Bach: Solo Cantatas and Concerto for Oboe

Description

"... quelles couleurs et quelle implication émotionnelle de la part de Emma Kirkby ! L'Orchestre baroque de Freiburg y participe par son interprétation fine et sensible." Fono Forum 3/00


Récompensé par le Gramophone - Editor's Choice

Acheter

disque compact

83.302/00
12,5 x 14 cm, CD dans un écrin
EUR19,90 / Ex.
disponible

Informations produit

Contenu

3 Œuvre Afficher

chef d'orchestre

Gottfried von der Goltz Plus d'information sur la personne

ensemble

Freiburger Barockorchester Plus d'information sur la personne

solist - soprano

Emma Kirkby Plus d'information sur la personne

solist - flûte

Karl Kaiser Plus d'information sur la personne

solist - hautbois

Katharina Arfken Plus d'information sur la personne

Critiques

 

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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