"It is…a fine pairing of two of Bach’s more extroverted works, in which Herreweghe delves beneath the masculine surface of the Magnificat to find its more tender interior and boldly explores Bach’s expansion of Luther’s great Reformation hymn, Ein feste Burg ist unser Gott. For whatever reason, Cantata 80 seems to have lost a degree of popularity lately, and it’s good to hear it again, complete with W. F. Bach’s interpolated trumpets."– George Chien
Another entry in Harmonia Mundi's ongoing Bach Edition, this recording from 1993 exemplifies both the consistently high standard of performance we've come to expect from Philippe Herreweghe and his Collegium Vocale and the astonishing musical variety and emotional/spiritual depth of Bach's vocal works. As usual in this series, the program reflects a theme, in this case the feast of Ascension, for which Bach wrote what proved to be his final oratorio (improperly catalogued as a cantata in the original edition of Bach's works) and at least three cantatas. The oratorio contains both original music and, as has recently been shown, several movements taken from cantatas no longer extant. It's a compelling and inexplicably underperformed work, far shorter than Bach's other oratorios, complete with some terrific orchestral music, two wonderful festive choruses, a tenor Evangelist narrator, a charming little duet for tenor and bass, and arias for soprano and alto.
"The Scholl/Herreweghe CD is distinguished by its marriage of beautiful sound and expressive intensity. The richly nuanced orchestral playing remains forceful throughout and Scholl imbues his beguiling voice with a fervent conviction…"– BBC Music Magazine
"Kooy must by now have appeared in more Bach cantata recordings than any other solo singer in history, and even in 1991 when these recordings were made he was an experienced Bach singer of immense authority. His performances of these soul-searching, inward-looking works are stamped with a level of technical command and sensitivity that renders more obvious gesture superfluous. This is masterly and utterly compelling singing."– Brian Robins
A famous cantata for baritone by Johann Sebastian Bach (“Kreuzstabkantate”), combined with two cantatas by Georg Philipp Telemann. In addition and as a supplementary musical colour there are three purely instrumental pieces: overtures by J. F. Fasch and Telemann, and as an “encore”, the Larghetto from Handel’s Concerto Grosso Op. 6/4.
The cantate francaise flourished during the first half of the eighteenth century. Morin and Bernier were among the most interesting early exponents of it, Campra, Monteclair, Clerambault and Rameau among the most impressive. Indeed, it is generally recognized that the cantate francaise reached its zenith in the hands of Clerambault. He is represented on this new disc by Le Soleil, vainqueur des nuages. It appeared in none of the composer’s five published collections of chamber cantatas but was issued separately in 1721
Johann Rosenmüller (1619-1684) was without a doubt the greatest German composer of his generation. He artfully combined elements of Italian and German styles to create distinctive and intensely beautiful music that sounds as fresh today as it did in the 17th century. Rosenmüller was born in southeastern Germany around 1619, just when the Thirty Years’ War was getting started. As a young man in 1640, Rosenmüller entered the University of Leipzig to study theology – a discipline that included music.
This series of Italian cantatas by three eminent contemporaries makes for refined and focused listening.
Cencic…marries virtuosity with colour. The result is singing of great reach and range, in which verbal sensitivity and bravura execution are usually put at the service of the music.