous being so clear, rich and full.
Per usual, Gardiner's notes (in the very nice booklet-type recording sleeve) are very informative giving the historical and religious significance of the works contained therein (I just wish that there were photos of the soloist--just a very minor quibble on my part--I do, however, really like the cover photos on all of the releases thus far--they are wonderful).
In conclusion, I adore this release, as I'm sure you will too, if you purchase Volume 22 of Gardiner's "Bach Pilgrimage"; it's truly wonderful.
Continues the high standard for the series.......2007-05-30
There really is very little that can be said to review the releases from the Bach Cantata Pilgrimage. Each performance is glorious, soaring, intimate, meaningful, and moving, and Volume 22 does not disappoint. The highlight is probably the magnificent BWV 4 (Christ lag in Todesbanden), with its theme of Christ's triumph over death, but BWV 6 (Bleib bei uns, denn es will Abend werden) is the most personal and complex of this disk.
As with all releases in this series, the packaging is exquisite with Gardiner's lucid liner notes. Highest recommendation for both this release and the series.
Contents:
Cantatas for Easter Sunday
BWV 4, "Christ lag in Todesbanden"
BWV 31, "Der Himmel lacht! die Erde jubliliert"
Cantatas for Easter Monday
BWV 66, "Erfreut euch, ihr Herzen"
BWV 6, "Bleib bei uns, denn es will Abend werden"
Cantatas for Easter Tuesday
BWV 134, "Ein Herz, das seinen Jesum lebend weiss"
BWV 145, "Ich lebe, mein Herze, zu deinem Ergotzen"
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Just for the Record: The Golden Voice
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B0000TAYR0 Release Date: 2003-11-11 |
Tracks:
- L'amour Est Un Oiseau Rebelle (Habanera)
- Mon Coeur S'ouvre A Ta Voix
- Eccomi Al Fine In Babilonia
- Cruda Sorte!
- Hence, Iris, Hence Away
- Dove Sei, Amato Bene?
- Che Disse! Che Ascoltai!
- Addio, Addio O Miei Sospiri
- O Pretres De Baal... O Toi, Qui M'abandonne
- Elle Est La! Pres De Lui!
- Mura Felici
- Tanti Affetti
Tracks:
- Superbo Di Me Stesso
- Il Segreto Per Esser Felici - London Symphony Chorus
- Mi Chiami, O Norma!
- Deh! Con Te, Con Te Li Prendi
- Mira, O Norma
- Si, Fino All'ore Estreme
- Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
- Non Son Tuo Figlio? - Luciano Pavarotti
- Mal Reggendo - Luciano Pavarotti
- E Un Anatema! - Renata Tebaldi
- Nacht Und Traume, D 827
- Abendlied
- Traume
- Jesus De Nazareth
- Shenandoah
- I Bought Me A Cat
- The Lord's Prayer
- Somewhere
- At The River (Lowry)
- Jeannie With The Light Brown Hair
Customer Reviews:
Marilyn Horne scintillates.......2007-05-20
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
One Of The Greatest Voices of All!.......2006-01-29
Not 100% satisfied with the selections, but what artistry!.......2004-11-03
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
Vive Madame Horne !.......2004-01-09
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Bach: Cantatas Vol. 15
Manufacturer: Soli Deo Gloria ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B000ICLTZA Release Date: 2006-10-10 |
Tracks:
- 1. Coro: Sheet, Welch Eine Liebe
- 2. Choral: Das Hat Er Alles Uns Getan
- 3. Recitativo: Alt Geh, Welt! Behalte Nur Das Deine
- 4. Choral: Was FRag Ich Nach Der Welt
- 5. Aria: Sopran Was Die Welt
- 6. Recitativo: Bass: Der Himmel Blibet Mir Gewiss
- 7. Aria: Alt: Von Der Welt Verlang Ich Nichts
- Choral: Gute Nacht, O Wesen
- 1. Aria: Sopran: Suber Trost, Mein Jesus Kommt
- 2. Recitativo: Bass: Erfreue Dich, Mein Herz
- 3. Aria: Alt: In Jesu Demut Kann Ich Trost
- 4. Recitativo: Tenor: Du Teurer Gottessohn
- 5. Choral: Heut Schleubt Er Wieder Auf Die Tur
- 1. Aria: Bass: Selig Ist Der Mann
- 2. Recitativo: Sopran: Ach! Dieser Sube Trost
- 3. Aria: Sopran: Ich Wunschte Mir Den Tod
- 4. Recitativo (Dialogo): Bass, Sopran: Ich Reiche Dir Die Hand
- 5. Aria: Bass: Ja, Ja, Ich Kann Die Feinde Schlagen
- 6. Recitativo (Dialogo): Bass, Sporan: In Meiner Schob Liegt Ruh Und Leben
- 7. Aria: Sopran: Ich Ende Behende Mein Irdisches Leben
- 8. Choral: Richte Dich, Liebste, Nach Meinem Gefallen
- 1. Coro (Choral): Ich Freue Mich In Dir
- 2. Aria: Alt: Getrost! Es Fasst Ein Heil'ger Leib
- 3. Recitativo: Tenor: Ein Adam Mag Sich Voller Schrecken
- 4. Aria: Sporan: Wie Lieblich Klingt Es In Den Ohren
- 5. Recitativo: Bass: Wohlan, Des Todes Furcht Und Schmerz
- 6. Choral: Wohaln, So Will Ich Mich
Amazon.com
The latest in John Eliot Gardiner's Bach Cantata Pilgrimage series, Volume 15 concentrates on four cantatas for the Third Day of Christmas. Recorded on December 27, 2000, in New York's St. Bartholomew Church, these works, so different from one another in texture, are presented in a warm, realistic, not-very-churchy ambiance: BWV 64, concentrating on God's Love, features a trombone choir that underlines and supports the choir like a pillar of strength; 151, a far more private utterance about personal comfort, has lovely work for flute and oboe d'amore; BWV 57 is the least adorned, a dialogue between Jesus and the Soul scored only for strings and three oboes, each doubling a violin; and 133 is an expressive of sheer joy at Christmas. As usual, the performances are stunning--heartfelt (the soprano's portrayal of the Soul in No. 57 is filled with high drama), always in tune, alternately joyous and pious. This is a fine entry into the Christmas season. --Robert LevineCustomer Reviews:
IT'S THE CHRISTMAS SEASON WITH JS BACH AGAIN.......2006-11-29
The works comprising this volume are more of J.S. Bach's cantatas composed for the Christmas season that are not performed too often, for some strange reason. . I particularly loved the "Dialogue" Cantata for soprano and bass as the Soul and Jesus. It's is as close to operatic writing as we get from Johann. The virtuosic aria for bass on tract 18 is splendidly sung by bass Peter Harvey--he is really good. Likewise, the soprano's aria from this Cantata is also a delight. Joanne Lunn the soprano soloist performs it magnificently.
This volume also includes the rather recently (I believe) discovered cantata "Ich freue mich in dir" written in 1724. Gardiner and his forces give it a wonderfully spirited reading closing this set of J.S. Bach's Cantatas that were written for the third day after Christmas in a wonderful manner.
Volume 15 of Gardiner's Bach Pilgrimage has certainly helped to put me more in the "Holiday spirit". It is a wonderful recording.
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Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
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ASIN: B00004T2FQ Release Date: 2000-08-08 |
Tracks:
- Rigoletto: Preludio
- Rigoletto: Questa O Quella
- Rigoletto: Pari Siamo
- Rigoletto: Figlia! Mio Padre
- Rigoletto: E'Il Sol Dell'Anima
- Rigoletto: Gualtier Malde...Caro Nome
- Rigoletto: Ella Mi Fu Rapita! Parmi Veder Le Lagrime
- Rigoletto: Duca, Duca!
- Rigoletto: Passente Amor Mi Chiama
- Rigoletto: Povero Rigoletto
- Rigoletto: Cortigiani, Vil Razza Dannata
- Rigoletto: Parla...Siam Soli...Tutte Le Feste Al Tempio
- Rigoletto: La Donna E Mobile
- Rigoletto: Bella Figlia Dell'Amore
- Rigoletto: Chi E Mai, Chi E Qui In Sua Vece
Customer Reviews:
Sutherland/Pavarotti sublime.......2003-06-04
This Rigoletto is supreme. Sutherland sings up a storm, tossing of high D's and E's with extreme ease. Her trill is a marvel indeed. She is completely match with a young Pavarotti that matches Dame Joan's gorgeous voice. Pavarotti's high D is stunning.
The only competition with this Rigoletto is the one with Callas.
But Callas can't touch Sutherland in voice or technique.
In conclusion, this is the Rigoletto to get if you only want the highlights.
Buy it! You won't be sorry!.......2001-03-20
flawless.......2000-08-14
A most recomended Rigoletto.......2000-08-08
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