Ricercar Consort - Philippe Pierlot J.S. Bach : Consolatio

J.S. Bach : Consolatio

Ricercar Consort - Philippe Pierlot

Hi-Res 24-bit – 96.00 kHz

Includes: 1 Digital booklet

Released on February 16, 2018 by Mirare

Main artist: Philippe Pierlot

Genre: Classical > Sacred Vocal Music > Cantatas (sacred)

Distinctions: Diapason d'or / Arte (June 2018) - Gramophone Editor's Choice (June 2018)

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Album : 1 disk - 24 tracks Total length : 01:06:03

    Cantata, BWV 75 "Die Elenden sollen essen" (Johann Sebastian Bach)
  1. 1 Prima parte: I. Chorus. Die Elenden sollen essen

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  2. 2 Prima parte: II. Recitativo. Was hilft des Purpurs Majestät (Bass)

    Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  3. 3 Prima parte: III. Aria. Mein Jesus soll mein alles sein (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  4. 4 Prima parte: IV. Recitativo. Gott stürzet und erhöhet (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  5. 5 Prima parte: V. Aria. Ich nehme mein Leiden mit Freuden auf mich (Soprano)

    Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  6. 6 Prima parte: VI. Recitativo. Indes schenkt Gott ein gut Gewissen (Soprano)

    Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  7. 7 Prima parte: VII. Chorale. Was Gott tut, das ist wohlgetan

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  8. 8 Seconda parte: VIII. Sinfonia

    Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  9. 9 Seconda parte: IX. Recitativo. Nur eines kränkt ein christliches Gemüte (Alto)

    Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  10. 10 Seconda parte: X. Aria. Jesus macht mich geistlich reich (Alto)

    Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  11. 11 Seconda parte: XI. Recitativo. Wer nur in Jesu bleibt (Bass)

    Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  12. 12 Seconda parte: XII. Aria. Mein Herze glaubt und liebt (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  13. 13 Seconda parte: XIII. Recitativo. O Armut, der kein Reichtum gleicht (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  14. 14 Seconda parte: XIV. Chorale. Was Gott tut, das ist wohlgetan

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  15. Cantata, BWV 22 "Jesus nahm zu sich die Zwölfe"
  16. 15 I. Concerto. Jesu nahm zu sich die Zwölfe (Tenor, Bass)

    Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  17. 16 II. Aria. Mein Jesu, ziehe mich nach dir (Alto)

    Carlos Mena, Alto - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  18. 17 III. Recitativo. Mein Jesu, ziehe mich, so werd ich laufen (Bass)

    Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  19. 18 IV. Aria. Mein alles in allem, mein ewiges Gut (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  20. 19 V. Chorale. Ertöt uns durch dein Güte

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  21. Cantata, BWV 127 "Herr Jesu Christ, wahr’ Mensch und Gott"
  22. 20 I. Chorus. Herr Jesu Christ, wahr’ Mensch und Gott

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  23. 21 II. Recitativo. Wenn alles sich zur letzten Zeit entsetzet (Tenor)

    Hans-Jörg Mammel, Tenor - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  24. 22 III. Aria. Die Seele ruht in Jesu Händen (Soprano)

    Hannah Morrison, Soprano - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  25. 23 IV. Recitativo. Wenn einstens die Posaunen schallen (Bass)

    Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

  26. 24 V. Chorale. Ach Herr, vergib all unsre Schuld

    Hannah Morrison, Soprano - Carlos Mena, Alto - Hans-Jörg Mammel, Tenor - Mathias Vieweg, Bass - Ricercar Consort - Philippe Pierlot, Conductor - Johann Sebastian Bach, Composer Copyright : Mirare Mirare

About

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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Created in 2001 by René Martin, the Mirare label draws a link between the classical stage and the recording industry. Initiator of renowned festivals (La Folle Journée de Nantes, Cadenet ...), René Martin wanted to keep a phonographic record of musical events that he organized: "Having founded Mirare is the only logical to complement all of these activities and festivals. Among the artists we strive to help you discover, you have those who have not yet had more than one label, and with whom we have long established a complicity" His intuition proved correct. Despite the crisis of the disc, Mirare enjoy continued success in the hopes aroused by Martin: his twelve annua...

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