Bach Cantatas
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Capriccio
Magazine Review Date: 9/1989
Media Format: CD or Download
Media Runtime: 53
Mastering:
DDD
Catalogue Number: 10 151

Tracks:
Composition | Artist Credit |
---|---|
Cantata No. 55, 'Ich armer Mensch, ich Sündenkne |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Leipzig New Bach Collegium Musicum Leipzig University Choir Max Pommer, Conductor Peter Schreier, Tenor |
Cantata No. 84, 'Ich bin vergnügt mit meinem Gl |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Leipzig New Bach Collegium Musicum Leipzig University Choir Max Pommer, Conductor Venceslava Hruba-Freiberger, Soprano |
Cantata No. 199, 'Mein Herze schwimmt im Blut' |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Leipzig New Bach Collegium Musicum Leipzig University Choir Max Pommer, Conductor Venceslava Hruba-Freiberger, Soprano |
Composer or Director: George Frideric Handel
Label: Classics
Magazine Review Date: 6/1990
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: 1015-2

Tracks:
Composition | Artist Credit |
---|---|
Water Music |
George Frideric Handel, Composer
Consort of London George Frideric Handel, Composer Robert Haydon Clark, Conductor |
Author: John Duarte
All this goes unremarked in the minimal annotation, which does however mention that the King was so pleased with what he had heard that he demanded its repetition, twice before and once after supper. A further surprise comes in the description of what sounds remarkably like the second Minuet (Trio) of the Suite in G as a Bourree, separately banded together with the reprise of Minuet I. Differences of opinion as to the speeds and apt titles of the undesignated movements are part of the water-musical game, as they are in this playing of it, but it would be interesting to know by what means this one was arrived at!
Whatever the labels, the products are first class: the tempos seem fitting and comfortable; the Ouverture of the Suite in F is not to be judged by its long playing time—both sections are repeated. The playing of both strings and wind is crisp, spirited and, where called for, full-toned but not overly so—the strings keep plumminess at arm's length; the harpsichord is reduced to a distant tinkle, as it probably was on that summer night in 1717. In terms of style it is admirable, with sharply pointed dotted rhythms, occasional inegales, and some graceful embellishment of the oboe soloist's line in the Adagio e staccato of the Suite in F. In all respects this is the best middle-of-the-road recording of this music to date.'
Discover the world's largest classical music catalogue with Presto Music.

Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.