Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement non disponible
Langue disponible : anglais
The great oratorios and Passion settings of the High Baroque are effective in part because they successfully combine various forms of musical discourse; they draw on opera, on chorales and other forms of devotional music, on pastoral themes (where would Messiah be without those?), on political and military ideas, and more. In order for Bach and Handel to accomplish what they did, someone had to carve out a space in the sacred music sphere for them. Hamburg composer Reinhard Keiser, best known (when he is known at all) for his operas, was one of these figures, and this release from the specialist German label CPO, which has embarked on an intriguing project covering two centuries of church music from the Hanseatic city, does a top-notch job of illuminating the ways he did it and the circumstances under which he did it. The booklet notes (in English and German) by conductor Thomas Ihlenfeldt concisely and entertainingly explain the factors in play: arrayed against the musically conservative clergy of the city's large churches were smaller churches and also its cathedral, which was partly under foreign (for a time Swedish) control. And Hamburg was full of talented opera singers eager for work during periods (such as Lent) when theaters were closed. The three works here, collectively designated as Passion music but including a motet, a partial Passion setting, and a series of arias entitled Seelige Erlösungs-Gedancken (Thoughts on the Soul's Redemption), all anticipate the forms and modes of expression used by Bach, and especially Handel. All are made up of recitatives and arias, with the first two framed by very brief choruses and choral exclamations from the crowd, like those in Bach's or Schütz's settings, in Wir gingen alle in der Irre, setting material from the Passion According to Luke. The recitatives in this work are noteworthy in their depth and variety, but perhaps the most interesting are the Seelige Erlösungs-Gedancken, which have a reflective and inward tone suggesting that Keiser knew the slightly older and often magnificent chamber sacred music of Buxtehude. The performers, with an unusual variety of international backgrounds, turn in generally strong efforts; the quiet warmth of mezzo-soprano Olivia Vermeulen is especially in tune with the expressive dimensions of the music. Tenor Knut Schoch will be familiar to buyers of parts or the entire Bach cycle on the budget Brilliant label. The choruses are sung with one voice per part, simply by the assembled soloists, and indeed music like this, where the chorus doesn't really have much to do, provides a decent argument for the one-voice-per-part procedure (it's much more troublesome in chorale-based music like Bach's). A very strong outing from CPO's adventurous catalog, and it makes one want to check out other releases in the Hamburg series.
© TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de CHF 14,99/mois
Ich liege und schlafe ganz mit Frieden (Reinhard Keiser)
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Julian Podger, tenor - Raimonds Spogis, baritone - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor
2010 CPO 2010 CPO
Wir gingen alle in die Irre (Reinhard Keiser)
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Julian Podger, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Olivia Vermeulen, alto - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Seelige Erlosungs-Gedancken (Reinhard Keiser)
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Thomas Ihlenfeldt, Conductor - Knut Schoch, tenor - Raimonds Spogis, baritone - Doerthe Maria Sandmann, soprano - Capella Orlandi Bremen, Ensemble - Thomas Ihlenfeldt, Conductor - Matthias Jahrmarker, bass
2010 CPO 2010 CPO
Chronique
The great oratorios and Passion settings of the High Baroque are effective in part because they successfully combine various forms of musical discourse; they draw on opera, on chorales and other forms of devotional music, on pastoral themes (where would Messiah be without those?), on political and military ideas, and more. In order for Bach and Handel to accomplish what they did, someone had to carve out a space in the sacred music sphere for them. Hamburg composer Reinhard Keiser, best known (when he is known at all) for his operas, was one of these figures, and this release from the specialist German label CPO, which has embarked on an intriguing project covering two centuries of church music from the Hanseatic city, does a top-notch job of illuminating the ways he did it and the circumstances under which he did it. The booklet notes (in English and German) by conductor Thomas Ihlenfeldt concisely and entertainingly explain the factors in play: arrayed against the musically conservative clergy of the city's large churches were smaller churches and also its cathedral, which was partly under foreign (for a time Swedish) control. And Hamburg was full of talented opera singers eager for work during periods (such as Lent) when theaters were closed. The three works here, collectively designated as Passion music but including a motet, a partial Passion setting, and a series of arias entitled Seelige Erlösungs-Gedancken (Thoughts on the Soul's Redemption), all anticipate the forms and modes of expression used by Bach, and especially Handel. All are made up of recitatives and arias, with the first two framed by very brief choruses and choral exclamations from the crowd, like those in Bach's or Schütz's settings, in Wir gingen alle in der Irre, setting material from the Passion According to Luke. The recitatives in this work are noteworthy in their depth and variety, but perhaps the most interesting are the Seelige Erlösungs-Gedancken, which have a reflective and inward tone suggesting that Keiser knew the slightly older and often magnificent chamber sacred music of Buxtehude. The performers, with an unusual variety of international backgrounds, turn in generally strong efforts; the quiet warmth of mezzo-soprano Olivia Vermeulen is especially in tune with the expressive dimensions of the music. Tenor Knut Schoch will be familiar to buyers of parts or the entire Bach cycle on the budget Brilliant label. The choruses are sung with one voice per part, simply by the assembled soloists, and indeed music like this, where the chorus doesn't really have much to do, provides a decent argument for the one-voice-per-part procedure (it's much more troublesome in chorale-based music like Bach's). A very strong outing from CPO's adventurous catalog, and it makes one want to check out other releases in the Hamburg series.
© TiVo
À propos
- 1 disque(s) - 42 piste(s)
- Durée totale : 01:18:58
- 1 Livret Numérique
- Artistes principaux : Thomas Ihlenfeldt
- Compositeur : Reinhard Keiser
- Label : CPO
- Origine : Allemagne
- Genre : Classique Musique vocale sacrée
- Période : Musique Baroque
2010 CPO 2010 CPO
Améliorer les informations de l'albumPourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.