Johannes Sebastiani Philippe Pierlot Ricercar Consort - Sebastiani MatthusPassion 1672 Pierlot (19 tracks) +Album Reviews

Search - Johannes Sebastiani, Philippe Pierlot, Ricercar Consort :: Sebastiani: Matthäus-Passion (1672) / Pierlot

Johannes Sebastiani, Philippe Pierlot, Ricercar Consort
Sebastiani: Matthäus-Passion (1672) / Pierlot
Genre: Classical

Track Listings (19) - Disc #1
1. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 1. Eingangschor.
2. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 3. Choral. Herzl
3. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 9. Rezitativ. Du
4. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 10. Arie. Bu?' u
5. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 12. Arie. Blute
6. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 17. Rezitativ.
7. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 18. Rezitativ. W
8. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 19. Arie. Ich wi
9. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 24. Rezitativ. D
10. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 25. Rezitativ. O
11. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 1. No. 26. Arie. Ich wi
12. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 47. Arie. Erbarm
13. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 51. Arie. Gebt m
14. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 57. Rezitativ. E
15. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 58. Arie. Aus Li
16. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 63. Choral. O Ha
17. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 74. Rezitativ. A
18. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 75. Arie. Mache
19. St. Matthew Passion (Matth?uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 78. Sclu?chor. W

Larger Image

CD Details

All Artists: Johannes Sebastiani, Philippe Pierlot, Ricercar Consort, Greta de Reyghere, Vincent Gregoire, Stephane Van Dijck, Herve Lamy, Max van Egmond
Title: Sebastiani: Matthäus-Passion (1672) / Pierlot
Members Wishing: 0
Total Copies: 0
Label: Ricercar
Release Date: 4/16/1996
Genre: Classical
Styles: Opera & Classical Vocal, Historical Periods, Baroque (c.1600-1750), Sacred & Religious
Number of Discs: 1
SwapaCD Credits: 1
UPC: 789368349029

CD Reviews

German passion by Sebastiani 1672 (not Bach)

08/14/2002

(4 out of 5 stars)

"This is volume 11 in Belgian record company Ricercar's "Deutsche Barockkantaten" series. Sebastiani, despite his Italian sounding name, was from Weimar, and spent most of his working life as Kapellmeister in Konigsberg. His passion falls between the works of Schutz (the generation before) and JS Bach (the generation afterwards. The scale is considerably smaller scale than the Bach passions and shorter - like the Schutz passions fitting on to 1CD. The most famous composer of the Schutz-Bach 'gap' was Buxtehude, and this piece shows some similarity with Buxtehude's Latin cantata Membra Jesu Nostri. The text follows the Luther Bible virtually verbatim - in the tradition of passions by Schutz, Theile, Demantius and the anonymous Uppsala manuscript recorded by Martin Gester on Accord."