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Wydawnictwo: Passacaille
Nr katalogowy: PAS 969
Nośnik: 1 CD
Data wydania: marzec 2011
EAN: 5425004849694
66,00zł
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Epoka muzyczna: barok
Obszar (język): niemiecki
Rodzaj: kantata

Graupner / Bach: De Profundis

Passacaille - PAS 969
Wykonawcy
Il Gardellino:
Caroline Weynants, soprano
Damien Guillon, alto
Marcus Ullman, tenor
Lieven Termont, baritone / Marcel Ponseele
Nagrody i rekomendacje
 
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Bach:
Cantata BWV 177
Cantata BWV 131

Graupner:
Aus der Tiefen rufen wir, GWV 1113/23a
Marcel Ponseele and il Gardellino have just released a second volume of their cantata series. They envisage making five recordings altogether under the theme of a ‘testimony’, each of which will focus on a specific theme. Each CD will include works of Bach, and, at the same time, works by his contemporaries like Graupner, Telemann, Zelenka and others. So the first CD was devoted to the theme of ‘Desire’. The following CDs will deal with other emotions. The second CD, ‘De profundis’, is a call for liberaton. ‘Lamentatio’ is the central theme of the third CD. ‘Trübsal’ (sorrow) will be the theme of the fourth, and lastly the fifth, ‘der Tod’, will deal with the theme of death, the great and final liberation. On the question if the ‘Testimonia’ represents a kind of musical testament, Marcel Ponseele answers: No, absolutely not! ‘Testament’ has connotations which are a little too definitive, like a final breath - no. ‘Testimonia’ means testimony. This series of recordings must testify to the way we approach Bach at the beginning of the 21st century, and above all the manner in which we attempt to pass on to the receptive soul the universal message, which shines out from the music of Bach.

On the question ‘How is the Testimonia series special?’ Marcel Ponseele answers: I interpret Bach with some friends with whom I feel a deep affinity – some soul mates – whom I have given concerts with for many years, and who share my approach to this music. We do not call on great stars with their astronomical fees – Bach didn’t do that either – but we work with musicians who love this music; people who, again like Bach, seek true harmony, even transcendence.

I also wanted to avoid musicological pitfalls of every kind. Most discussions about performance practice are in fact devoid of any substance and relevance. Certainly it is good and necessary to take account of the historical aspect, but what matters is the message contained in the music. Understand that and deliver it, that is my real priority!

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