Pieter-Jan Belder, Musica Amphion, Gesualdo Consort Amsterdam - Bach In Context: Bach & Luther (2012)
Pieter-Jan Belder, Musica Amphion, Gesualdo Consort Amsterdam - Bach In Context: Bach & Luther (2012)
EAC | FLAC | Image (Cue & Log) ~ 418 Mb | Total time: 77:23 | Scans included
Classical | Label: Etcetera | # KTC 1442 | Recorded: 2012
EAC | FLAC | Image (Cue & Log) ~ 418 Mb | Total time: 77:23 | Scans included
Classical | Label: Etcetera | # KTC 1442 | Recorded: 2012
This offering from the combined forces of Musica Amphion and the Gesualdo Consort is presented as a hardback book with a CD tucked into the back cover. It is the second in the Bach in Context series. The aim of the project is to present Bach’s works in a liturgical format. The book goes to considerable lengths to explain Lutheran liturgy and how Bach’s compositions would have fitted into a Sunday morning service, thus presenting a prelude, cantata, choral, motet, choral and postlude - in this case the fugue. The performers also give concerts using this format.
One issue that the book raises is that of the continuing discussion about the forces that should be used to perform Bach’s cantatas. The choice for this performance is one singer per part. There are various arguments in support of this - and plenty against - but the recording demonstrates the flexibility and delicacy that individual singers can bring to the table. The fabulous counterpoint of the first movement of Ein Feste Burg is skilfully woven by the singers and instrumentalists in perfect balance. The chorale melody, played by the pedal reed, cuts through the texture but doesn’t overpower the singers. The same forces treat the second cantata, Christ lag in Todesbanden, in a sensitive manner and the way in which each part is equal in the accelerando is very commendable. This is a direct contrast to the recording by the Amsterdam Baroque Orchestra and Ton Koopman (Challenge Classics CC 72201) which uses large forces and therefore there is far less control over the accelerando. Although, given that during this “service” the choir are performing J.C. Bach’s double motet, one could assume that Bach would have used eight singers if they happened to be available.
The motet, written by Bach’s great-uncle, is a very enjoyable piece. The intonation and accompaniment are spot-on. The only criticism is that sometimes the harsh consonants are exaggerated unnecessarily which interrupts the flow of the line; however, the diction is very clear which is preferable to the other extreme.
The organ works on this disc are performed on the recently restored Silbermann organ at St. Georgenkirche Glauchau. The sounds produced are well chosen by the performer; the book is unclear about who this is, either Pieter-Jan Belder or Leo van Doeselaar. The “Silbermann” tuning takes a little getting used to but certainly emphasises modulations in the first chorale prelude Dies sind die hel’gen zehn Gebot. The Dorian Toccata and Fugue is very enjoyable and displays the perfect balance of the instrument’s divisions in the Toccata. The Fugue is taken at an unhurried pace and the articulation of the pedal means that the parts are well balanced. The player could have enjoyed moments of tension more by slowing into them, but this is a very majestic performance and ends the programme with gravitas.–Hannah Parry-Ridout
Performer:
Gesualdo Consort Amsterdam
Musica Amphion
Pieter-Jan Belder, general musical direction
Track List:
Johann Sebastian Bach (1685-1750)
01. Toccata and Fugue, for organ in D minor ("Dorian"), BWV 538 (BC J38): Toccata
Cantata No. 80, "Ein feste Burg ist unser Gott," BWV 80 (BC A183)
02. Ein feste Burg ist unser Gott
03. Alles, was von Gott geboren
04. Erwäge doch, Kind Gottes
05. Komm in mein Herzenshaus
06. Un wenn die Welt voll Teufel wär
07. So stehe dann bei Christi
08. Wie selig sind doch die
09. Das Wort sie sollen lassen stahn
10. Dies sind die heilgen zehn Gebot (II), chorale prelude for organ (Clavier-Übung III No. 11), BWV 678 (BC K10)
Johann Christoph Bach (1642-1703)
11. Merk auf, mein Herz, und sieh dorthin, motet for double chorus (formerly attrib. to J.S. Bach, BWV Anh. 163)
Johann Sebastian Bach
12. Christ lag in Todesbanden (II), chorale prelude for organ, BWV 718 (BC K119)
Cantata No. 4, "Christ lag in Todes Banden," BWV 4 (BCA 54)
13. Sinfonia
14. Christ lag in Todesbanden
15. Den Tod niemand zwingen kunnt
16. Jesus Christus, Gottes Sohn
17. Es war ein wunderlicher Krieg
18. Hier ist das rechte Osterlamm
19. So feiern wir das hohe Fest
20. Wir essen und leben wohl
21. Toccata and Fugue, for organ in D minor ("Dorian"), BWV 538 (BC J38): Fuge
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Musica Amphion / Bach in Context: Bach & Luther
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==== Log checksum 8C6C3EC76F9EFAED1C79B00544DE37EED38CDDCEDC0EA5ECDAE0D19D0DC18815 ====
Pieter-Jan Belder, Musica Amphion, Gesualdo Consort Amsterdam - Bach In Context: Bach & Luther (2012)
Thanks to the original releaser