Solo Cantatas and Concerto for Oboe
“… what tone coloring and what emotional involvement by Emma Kirkby. The sensitive performance by the Freiburger Barockorchester plays a large part.”
Awarded the Gramophone - Editor's Choice
Listen
(10)
- Aria: Stumme Seufzer, stille Klagen
- Aria: Tief gebückt und voller Reue
- Choral: Ich, dein betrübtes Kind
- Aria: Wie freudig ist mein Herz
- Allegro
- Adagio
- Allegro
- Aria
- Aria: Schlummert ein, ihr matten Augen
- Aria: Ich freue mich auf meinen Tod
Contents
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Composer
Johann Sebastian Bach
| 1685-1750Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.
Bach vocal
Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
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Preface writer
Peter Wollny
| 1961
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Ensemble
Freiburger Barockorchester
The Freiburger Barockorchester (Freiburg Baroque Orchestra, FBO) can look back on a success story lasting over 25 years: From student beginnings, within a few years an internationally-recognized orchestra developed which now performs regularly at leading concert halls and opera houses. Since May 2012 the “Freiburger”, together with their colleagues from ensemble recherche, have been able to enjoy an internationally unique home: the Ensemblehaus Freiburg, a music workshop and think tank for two top ensembles in the early and contemporary music scene under one roof. The FBO continuously collaborates with important artists such as René Jacobs, Andreas Staier, Jean-Guihen Queyras, Isabelle Faust, Kristian Bezuidenhout, Christian Gerhaher, and Pablo Heras-Casado. The artistic success of these musical partnerships is manifested in numerous CD productions and the receipt of prominent awards, such as the ECHO Classical German Music Prize 2011, 2012, 2013, and 2014, the Edison Classical Music Award 2012 and 2013, the Gramophone Award 2011 and 2012, as well as the Jahrespreis der Deutschen Schallplattenkritik 2009. Under the artistic directorship of its two concert-masters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents itself with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a selfadministrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world. Personal details
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Conductor
Gottfried von der Goltz
Gottfried von der Goltz has made a respected international name for himself as a Baroque violinist and Artistic Director of the Freiburger Barockorchester. As was common during the 18th century, he leads the FBO from the platform of the concertmaster. He also occasionally swaps the violin for the baton as, for example, in the Freiburger Barockorchester’s Beethoven Series which stretched over a period of many years. Gottfried von der Goltz made the specialist world sit up and take notice with successful CD recordings of the regrettably long-forgotten music of the Dresden Baroque and Bach’s sons. Nevertheless, he does not want to restrict himself to being a specialist in a particular repertoire. His diverse discography, ranging from the 17th century to the modern, shows instead that he is a tremendously versatile and flexible musician. In addition to his multi-layered chamber music engagements, Gottfried von der Goltz is Artistic Director of the Norsk Barokkorkesters. As a Professor, he is also a sought after teacher of Baroque and modern violin at the Hochschule für Musik in Freiburg. Personal details
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Soloist - soprano
Emma Kirkby
| 1949
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Soloist - flute
Karl Kaiser
Karl Kaiser studied flute, transverse flute and musicology at the music conservatories in Cologne and Münster. He has gone on to perform as a soloist, chamber, and orchestral musician in the field of historically-informed performance practice, and has established himself as an outstanding teacher. He has made numerous CDs. Kaiser has been a member and soloist of the Freiburg Baroque Orchestra for many years, and has been flutist of Camerata Köln for 30 years. Karl Kaiser is a founding member of the orchestra La Stagione Frankfurt, and flutist in the Ardinghello Ensemble for romantic chamber music. He is Professor of Transverse Flute at Frankfurt University of Music and Performing Arts and the Freiburg Musikhochschule. 2010 saw the publication of his book “Basiswissen Barockmusik”, followed by his “Principes de la flûte” on Jacques Hotteterre’s theories at the beginning of 2014. Personal details
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Soloist - oboe
Katharina Arfken
Reviews
Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry
Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry
One of the world’s brightest Baroque ensembles performing with one of the world’s most admired Baroque sopranos sounds an enticing proposition, and so it should. What is more, the solo cantatas on otter here are two of Bach’s most moving: ”Ich habe genug”, that serene contemplation of the afterlife; and ”Mein Herze schwimmt im Blut”, a relatively early work with a text which moves from the wallowing self-pity of the sinner to joyful relief in God’s mercy. Each contains music of great humanity and beauty, and each, too, contains an aria of aching breadth and nobility – the justly celebrated ”Schlummert ein” in the case of ”Ich habe genug”, and in ”Mein Herze” the humble but assured supplication of ”Tief gebückt”. This aria alone ought to make the cantata a more familiar one, but there is plenty more to recommend it, including a grief-laden first aria with obbligato oboe, a dignified chorale with obbligato cello, and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkby, who, thrillingly virtuosic though she can be, is perhaps at her best in this kind of long-breathed, melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into it, and Kirkby’s allows her to share vibrato-less long notes and phrases with utter security and, ravishing vocal quality, with only the occasional high note sounding slightly pinched. Above all, however, her intelligence and unfailing attention to text are a lesson to all; in ”Schlummrt ein”, the way her voice subsides almost to nothing, retreating into the orchestral texture at ”fallet sanft” (fall asleep), is entrancing. The support of the Freiburg Baroque Orchestra is total, combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they ‚playing the words’. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfken, furthermore, are outstandingly musical. And if that were not enough, the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloom, clarity and internal balance, and you have a CD to treasure.
Lindsay Kemp
Quelle: Gramophone November 2001, S. 4
Johann Sebastian Bach, Kantaten
Mit dieser außerordentlich schönen Einspielung präsentieren die brillante Emma Kirkby und das ihr in nichts nachstehende Freiburger Barockorchester unter Gottfried von der Goltz eine selten gespielte Kantate (BWV 199, entstanden 1713), mit der Bach in seiner Weimarer Zeit musikalisches Neuland betreten hat: Gesteigerte Expressivität und großzügig ausschweifende Melodiephrasen kennzeichnen einen neuartigen Kantatenstil. Die Kantate BWV 82 (1727) wird in dieser Aufnahme erstmals in ihrer späteren Fassung (1731) für Traversflöte und Sopran vorgestellt. Das Concerto BWV 1060 ist lediglich in einer Fassung für zwei Cembali und Orchester überliefert, doch offensichtlich handelt es sich hierbei um eine Bearbeitung eines verschollenen Doppelkonzertes für Oboe und Violine. In jedem Fall lohnt sich die Begegnung mit diesen hörenswerten Meisterwerken.
Quelle: Musica Sacra 5/2000, S. 43
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