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bissacd2161
Wydawnictwo: Bis
Seria: Bach Secular Cantatas
Nr katalogowy: BISSACD 2161
Nośnik: 1 SACD
Data wydania: wrzesień 2015
EAN: 7318599921617
54,00zł
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Nasze kategorie wyszukiwania

Epoka muzyczna: barok
Obszar (język): niemiecki
Rodzaj: kantata

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Bach: Secular Cantatas Vol 5: Birthday Cantatas

Bis - BISSACD 2161
Wykonawcy
Joanne Lunn, soprano
Robin Blaze, counter-tenor
Makoto Sakurada, tenor
Dominik Wörner, bass
Bach Collegium Japan / Masaaki Suzuki
Nagrody i rekomendacje
 
ArkivMusic Best of Music Island Recommends
 
J.S. Bach:
Lasst uns sorgen, lasst uns wachen, BWV 213 (Herkules auf dem Scheidewege – Dramma per musica)
Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 (Dramma per musica)
Continuing their exploration of Bach’s vocal music, Bach Collegium Japan and Masaaki Suzuki have now reached the fifth volume of secular cantatas, with the previous instalment being ‘urgently recommended’ by the reviewer in Fanfare, and its contents described as ‘unusually colourful and vivid performances, even by the standards so far set by Suzuki’s Collegium Japan’ (International Record Review). Both cantatas on the present disc were first performed in 1733 by Bach and his Collegium Musicum at public concerts in Leipzig. They were also part of what almost appears to have been a campaign by Bach to be appointed Court Composer by the Saxon Prince-Elector Friedrich August II, something which took place three years later. Lasst uns sorgen, lasst uns wachen, BWV?213, also known as Hercules at the crossroads, was composed for the 11th birthday of the Prince-Elector’s oldest son, and Tönet, ihr Pauken! Erschallet, Trompeten! BWV?214 in a similar manner celebrated the birthday two months later of his wife, Maria Josepha of Saxony. Both works are so-called ’dramma per musica’, in which the vocal soloists are embodying dramatic characters – in the present cantatas these are taken from Greek mythology. Needless to say, Bach rose to the festive occasions, deploying trumpets and timpani (as implied in the title of BWV 214) and horns (in BWV 213) to great effect. A year later, he would reuse much of the music from the two cantatas in a similarly jubilant but otherwise quite different context – admirers of the Christmas Oratorio will for instance recognize the opening chorus of that work (Jauchzet, frohlocket) in the first movement of BWV 214 as well as the celebrated alto aria Bereite dich, Zion as an artfully transformed version of Hercules brusque rejection of Wohlust (Lust) in the ninth movement of BWV 213.

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