JOHANN SEBASTIAN BACH Easter Oratorio, BWV 249
Orchestra of the Eighteenth Century Frans Brüggen
Ilse Eerens, sopranoMichael Chance, altoMarkus Schäfer, tenorDavid Wilson-Johnson, bassPieter-Jan Belder, organ Cappella Amsterdam Orchestra of the Eighteenth Century Frans Brüggen
Total playing time: 58:33 Recorded live in Amsterdam (Muziekgebouw aan ’t IJ) and Utrecht (Vredenburg Leidsche Rijn), Netherlands, in April 2011 Engineered and produced by Studio van Schuppen Executive producers: Sieuwert Verster & Carlos Céster Design: Valentín Iglesias Booklet essay: Anselm HartingerEnglish - Français - Deutsch
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JOHANN SEBASTIAN BACH (1685-1750)
I. Organ Concerto, after BWV 35 & 156
01 (Allegro) 02 Adagio03 Presto
II. Easter Oratorio, BWV 249
04 Sinfonia05 Adagio 06 Chorus: “Kommt, eilet und laufet” 07 Recitativo: “O kalter Männer Sinn”08 Aria: “Seele, deine Spezereien”09 Recitativo: “Hier ist die Gruft” 10 Aria: “Sanfte soll mein Todeskummer” 11 Recitativo: “Indessen seufzen wir” 12 Aria: “Saget, saget mir geschwinde” 13 Recitativo: “Wir sind erfreut” 14 Chorus “Preis und Dank bleibe, Herr”
About this CD
Remaining faithful to their tradition of making live recordings during the course of their concert tours, Frans Brüggen and the Orchestra of the 18th Century now come forward with the results of concerts given by them in the spring of last year with Johann Sebastian Bach’s Easter Oratorio as the centrepiece of the new release. With Ilse Eerens, Michael Chance, Markus Schäfer and David Wilson-Johnson as the vocal soloists, and with the faithful Cappella Amsterdam responsible for the choruses, Brüggen and his legendary ensemble once again demonstrate why they have been – and continue to be – one of the pillars of the historically-informed performance movement, which from the final quarter of the 20th century onwards, has stirred up so radically the way of hearing music composed before 1800.
On the other hand, Brüggen has never championed another practice which has become established, for a variety of reasons, in recent years – that of one voice-per-part – which reduces the choral interventions to their minimum form of expression; for which his version of the Easter Oratorio, like with his recent recordings on Glossa of the Mass in B minor and the St John Passion, provides a set of contrasts in tone colours highlighting yet more (if this is possible), the great beauty of the composition.
To complete the disc there is a ‘hypothetical’ Organ Concerto, brought together from instrumental movements from Cantatas, BWV35 and 156, following on from an idea by Frans Brüggen himself which comes with a solid documentary basis in the erudite programme notes supplied by Anselm Hartinger, a music scholar at the Schola Cantorum Basiliensis.
How has the orchestra’s approach to the Beethoven symphonies evolved over the years?
This is a discussion that is very much alive in the orchestra: when we first started, we had no repertoire. So, with every piece that we were approaching we had to work and to discuss, in the old-fashioned way. For years we worked like this, never doing more than one Beethoven symphony in a year – and then we played it over and over again. So, it took us twelve years before we completed the cycle with the Ninth. If you play such pieces again after so many years, things start to change: tempi have changed and whereas we had always been arrogant about all those conductors, who after a certain period of time, decided to rerecord pieces, we – the orchestra members and me personally – now think that it is a good idea to do it again. [read more...]