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Christina Pluhar|Himmelsmusik (Bach, Bütner, Ritter, Schütz, Ahle...)

Himmelsmusik (Bach, Bütner, Ritter, Schütz, Ahle...)

C. Scheen, Ph. Jaroussky, L'Arpegiatta, Ch. Pluhar

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Those wondering whether Himmelsmusik falls on the experimental side of the output of Austrian-born ensemble leader and continuo player Christina Pluhar and her ensemble L'Arpeggiata can rest easy: there is nothing here in the vein of Pluhar's aptly titled Handel Gone Wild. Instead, Pluhar, countertenor Philippe Jaroussky, and her musicians play it straight and deliver a lovely album from the generally neglected German mid-Baroque, and from almost unknown music within that classification. Not all the music pertains to heaven, as the title might suggest; other topics (such as the Christ child) appear, but all the pieces have a calm, worshipful flavor. Pluhar's focus is the music between Schütz and Bach, with both of those composers added at the end to sum up the territory that has been covered. A major presence is French countertenor Philippe Jaroussky, who certainly can attract bigger clients; his participation is a clue to the music's worth. Some of the composers have direct connections with one or the other (Johann Theile was one of Schütz's last and best students, and the J.C. Bach on the program is not Johann Christian Bach or even Johann Christoph Friedrich Bach, but the Arnstadt composer and organist Johann Christoph Bach, Johann Sebastian's first cousin once removed, some of whose later works were for a time accepted as J.S.'s own. Generally speaking, the vocal pieces are solo vocal "concertos" or arias that experiment with the Schütz model, finding new ways to express the texts as dramatic utterances. Sample Franz Tunder's Ein kleines Kindelein, with its substantial introduction and then its text that pours out in a single thought. The composers were aided in their quest by new developments in Italian instrumental music, some of which is included. Tunder shows up on organ programs, but the likes of Crato Bütner, Philipp Heinrich Erlebach, and Johann Rudolf Ahle will be unfamiliar even to Baroque enthusiasts. The music of some was mostly destroyed during World War II; others worked in obscure or distant courts and never made it into the history books. Pluhar's effort at reconstruction is impressive, and Jaroussky is an ideal collaborator; their music-making can be enjoyed by anyone. A deep dive of the very best kind.
© TiVo

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Himmelsmusik (Bach, Bütner, Ritter, Schütz, Ahle...)

Christina Pluhar

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Der Sionitin Wiegenlied (Johann Theile)

1
Nun, ich singe ! Gott, ich knie
00:07:21

Philippe Jaroussky, Counter-Tenor - Céline Scheen, Soprano - Dingle Yandell, Bass - Jesús Rodil, Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Johann Theile, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Lamento (Johann Christoph Bach)

2
Ach, dass ich Wassers g'nug hätte
00:07:01

Philippe Jaroussky, Counter-Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Johann Christoph Bach, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Ich suchte des Nachts in meinem Bette (Crato Butner)

3
Ich suchte des Nachts in meinem Bette
00:05:42

Céline Scheen, Soprano - L'Arpeggiata - Christina Pluhar, Conductor - Crato Butner, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

4
Gott, hilf mir
00:06:09

Philippe Jaroussky, Counter-Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Johann Theile, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

O amantissime sponse Jesu (Christian Ritter)

5
O amantissime sponse Jesu
00:10:24

Céline Scheen, Soprano - L'Arpeggiata - Christina Pluhar, Conductor - Christian Ritter, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Chiaccona a 4 in C Major (Anonymous)

6
Chiaccona a 4 in C Major
00:04:29

L'Arpeggiata - Christina Pluhar, Conductor - Anonymus, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Symphoniae Sacrae II (Dresden, 1647) (Heinrich Schütz)

7
Von Gott will ich nicht lassen, SWV 366
00:05:43

Céline Scheen, Soprano - Philippe Jaroussky, Counter-Tenor - Dingle Yandell, Bass - L'Arpeggiata - Christina Pluhar, Conductor - Heinrich Schütz, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Harmonische Freude musicalischer Freunde I (Nürnberg, 1697) (Philipp Heinrich Erlebach)

8
Kommt, ihr Stunden, macht mich frei
00:08:21

Philippe Jaroussky, Counter-Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Philipp Heinrich Erlebach, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Aria. Ein kleines Kindelein (Franz Tunder)

9
Aria. Ein kleines Kindelein
00:02:48

Céline Scheen, Soprano - L'Arpeggiata - Christina Pluhar, Conductor - Franz Tunder, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Bleib bei uns, denn es will Abend werden (Johann Rudolf Ahle)

10
Bleib bei uns, denn es will Abend werden
00:05:32

Céline Scheen, Soprano - Philippe Jaroussky, Counter-Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Johann Rudolf Ahle, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Sonata a 6 in E Minor (Antonio Bertali)

11
Sonata a 6 in E Minor (Instrumental)
00:05:16

L'Arpeggiata - Christina Pluhar, Conductor - Antonio Bertali, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Erbarm dich mein, o Herre Gott, SWV 447 (Heinrich Schütz)

12
Erbarm dich mein, o Herre Gott, SWV 447
00:04:11

Céline Scheen, Soprano - L'Arpeggiata - Christina Pluhar, Conductor - Heinrich Schütz, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Komm, süsser Tod, komm, sel'ge Ruh, BWV 478 (Johann Sebastian Bach)

13
Komm, süsser Tod, komm, sel'ge Ruh, BWV 478
00:02:28

Philippe Jaroussky, Counter-Tenor - L'Arpeggiata - Christina Pluhar, Conductor - Johann Sebastian Bach, Composer

© 2018 Parlophone Records Limited, a Warner Music Group Company ℗ 2018 Christina Pluhar under exclusive licence to Parlophone Records Limited, a Warner Music Group Company

Album Description

Those wondering whether Himmelsmusik falls on the experimental side of the output of Austrian-born ensemble leader and continuo player Christina Pluhar and her ensemble L'Arpeggiata can rest easy: there is nothing here in the vein of Pluhar's aptly titled Handel Gone Wild. Instead, Pluhar, countertenor Philippe Jaroussky, and her musicians play it straight and deliver a lovely album from the generally neglected German mid-Baroque, and from almost unknown music within that classification. Not all the music pertains to heaven, as the title might suggest; other topics (such as the Christ child) appear, but all the pieces have a calm, worshipful flavor. Pluhar's focus is the music between Schütz and Bach, with both of those composers added at the end to sum up the territory that has been covered. A major presence is French countertenor Philippe Jaroussky, who certainly can attract bigger clients; his participation is a clue to the music's worth. Some of the composers have direct connections with one or the other (Johann Theile was one of Schütz's last and best students, and the J.C. Bach on the program is not Johann Christian Bach or even Johann Christoph Friedrich Bach, but the Arnstadt composer and organist Johann Christoph Bach, Johann Sebastian's first cousin once removed, some of whose later works were for a time accepted as J.S.'s own. Generally speaking, the vocal pieces are solo vocal "concertos" or arias that experiment with the Schütz model, finding new ways to express the texts as dramatic utterances. Sample Franz Tunder's Ein kleines Kindelein, with its substantial introduction and then its text that pours out in a single thought. The composers were aided in their quest by new developments in Italian instrumental music, some of which is included. Tunder shows up on organ programs, but the likes of Crato Bütner, Philipp Heinrich Erlebach, and Johann Rudolf Ahle will be unfamiliar even to Baroque enthusiasts. The music of some was mostly destroyed during World War II; others worked in obscure or distant courts and never made it into the history books. Pluhar's effort at reconstruction is impressive, and Jaroussky is an ideal collaborator; their music-making can be enjoyed by anyone. A deep dive of the very best kind.
© TiVo

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