Utwory na płycie:

• Suite No. 6 in G Major, BWV 1012 - II. Allemande
• Peter and Mary
• Suite No. 6 in G Major, BWV 1012 - III. Courante
• Tell us the things that you remember
• Suite No. 6 in G Major, BWV 1012 - IV. Sarabande
• Mary’s vision
• Suite No. 6 in G Major, BWV 1012 - V. Gavotte I / VI. Gavotte II
• Suite No. 6 in G Major, BWV 1012 - VII. Gigue
• Peter’s jealousy
• Allein Gott in der Höh’ sei Ehr’, BWV 676
• Mary went to the source
• Fantasia sopra 'Christ lag in Todesbanden', BWV 718
• Mary cometh to the sepulchre
• Concerto in G Major, BWV 592 - I. Allegro
• Concerto in G Major, BWV 592 - II. Grave / Mary and the angels
• Noli me tangere / Mary Magdalene sees Jesus
• Concerto in G Major, BWV 592 - III. Presto
• Jesus shows himself to the disciples / Jesus leaves the disciples
• Suite No. 6 in G Major, BWV 1012 - I. Prélude / Mary comforts the disciples

Johann Sebastian Bach:
Fantasia sopra 'Christ Lag in Todesbanden', BWV 718
Konzert G-dur, BWV 592
Suite Nr. 6 G-dur, BWV 1012
Allein Gott in der Hoh Sei Ehr, BWV 676

Maria gikk til kilden
Maria gar til graven

The story of Mary Magdalene has been a source of comfort for many women, and research has shown that medieval ballads about Mary Magdalene are often sung by single mothers. Young women who were out¬casts must have found some measure of consolation in the songs about Mary, who bore children with her fa¬ther, her brother and a priest, but was cleansed of sin after doing penance in the wilderness for many years. But the possibility should not be overlooked that the songs could have been sung with a sarcastic undertone, becoming an unassailable and liberating weapon when there was no other recourse for rebelling against unjust treatment.

The Mary Magdalene ballads, found in Solor, Telemark and Gudbrandsdalen, along with other folk tunes and improvisations, form the musical basis of the vocal element, where Sinikka Langeland uses the recitative form to tell the story while surrounded by works of Johann Sebastian Bach. The instrumental music is meant to intensify the emotions and atmosphere of the story although it is in itself, of course, some of the most beautiful music ever written.

Bach/Vivaldi’s well-known Concerto in G Major, “Christ lag in Todesbanden”, BWV 718 and “Allein Gott in der Höh’ sei Ehr”, BWV 676 are played by Kare Nordstoga on the famous Wagner organ in the Nidaros Cathedral, and Bach’s Cello Suite in D Major, BWV 1012 (here in G Major) is played on the viola by Lars Anders Tomter. Langeland also improvises vocally to two of Bach’s works. Between the texts that describe Jesus appearing to his disciples after the resurrection, she plays a 15-string kantele.

The recording was made in the Nidaros Cathedral, and represents the continuation of a project of many years’ standing to place Norwegian religious folk songs side by side with organ chorales by Bach, using the same hymn as a basis. Here Langeland is taking a freer approach, but is still pairing folk songs with works by Bach, as on her earlier recording of songs about the Virgin Mary. Marias song was released by the ECM label in 2009. This new release presents a fascinating and multifaceted portrait of the most prominent woman in the Christian world after the Virgin Mary.

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Recorded in Nidaros Catherdral, Trondheim, February 2008. Organ: Wagner organ in Nidaros Catherdral (1739).