Johann Sebastian Bach Ton Koopman Lisa Larsson - J S Bach Easter OratorioMagnificat Ton Koopman (23 tracks) +Album Reviews

Search - Johann Sebastian Bach, Ton Koopman, Lisa Larsson :: J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)

Johann Sebastian Bach, Ton Koopman, Lisa Larsson
J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)
Genre: Classical

Track Listings (23) - Disc #1
1. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Sinfonia
2. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Adagio
3. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Chorus: 'Kommt, Eilet Und Laufet'
4. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Recitativo (Soprano, Alto, Tenor, Bass): 'O Kalter M?n
5. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Aria (Soprano): 'Seele, Deine Spezereien'
6. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Recitativo (Alto, Tenor, Bass): 'Hier Ist Di Gruft'
7. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Aria (Tenor): 'Sanfte Soll Mein Todeskummer'
8. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Recitativo (Soprano, Alto): 'Indessen Seufzen Wir'
9. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Aria (Alto): 'Saget, Saget Mir Geschwinde'
10. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Recitativo (bass): 'Wir Sind Erfreut'
11. Easter Oratorio (Oster-Oratorium: 'Kommt, eilet und laufet'), BWV 249 (BC D8): Chorus: 'Preis Und Dank'
12. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Magnificat
13. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Et Exsultavit
14. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Quia Respexit
15. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Omnes Generationes
16. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Quai Fecit Mihi Magna
17. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Et Misericordia
18. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Fecit Poetntiam
19. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Deposuit Potentes
20. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Esurientes Implevit Bonis
21. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Suscepit Israel
22. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Sicut Locutus Est
23. Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Gloria Patri

Larger Image

CD Details

All Artists: Johann Sebastian Bach, Ton Koopman, Lisa Larsson, Elisabeth von Magnus, Klaus Mertens, Gerd Türk, Bogna Bartosz, Amsterdam Baroque Orchestra and Choir
Title: J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)
Members Wishing: 0
Total Copies: 0
Label: Erato
Release Date: 3/16/1999
Genre: Classical
Styles: Opera & Classical Vocal, Historical Periods, Baroque (c.1600-1750), Symphonies
Number of Discs: 1
SwapaCD Credits: 1
UPC: 639842341622

Synopsis

Amazon.com essential recording

Bach's celebration of Easter is a mostly joyous one, opening with a three-movement sinfonia, richly orchestrated, and complete with trumpets and drums: the third movement includes the chorus inviting listeners to rejoice and hasten to the tomb of Jesus, "For our Savior has awakened." There follow recitatives and arias for Mary Magdalen, Mary, the mother of James, Peter, and John. Each character goes through grief to love and gratefulness, and Bach's endlessly inventive scoring, melodic lines, and changing orchestral textures take us on a rich, 40-minute musical journey to peace. Only a too-long soprano aria tends to wear. The Oratorio is coupled on this CD with Bach's justly famous 12-movement setting (in 25 minutes) of the Magnificat text from Luke. Also elaborately scored, with the vocal choices, tempos, and mood changing every couple of minutes, this is one of the great works of Western liturgical music (Gardiner's masterly reading of this work is a must-have). The performances, on Baroque instruments and with crisp, clean, unsentimental Baroque style, are exemplary. Rejoice! --Robert Levine

Similar CDs

	Art Pepper Les Incontournables Genres: Jazz, Pop Label: Wea International
?

	Scott Henderson, Gary Willis, Tribal Tech Thick Genres: Jazz, Pop Label: Zebra Records (Wea)
?

	Toni Price Low Down and Up Genres: Country, Blues, Pop, R&B, Rock Label: Texas Music Group
?

	Joe Pass Les Incontournables Genres: Jazz, Pop Label: Wea International
?

CD Reviews

What a fun performance and glorious sound!

Craig Matteson | Ann Arbor, MI | 07/08/2002

(5 out of 5 stars)

"This recording is full of energy and joy. The period instruments sound so wonderful and lush. It was recorded in just the right environment and sounds superb.The approach to both pieces is spot on and you will want to listen to this recording many times just for the sheer fun of it.The provided booklet provides some helpful notes on the background of the pieces - when and why Bach wrote them. And also the libretto (which is ALWAYS nice to have). I like to have all that information available and knowing when and why can deepen our appreciation of the music. However, the first and most important thing is to hear the music.This recording is among the best of these works. So, you would do well to begin here!"

What an up!

J. C. Woods | Malden, MA USA | 04/13/2000

(5 out of 5 stars)

"Ok, I don't speak German. It doesn't matter.The opening bars of this CD are so pleasing, excited, joyous, thrilled they break the language barrier. You know easter is here. Then they turn to the Magnificat. A wonderful rendition.This is the version that will be my standard."

Powerful Kantor's Easter & Magnificat Efforts

rodboomboom | Dearborn, Michigan United States | 05/09/2002

(5 out of 5 stars)

"1723-25 were powerful, productive years for Bach in Leipzig as Kantor. In 1723-24 Christmas, comes this Magnificat. Especially attractive to me is track 14, "Aria" "Quia respexit humilitatem" which is a powerful soprano and oboe movement aided by the full chorus piping in "To all Generations!"The Easter Oratorio was a gift for an honorarium by Duke Christian composed around four aria recitatives for Mary Magdelene, Mary, John and Peter. The opening Sinfonia is breathtaking with its gracious oboe work by Marcel Ponseele.
Building to the heights of the finale, "Praise and Thanks" ends in triumphant declaration by full choir "The Lion of Judah approaches in triumph!"Strong vocalist performances by soprano Lisa Larsson and bass Klaus Mertens. Amsterdam Baroque Orchestra and Chorus directed by Ton Koopman is well done with passion and pace.With translation in French, German and English, this is excellent performance of important Sacred Large-Scale Composition for soloists, choir and orchestra."

A Treatise on Baroque Musicianship

Timothy D. Hinck | Chattanooga, TN USA | 02/06/2008

(5 out of 5 stars)

"A Treatise on Baroque Musicianship

Not only do I love this recording with all of its spontaneity and "accidents" (sometimes sublime and sometimes surprising), I even use this recording as a sort of primer for my organ students for Baroque technique. The best way to understand Baroque music is to start with the truly great compositions. Bach's Easter Oratorio is one of those pieces of mature Baroque music in which the drama of the Italian Opera, the refined subtleties of French instrumental music, and the passionate conviction of the Reformation have all come together in the form of some of the most creative vocal and instrumental lines ever written. Completed in its current form in 1738, it represents Bach at the prime of his career.

What is really important about this performance, however, is that the Amsterdam Baroque Orchestra and Choir under the direction of Ton Koopman has succeeded in finally surpassing the old dry, academic playing of most "historical" performances and are bringing musicality back into Baroque music. They are certainly not the first to do this, but this balance of historically informed playing and the crafting of beautiful musical lines is rarely achieved at this level. The fabulous flute solo in the soprano aria "Seele, deine Spezereien" is full of beautifully shaped lines (which often cross the bar lines) and is a showcase of natural, unaffected playing that is so rare. (Baroque keyboard players take note!) As to the criticism from some who claim that the performance is "mushy" or "non-distinct" (I believe those were the words) one only needs to listen to the beatiful aria "Saget, saget" from the Oratorio, or the "Et Exultavit" from the Magnificat to hear the perfect precision of this band. The recent trend of going back to fewer players per part has finally allowed them to stop playing like typewriters, and start to sing! Speaking of singing, Lisa Larsson has one of the most perfect "period voices" I have heard: a pure and light tone, which also contains such passion and a large palate of tones. The sound produced from the blending of unison violins and recorders in the tenor aria "Sanfte soll mein Todeskummer" is very hypnotic.

There are some things which are a bit unpleasant in the recording. For example the difficult aforementioned aria "Sanfte" seems to low for Mr. Gerd Türk, but any of the unpleasantness is completely lost in the overwhelming combination of top musicianship from each of the orchestra members, singers, and their fearless leader. Mr. Koopman's fearlessness is at times unsettling for first-time listeners (his enthusiastic improvisation in the continuo seems at times distracting) but we must remember that it is his style of playing which drives the energy and improvisatory spirit of the whole performance. And it is exactly this type of enthusiasm that I imagine audiences in Bach's time and ours enjoy immensely.

"