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Religieuze cantates - Verschenen op 21 april 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Religieuze cantates - Verschenen op 14 juni 2019 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz
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Religieuze cantates - Verschenen op 16 februari 2018 | Mirare

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Diapason d'or / Arte
The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written. For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty. Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz
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Religieuze cantates - Verschenen op 18 november 2013 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Religieuze cantates - Verschenen op 12 januari 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
An icon of French Romanticism thanks to the enduring popularity of his operas Faust and Roméo et Juliette, Charles Gounod competed three times for the prestigious Prix de Rome between 1837 and 1839. Thus he composed three unpublished cantatas for soloists and orchestra, including Marie Stuart et Rizzio and La Vendetta, which he never had the opportunity to hear in performance. Revealed for the first time, these three cantatas, fine examples of French Romanticism, show a young composer with a remarkable flair for opera. In the end Fernand won him the coveted prize, carrying with it the privilege of a three-year stay (from 1840) at the Villa Medici in Rome. While there he produced several sacred compositions, which have also remained unknown until now. His splendid Messe vocale for unaccompanied choir, written in a neo-Palestrinian style, deserves a place on the programme of every vocal ensemble. © Palazzetto Bru Zane
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Religieuze cantates - Verschenen op 20 januari 2009 | harmonia mundi

Onderscheidingen 9 de Classica-Répertoire - Exceptional sound
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Religieuze cantates - Verschenen op 1 oktober 2010 | SDG

Onderscheidingen Diapason d'or
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Religieuze cantates - Verschenen op 13 november 2009 | deutsche harmonia mundi

Onderscheidingen 3F de Télérama
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Religieuze cantates - Verschenen op 22 juni 2018 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Religieuze cantates - Verschenen op 11 april 2014 | Berlin Classics

Booklet Onderscheidingen 5 de Diapason
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Religieuze cantates - Verschenen op 27 november 2015 | deutsche harmonia mundi

Booklet Onderscheidingen 5 de Diapason
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Religieuze cantates - Verschenen op 20 april 2018 | Audax

Hi-Res Booklet Onderscheidingen 5 de Diapason
Continuing their research into the vast hinterland of German cantatas from the early baroque period, Johannes Pramsohler and the musicians of his excellent Diderot Ensemble here dive into the austere and strange music of Biber, but also the less-well-known works of Johann Christoph Bach, great uncle of Johann Sebastian and musicians like Pachelbel, Bruhns and Eberlin. Johannes Pramsohler brings a particular fire and mystical sensuality to this new album (heavenly and earthly delights never being so far apart), and intense celestial flights to his violin playing. A range of international singers have left behind opera and dived with staggering ease into a completely different repertoire. The architects of this success, the supply and airy voice of the Canadian mezzo Andrea Hill, the perfectly gloomy timbre of Spanish tenor Jorge Navarro Colorado and the dark colours of the Argentine bass Nahuel di Pierro, sound the depths of this music driven by a great piety. © François Hudry/Qobuz
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Religieuze cantates - Verschenen op 30 september 2008 | Chandos

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Religieuze cantates - Verschenen op 31 juli 2007 | harmonia mundi

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Religieuze cantates - Verschenen op 1 september 2010 | SDG

Booklet
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Religieuze cantates - Verschenen op 27 april 2001 | Mirare

Booklet
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Religieuze cantates - Verschenen op 31 juli 2007 | harmonia mundi

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Religieuze cantates - Verschenen op 22 januari 2010 | Sony Classical

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Religieuze cantates - Verschenen op 18 oktober 2010 | Bayard Musique

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Religieuze cantates - Verschenen op 1 juni 2009 | Bayard Musique