Bach & Before: Music By Schein Schelle Kuhnau J.S.Bach

  • Codice: HPM012
  • Produttore: Hyphen Press Music
  • Codice del produttore: 5060184830119
  • Prezzo: 59,99 zł
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Muzyka Barokowa
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Wydawnicto Audiofilskie

opakowanie: digipackowe etui
opis: - ocena * * * * 1/2:
Zespół The Bach Players powstał 21 lat temu, w roku 1996 z inicjatywy młodziutkiej wówczas skrzypaczki Nicolette Moonen. Skład zespołu nigdy nie był stały - w zależności od potrzeb repertuarowych (wykonawczych i nagraniowych) mógł liczyć od trzech do dwudziestu pięciu nawet muzyków. Początkowo skupiali się na wykonywaniu sakralnych kantat Jana Sebastiana Bacha w tzw. pojedynczej obsadzie. Później, wraz ze wciąż pogłębianymi studiami muzykologicznymi inicjatorki i spiritus movens całego przedsięwzięcia, skupiali się raczej na powinowactwach, podobieństwach idei wykonawczych i kompozytorskich, tak geograficznych przestrzeni, jak i poszczególnych twórców, wciąż poszerzając kontekst ukazywanych zjawisk i doświadczeń.

Dziś śpiewacy i instrumentaliści tworzący The Bach Players to ekstraklasa wykonawców muzyki barokowej. Kierująca zespołem Nicolette Moonen to wykładowczyni Royal Academy of Music in London, studiowała z Jaapem Schröderem i Sigiswaldem Kuykenem, współpracowała z bodaj wszystkimi najważniejszymi europejskimi barokowymi orkiestrami jak Amsterdam Baroque Orchestra, English Baroque Soloists, Orchestre Révolutionnaire et Romantique, the Orchestra of the Age of Enlightenment. Szefowała Collegium Vocale Gent, La Chapelle Royale, Ex Cathedra, the European Union Baroque Orchestra, i English Touring Opera - trudno je wszystkie wymienić jednym tchem.

Na swoje najnowsze nagranie The Bach Players wybrali dwie kompozycje Johanna Hermanna Scheina - Geistliches Konzert "Nun komm der Heiden Heiland" i "Banchetto musicale", Suite No. 20 in E minor, kantatę i kanon Johanna Schella - "Aus der Tiefen" i "Nun komm der Heiden Heiland", kantatę Johanna Kuhnaua "Was Gott tut, das ist wohlgetan" i kantatę Jana Sebastiana Bacha "Die Elenden sollen essen", BWV 75.

Jak przyzwyczaili nas na wcześniejszych płytach, dla The Bach Players najbardziej interesujący jest muzyczny i historyczny kontekst. Po takie też, maksymalnie wierne źródłowym zapisom, instrumentarium sięga tu Nicolette Moonen nagrywając album przemyślanie zbudowany, kunsztowny, erudycyjny i doskonały wykonawczo.
Copyright © 1996-2017 Multikulti Project. All rights reserved

Editor's Info:
When J.S. Bach was given the post of Kantor at the Thomasschule in Leipzig he joined a long line of musicians in this position, among them Schein, Schelle, and Kuhnau. This disc provides recordings of their treatments of texts that Bach would also set, and demonstrates the extraordinary strength and beauty of German church music of those times. It concludes with the first cantata that Bach wrote after his Leipzig appointment. ‘Die Elenden sollen essen’ is a master-work, notable for its virtuosic trumpet part. This is a show-piece, and a fitting debut for his work at St Thomas’s.

This is the twelfth and final CD in the series of Bach Players CDs from Hyphen Press Music. Together they form an unusual perspective on J. S. Bach and the contexts in which he can be placed in European music.

Early Music Review:
Performance: 4/5
Recorded sound: 5/5
Booklet notes: 5/5
Overall presentation: 4/5

The Bach Players’ latest CD continues their imaginative pairings and leads to Cantata 75 by way of some of Bach’s predecessors as Kantor of the Thomaskirche in Leipzig.

Johann Hermann Schein, who died young, was born in the same year as Schütz (1586) and is represented by the Geistliches Konzert Nun komm der Heiden Heiland, a short motet with a figured bass part for organ, and Suite no. 20 in E minor from Banchetto Musicale. The five-part string playing here is a delight, and the cool, zingy chords are well tuned. Would a theorbo have been a nice addition in this piece?

From Johann Schelle, Kantor from 1677 to 1701, we have an instrumental canon on Nun komm der Heiden Heiland and a cantata Aus der Tiefen; and from Johann Kuhnau, Bach’s immediate predecessor, there is a more substantial cantata setting each of the six verse of the chorale Was Gott tut, das ist wohlgetan.

The Bach Players play and sing one-to-a-part, and their booklets, while listing the musicians, the timings, and the texts in German and English give most of the space to an essay by their excellent keyboard player, Silas Woolston. This one is typical, and by way of introducing the planning of the programme, manages to be both scholarly and informative: a pleasure to read.
The performances are good, and when I began to listen to the Schein motet, I was impressed by the increased clarity and blend of the singers since I heard them last. The accurate chording in the homophonic sections felt like an improvement on some of their more recent CDs and made me think how sensible it is to approach Bach from behind, as it were. Then the virtues of relatively clean singing can be carried through to the Bach, even if the plosive final consonant in ‘bestellt’ was surely not the best of which they are capable.

But that is not altogether the case. I notice that Rachel Elliott’s poise and accuracy in verse 4 of the Kuhnau is splendid, but she sometimes introduces a wobble on the final note of a phrase: I could understand this on the strong, penultimate note but surely not on the weak final note? It makes it sound as if she is running out of breath. This happens in the aria in BWV 75 as well, where this may – understandably – be the case at the end of the florid cantilenas! Nor is the rich-voiced Sally Bruce-Payne immune: in verse 5 of the Kuhnau, she allows what today’s singers are taught is expressive singing to win over the purity of the line. Balance and clarity are restored with a decent weight of organ tone and elegant but simple oboe playing in the final verse, but vibrato is an ornament in this period.

In the Bach, his first cantata after arrival in Leipzig, his hearers were treated to an extended two-part exposition of the where the opening verse of the Chorale Was Gott tut in an extended setting concludes each part, and the same chorale on the trumpet is the cantus firmus for a string sinfonia that opens Part 2. The trumpeter, Adrian Woodward, is splendid here and in the C major aria with the bass that follows, shading off his top C beautifully (singers take note!). However, in the opening chorus the singing style adopted in the Schein is abandoned from the first alto entry in favour of a more soloistic approach; even the nimble fugato has the singers of the upper lines pushing through their held notes in the 20th century style, though tenor and bass do better. I suspect that people find Bach so demanding that best intentions give way under the pressure of getting the notes, the text and matching the instruments’ sound into place. This is where the exacting preparation and leisurely rehearsal timetables of groups on the continent win over our under-financed system in this country.

I make these comments not in any carping sense, because I admire this group’s music-making; but I would like them to gain that fluency and unanimity of which I hope and believe they are capable, and especially the integration of their singing style with the instrumental character of their music-making.
by David Stancliffe

The Bach Players:
Rachel Elliott soprano
Sally Bruce-Payne alto
Thomas Hobbs tenor
Robert Davies bass
Adrian Woodward trumpet
James Eastaway oboe
Mark Radcliffe oboe
Alastair Mitchell bassoon
Nicolette Moonen violin & director
Anna Curzon violin
Oliver Wilson viola
Rachel Stott viola
Luise Buchberger cello
Silas Wollston organ / harpsichord

1. Johann Hermann Schein (1586–1630): Geistliches Konzert "Nun komm der Heiden Heiland"
2. Johann Hermann Schein (1586–1630): "Banchetto musicale", Suite No. 20 in E minor
3. Johann Schelle (1648–1701): Canon on "Nun komm der Heiden Heiland"
4. Johann Schelle (1648–1701): Cantata "Aus der Tiefen"
5. Johann Kuhnau (1660–1720): Cantata "Was Gott tut, das ist wohlgetan"
6. Johann Sebastian Bach (1685–1750): Cantata "Die Elenden sollen essen", BWV 75

wydano: 2017-10
nagrano: Recorded at St Michael’s Church, Highgate, London, November 2015

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