Noble Christmas music by a son of Bach: these world-premiere recordings of works by C. P. E. Bach represent two different periods of his career. Throughout his whole life C. P. E. Bach regarded the 1749 Leipzig early version of his Magnificat as one of his most important works. It contains all the elements which aesthetics of the time demanded of a large-sclae sacred composition: nobility, dignity, polyphonic and concertante choruses, deeply-felt arias, and a great concluding double fugue. The festive music Die Himmel erzählen die Ehre Gottes was written during Bach’s later years as director of music in Hamburg. The Basler Madrigalisten, L’arpa festante and well-known soloists, under the direction of Fritz Näf, give a commanding and enthralling interpretation of these works by C. P. E. Bach.
Explore
Listen
(17)
- Purchase the work as a CD or download.
- Die Himmel erzählen die Ehre Gottes (Coro)
- Groß ist der Herr
- Wohin mein Auge blickt
- Groß ist der Herr
- Welch ein Gesang
- Also hat Gott die Welt geliebt
- Du bist gekommen
- Seid mir gesegnet
- Magnificat anima mea
- Quia respexit
- Quia fecit
- Et misericordia
- Fecit potentiam
- Deposuit potentes
- Suscepit Israel
- Gloria patri
- Sicut erat in principio
Additional material
-
Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)1. Tutti: Magnificat (SATB) Magnificat anima mea Dominum,
et exultavit spiritus meus in Deo salutari meo.2. Aria: Quia respexit (Soprano) Quia respexit humilitatem ancillae suae.
Ecce enim ex hoc beatam me dicent omnes generationes.3. Aria: Quia fecit mihi magna (Tenore) Quia fecit mihi magna, qui potens est,
et sanctum nomen eius.4. Tutti: Et misericordia eius Et misericordia eius a progenie in progenies
timentibus eum.5. Aria: Fecit potentiam (Basso) Fecit potentiam in brachio suo,
dispersit superbos mente cordis sui.6. Duetto: Deposuit potentes de sede (Alto e Tenore) Deposuit potentes de sede,
et exaltavit humiles.
Esurientes implevit bonis
et divites dimisit inanes....
-
Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)
1. Tutti: Magnificat (SATB) All my spirit exalts the Lord,
and I sing joyously to my God, my own Saviour.2. Aria: Quia respexit (Soprano) For he hath regarded the humility of his handmaid:
for behold from henceforth all generations shall call me blessed.3. Aria: Quia fecit mihi magna (Tenore) Because he that is mighty hath done great things to me,
and holy is his name.4. Tutti: Et misericordia eius And his mercy is from generations unto generations,
to them that fear him.5. Aria: Fecit potentiam (Basso) He hath shewed might in his arm
and he hath scattered the proud in the conceit of their heart.6. Duetto: Deposuit potentes de sede (Alto e Tenore) He hath put down the mighty from their seat
and hath exalted the humble.
He hath filled the hungry with good things
and the rich he hath sent empty away....
-
Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
1. Tutti: Magnificat (SATB) Meine Seele erhebt den Herrn
und mein Geist freuet sich Gottes, meines Heilandes.2. Aria: Quia respexit (Soprano) Denn er hat die Niedrigkeit seiner Magd angesehen.
Siehe von nun an werden mich selig preisen alle Kindeskinder.3. Aria: Quia fecit mihi magna (Tenore) Denn er hat große Dinge an mir getan,
der da mächtig und des Name heilig ist.4. Tutti: Et misericordia eius Und seine Barmherzigkeit währet immer für und für
bei denen, die ihn fürchten.5. Aria: Fecit potentiam (Basso) Er übet Gewalt mit seinem Arm
und zerstreut, die hoffärtig sind in ihres Herzens Sinn.6. Duetto: Deposuit potentes de sede (Alto e Tenore) Er stößet die Gewaltigen vom Thron
...
-
Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.412
Christine Blanken
Translation (abridged): John CoombsUntil a few years ago Carl Philipp Emanuel Bach was completely overshadowed as a vocal composer by his father J. S. Bach. Most of the works of his Hamburg years (1768–1788) had been lost. Since 1999, when the archive of the Berlin Singakademie was discovered in Kiev, the picture has changed: C. P. E. Bach’s important instrumental music has been joined by many cantatas – including, above all, the “Quartalsmusiken” (music performed quarterly) for the great Church festivals – and Passions. His first great vocal work (following several lost pieces written during his student years at Frankfurt on Oder) dates from 1749. At that time Court harpsichordist at Potsdam, he probably composed the Magnificat to support his unsuccessful application for the post of Thomaskantor in Leipzig. His elder brother Wilhelm Friedemann (1710–1784) composed an Advent cantata at that time, also probably in connection with an application for a position in Leipzig.
The Magnificat was composed in 1749 and is a work with widely differing characteristics: brilliant coloratura arias and a duet are contrasted by a lyrical,
...
-
Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.412
Christine Blanken
Carl Philipp Emanuel Bach stand als Vokalkomponist bis vor wenigen Jahren ganz im Schatten seines Vaters, nur wenige Werke waren bekannt – darunter zwar zwei große Oratorien und zwei Passionsmusiken –, doch die Mehrzahl seiner Werke, vor allem aus der Hamburger Zeit (ab 1768), galt als verschollen. Seit dem Jahr 1999, als in Kiew das Archiv der Singakademie zu Berlin entdeckt wurde, hat sich das Bild gewandelt: Dem gewichtigen Instrumentalmusik-Œuvre treten nun zahlreiche Kantaten, „Quartalsmusiken“ zu den Kirchenfesten, Passion und andere Vokalmusik aus mehr als zwanzig Schaffensjahren gegenüber. Die während Bachs Frankfurter Studienzeit komponierten Kantataten bleiben allerdings weiterhin verschollen.
Mit dem Magnificat liegt das früheste erhaltene große Vokalwerk Carl Philipp Emanuel Bachs vor, komponiert im Jahre 1749. Bereits im Juni dieses Jahres, also noch zu Lebzeiten Johann Sebastian Bachs, hatte sich der Rat der Stadt Leipzig mit der Frage eines möglichen Nachfolgers für den schwer erkrankten Thomaskantor beschäftigt und hatte Gottlob Harrer aus Dresden mit der Gewährung einer
...
Purchase
Additional product information
-
Composer
Carl Philipp Emanuel Bach
| 1714-1788Carl Philipp Emanuel Bach (1714–1788) was an extremely prolific composer who enjoyed a high reputation during his lifetime with the result that his music became known far and wide. The early works were influenced by the Berlin School. In his later works, however, this composer developed a thoroughly individual style, independent of contemporary fashions, which is to be found especially in the sacred vocal works written during his years as Director of Music in Hamburg (1768–1788). Personal details
-
Preface writer
Christine Blanken
-
Ensemble
L'arpa festante Barockorchester
-
Ensemble
Basler Madrigalisten
Founded by Fritz Näf, the Basler Madrigalisten (Basel Madrigalists) sing in the most diverse formations, as soloists and as a small vocal ensemble. Their large repertoire extends from the early Renaissance to the modern period. Their main emphasis is on the preparation and (first) performance of contemporary works and the revival of works from the 15th to 18th centuries. The Basler Madrigalisten have participated in the world’s leading music festivals. Concert tours have taken the choir to nearly every European country, to Russia, the USA, Lebanon and the Far East. Their recordings have received various awards. They have repeatedly gained the sponsor’s award of the Ernst von Siemens musical foundation, and in 1998 they were given the sponsor’s prize of the European Economy. The Basler Madrigalisten are supported by the cantons of the city and district of Basel, the Artephila Foundation and other foundations. Personal details
-
Conductor
Fritz Näf
| 1943Fritz Näf studied solo singing at the Musikhochschule in Zurich and Freiburg/Breisgau and attended master courses given by Jenny Tourel and Ernst Haefliger. As a tenor he appeared in concerts in many parts of Europe, while continuing his studies as a choral and orchestral conductor. Between 1976 and 1986 he taught solo and ensemble singing at the Schola Cantorum Basiliensis, where he founded the Basle Madrigalists in 1978. Between 1986 and 2000 first he was director of the Winterthur Music School and Conservatory, and subsequently rector of the newly established Hochschule for Music and Theater in Zurich. Since December 2000 Fritz Näf has been full-time artistic director of the Swiss Chamber Choir (founded in 1997) and the Basle Madrigalists. He also continues to appear as a guest conductor with various choirs and orchestras. Personal details
-
Soloist - soprano
Monika Mauch
The soprano Monika Mauch studied singing initially with Richard Wistreich at the Institute of Early Music at the Musikhochschule Trossingen. She continued her training by studying for a year with Jill Feldman in Paris. Since the beginning of her singing career she has focused primarily on projects in the field of early music. She has worked with such leading ensembles as the Ricercar Ensemble, Taverner Consort, Red Byrd, the Hilliard Ensemble, L’arpa festante (Munich), the Ensemble Daedalus (Geneva), CordArte Ensemble (Cologne), and Montreal Baroque. Monika Mauch’s vocal achievements are documented on numerous radio and CD recordings. Her recordings for the Altbachische Archiv and the B minor Mass with Cantus Coelln and her “Morimur” CD with the Hilliard Ensemble have attracted especial attention. As a concert singer Monika Mauch works on a regular basis with conductors such as Roland Wilson, Manfred Cordes, René Jacobs and Philippe Herreweghe. Personal details
-
Soloist - alto
Matthias Rexroth
Matthias Rexroth studied in Karlsruhe and at the Schola Cantorum Basiliensis. He is the only countertenor to have won both the Francesco Viñas International Singing Competition in Barcelona and the International Hans Gabor Belvedere Singing Competition in Vienna. He made his operatic debut in Stuttgart in Purcell’s King Arthur. Engagements have included the title roles in Admeto at the Handel Festival in Halle, Giulio Cesare at the Oslo Opera, Der geduldige Sokrates under René Jacobs in Berlin and at the Innsbruck Festival of Early Music and in Ezio at the Düsseldorfer Hofmusik. In concert, Rexroth has performed under Harnoncourt, Muti, Luisi, Luisotti and Rilling and in 2000 as soloist in the worldwide TV and radio broadcast of the B Minor Mass with the Gewandhaus Orchestra, Leipzig. Personal details
-
Soloist - tenor
Hans Jörg Mammel
-
Soloist - bass
Gotthold Schwarz
Gotthold Schwarz received his first musical training at the Dresden Kirchenmusikschule and at the Hochschule für Musik Felix Mendelssohn Bartholdy in Leipzig. This bass studied singing with Gerda Schriever and conducting with Max Pommer and Hans-Joachim Rotzsch. He appears regularly throughout Europe with such celebrated artists as Frieder Bernius, Peter Schreier and Philippe Herreweghe. In additoin to his extensive concert activity, some of it in the USA, he has given courses in the interpretation of Bach’s works. Numerous CD and radio productions document his wide repertoire, which along with concert and opera singing includes song recitals featuring literature ranging from the baroque era to the present day. Personal details
Reviews
… eine oft temporeich mitziehende, dabei akustisch ausgewogene Einspielung mit einem klangschön, bewusst und präzise gestaltenden Solisten-Ensemble.
Felix Werthschulte, Musik & Kirche, März/April 2014 (Nr. 2)
Diese CD wirft ein neues Licht auf das Werk von Carl Philipp Emanuel Bach und stellt … ein wichtiges und hörenswertes Novum dar!
Anzeiger für die Seelsorge, 9/2010
Die Hamburger Komposition zeigt die Anforderungen, die der Musikgeschmack einer reichen Bürgerstadt stellte: Die Musik sollte elegant, leicht im Affekt, mit großen, repräsentativen Besetzungen sein - und Bach zeigt seine Fähigkeit, sich stilistisch zu integrieren, ohne seine Herkunft oder die eigenen ästhetischen Ideale zu leugnen.
Dr. Matthias Lange, klassik.com, 19.12.2008
Präzis im Zusammenspiel, detailgenau in Phrasierung und Artikulation sowie transparent im Klang: die 62 Minuten Musik nehmen unmittelbar gefangen. … Das damals von der Singakademie angestrebte Ideal einer "absoluten", nicht-liturgischen Musik, deren "Reinheit" zu Andacht und Kontemplation anregen sollte, ist in der Art und Weise dieser Einspielung erstaunlich gut getroffen.
Christian Albrecht, Musik&Liturgie, 2/09
I can recommend this as a gorgeous performance and recording of a masterpiece.
J. F. Weber, American Record Guide, June 2009
These excellent performances provide a much-needed glimpse into the oeuvre of a composer who much deserves a second hearing and who in turn provides a glimpse into a stylistically volatile period in history. Worth every penny.
Vicente Chavarria, Miami, Florida, Choral Journal, August 2009
Reviews on our website can only be submitted by customers with a registered user account. A check whether the rated products were actually purchased does not take place.
No feedback available for this product.
Frequent questions about this work
There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services!