Monteverdi Choir / English Baroque Soloists Kirche Teufen / Klosterkirche Rheinau, Switzerland.įor the Feast of St Michael and All Angels Soprano: Dorothea Frey Counter-tenor: Christopher Robson Tenor: Hermann Oswald Bass: Wolf-Matthias Friedrich Source: WorldCat Libraries (OCLC Number: 45949839) Recorded live at Recital Hall, Indiana University, School of Music, Bloomington, Indiana, USA. Indiana University Singers / Indiana University Symphony Orchestra Producer: Tini Mathot Sound engineer & editing: Adriaan Verstijnen Production Coordination: Willemijn Mooij. Recorded at Waalse Kerk, Amsterdam, the Netherlands. Flautist Liliko Maeda’s limpid, articulate and sometimes dazzling contributions set the seal on an issue whose seemingly greater expressive commitment than that found in some previous issues is profoundly satisfying.Soprano: Lisa Larsson Alto: Annette Markert Tenor: Christoph Prégardien Bass: Klaus MertensĪBO Soloists: Alfredo Bernardini (Oboe) Jonathan Manson (Cello) Wilbert Hazelzet (Transverse Flute) Margaret Faultless (Violin)ĪBC: Sopranos: María-Luz Álvarez, Francine van der Heijden, Els Bongers, Henriette Feith, Caroline Stam Altos: Stephen Carter, Annemieke Cantor, Peter de Groot, Hugo Naessens Tenors: Joost van der Linden, Malcolm Bennett, Andreas Gisler, Henk Gunneman, Geraint Roberts, Otto Bouwknegt Basses: Donald Bentvelsen, Mitchell Sandler, René Steur, Hans WijersĪBO: Margaret Faultless, Elena Borderias, Marc Cooper, Kati Debrezeni, Foskien Kooistra, Carla Marotta, Marshall Marcus, Fanny Pestalozzi, David Rabinovich (Violins) Martin Kelly, Nicky Akeroyd (Violas) Jonathan Manson, Robbie Jacobs (Cellos) Nicholas Pap (Double-bass) Wilbert Hazelzet (Transverse Flute) Alfredo Bernardini, Michel Henry, Anna Starr (Oboes) Andrew Clark, Gavin Edwards (Horns) Margreet Bongers (Bassoon) Ton Koopman (Organ, Harpsichord) Jan Kleinbussink (Organ) Mike Fentross (Lute) Bach must have had a flute wizard around at the time, for each of these cantatas contains prominent and virtuosic writing for the instrument. The 12-voice choir, from which the four soloists emerge, is very good indeed and the instrumental ensemble as polished as I can recall ever having heard it. Tenor Makoto Sakurada makes a generally favourable impression though his vocal timbre in the uppermost register sometimes fails to please. Bass Peter Kooy sings his single aria (BWV 78) with authority and is impeccable in his warmly responsive declamation of recitative. All else in this special issue is of a comparably elevated order. Yukari Nonoshita (soprano) and the excellent Canadian countertenor Daniel Taylor offer a sparkling and vital account of it, comfortably outclassing all rival versions with the exception of the very earliest of them on a disc recorded by Felix Prohaska in the mid-Fifties (Vanguard). After its opening passacaglia-cast lament follows a canonic duet which breathes the air of the opera house – we may forever speculate upon its reception by the conservative orthodox Lutherans of Leipzig. The crowning achievement here is Jesu, der du meine Seele (BWV 78) which is wonderfully sustained throughout in every minute detail. The present cantatas belong to the Trinity season of the church year. These pieces, which Bach composed, rehearsed and performed week after week, must rank among the most staggering achievements of human endeavour. From a musical standpoint, too, this issue stands out, with three breathtakingly original cantatas from 1724-5. PERFORMER: Yukari Nonoshita (soprano), Daniel Taylor (countertenor), Makoto Sakurada (tenor), Peter Kooy (bass) Bach Collegium Japan/Masaaki Suzukiīach Collegium Japan and its director Masaaki Suzuki celebrate the 25th instalment of their Bach cantata survey with a special slipcased volume which includes a booklet containing a short essay by Peter Wollny.
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