Bach Magnificat; Cantata No.80
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Harmonia Mundi
Magazine Review Date: 1/1991
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: HMC40 1326
Tracks:
| Composition | Artist Credit |
|---|---|
| Magnificat |
Johann Sebastian Bach, Composer
(La) Chapelle Royale Orchestra Agnès Mellon, Soprano Barbara Schlick, Soprano Gérard Lesne, Alto Ghent Collegium Vocale Howard Crook, Tenor Johann Sebastian Bach, Composer Peter Kooy, Bass Philippe Herreweghe, Conductor |
| Cantata No. 80, 'Ein feste Burg ist unser Gott' |
Johann Sebastian Bach, Composer
(La) Chapelle Royale Orchestra Barbara Schlick, Soprano Gérard Lesne, Alto Ghent Collegium Vocale Howard Crook, Tenor Johann Sebastian Bach, Composer Peter Kooy, Bass Philippe Herreweghe, Conductor |
Composer or Director: Johann Sebastian Bach
Label: Harmonia Mundi
Magazine Review Date: 1/1991
Media Format: CD or Download
Media Runtime: 53
Mastering:
DDD
Catalogue Number: HMC90 1326
Tracks:
| Composition | Artist Credit |
|---|---|
| Magnificat |
Johann Sebastian Bach, Composer
(La) Chapelle Royale Orchestra Agnès Mellon, Soprano Barbara Schlick, Soprano Gérard Lesne, Alto Ghent Collegium Vocale Howard Crook, Tenor Johann Sebastian Bach, Composer Peter Kooy, Bass Philippe Herreweghe, Conductor |
| Cantata No. 80, 'Ein feste Burg ist unser Gott' |
Johann Sebastian Bach, Composer
(La) Chapelle Royale Orchestra Barbara Schlick, Soprano Gérard Lesne, Alto Ghent Collegium Vocale Howard Crook, Tenor Johann Sebastian Bach, Composer Peter Kooy, Bass Philippe Herreweghe, Conductor |
Author: Nicholas Anderson
Philippe Herreweghe continues his exploration of Bach's choral works with a performance of the Magnificat in its later, more usually heard D major version, and the cantata, Ein feste Burg ist unser Gott. Herreweghe's approach is characterized by a marked elegance, a pleasing sense of poise and a refusal to be hurried. These are strong features of the performances and can be heard at their most persuasive in movements such as the ''Et misericordia'' where such gestures can only enhance the natural grace of the music. Similarly, I liked the calm, unhurried pace of the ''Esurientes'', well sung by Gerard Lesne. Perhaps the ''Suscepit Israel'' is a shade too slow for my taste but, none the less it is beautifully sung. The fugal chorus ''Sicut locutus est'' comes over with admirably clear textures and, once again, Herreweghe underlines the sheer textural beauty of the piece. But I certainly wanted a more joyful sounding ''Gloria'' than we have here. The singing is fine but the spirit of the piece is surely misjudged.
The Cantata is basically a Weimar composition to which Bach made changes and additions for performance at Leipzig. No autographs have been preserved but among the surviving copies, that by Bach's son-in-law, Altnickol, is generally considered the most reliable. Sometime after Bach's death his eldest son, Wilhelm Friedemann, made substantial alterations to the two largest choral movements of the work, adding trumpets and a kettledrum to his father's orchestra of oboes and strings. This is still the version by which the Cantata is best known and it is the one that Herreweghe has chosen to perform. Brass and timpani unquestionably emphasize and complement the spirit of Luther's mighty hymn on which the Weimar court librarian, Salomo Franck, based his text, but my preference is always for the original version. Having said that, I have little but praise for this singing and playing. Textures are clear, the continuo line light of tread and tempos effectively chosen. The soloists are splendid and there are especially rewarding contributions from Barbara Schlick and Howard Crook. Occasional weak moments in the brass section, both here and in the Magnificat, hardly diminished my enjoyment of the whole. In spite of small doubts and reservations a fine achievement and an effectively spacious recorded sound.'
The Cantata is basically a Weimar composition to which Bach made changes and additions for performance at Leipzig. No autographs have been preserved but among the surviving copies, that by Bach's son-in-law, Altnickol, is generally considered the most reliable. Sometime after Bach's death his eldest son, Wilhelm Friedemann, made substantial alterations to the two largest choral movements of the work, adding trumpets and a kettledrum to his father's orchestra of oboes and strings. This is still the version by which the Cantata is best known and it is the one that Herreweghe has chosen to perform. Brass and timpani unquestionably emphasize and complement the spirit of Luther's mighty hymn on which the Weimar court librarian, Salomo Franck, based his text, but my preference is always for the original version. Having said that, I have little but praise for this singing and playing. Textures are clear, the continuo line light of tread and tempos effectively chosen. The soloists are splendid and there are especially rewarding contributions from Barbara Schlick and Howard Crook. Occasional weak moments in the brass section, both here and in the Magnificat, hardly diminished my enjoyment of the whole. In spite of small doubts and reservations a fine achievement and an effectively spacious recorded sound.'
Bach Magnificat; Cantata No.80
Bach Magnificat; Cantata No.80
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