Bach: Magnificat; Easter Oratorio
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Music CD Cover
Edition: Music CDCD Release Date: 2000-04-11
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Magnificat
- Et Exsultavit
- Quia Respexit
- Omnes Generationes
- Quai Fecit Mihi Magna
- Et Misericordia
- Fecit Poetntiam
- Deposuit Potentes
- Esurientes Implevit Bonis
- Suscepit Israel
- Sicut Locutus Est
- Gloria Patri
- Lobet Gott in seinen Reichen
- Der Herr Jesus hub seine H?nde auf
- Ach, Jesu, ist dein Abschied schon so nah?
- Ach, bleibe doch, mein liebstes Leben
- Und ward aufgehoben zusehends
- Nun lieget alles unter dir
- Und da sie ihm nachsahen/Ihr M?nner von Galil?a/Ach ja! so komme bald zur?ck/Sie aber betetn ihn an
- Jesu, deine Gnadenblicke
- Wenn soll es doch geschehen
- Sinfonia in E minor
- "Christ lag in Todesbanden", Chorus
- "Den Tod niemand zwingen kunnt", Duo for soprano & alto
- "Jesus Christus, Gottes Sohn", Aria for tenor
- "Es war ein wunderlicher Krieg", Chorus
- "Hier ist das rechte Osterlamm", Aria for bass
- "So feiern wir das hohe Fest", Duo for soprano & tenor
- "Wir essen und leben wohl", Chorus
- Osteroratorium: Sinfonia
- Osteroratorium: Adagio
- Osteroratorium: Kommt, eilet und laufet
- Osteroratorium: O kalter M?nner Sinn!
- Osteroratorium: Seele, deine Spezereien
- Osteroratorium: Hier ist die Gruft
- Osteroratorium: Sanfte soll mein Todeskummer
- Osteroratorium: Indessen seufzen wir
- Osteroratorium: Saget, saget mir geschwinde
- Osteroratorium: Wir sind erfreut
- Osteroratorium: Preis und Dank
Free Music Notes for Bach: Magnificat; Easter Oratorio
Free Music Review: The Extreme End of the Minimalist Spectrum: The Purity of Bach
Hit: 5 Stars
Andrew Parrott conducts the Taverner Consort and Players is a very affordable set of discs that allow everyone to experience the 'non-choral' choral Bach. Instead of the usual chorus (even the pared down choruses of 16 - 30 members the way most 'authentic' performances use) the works are assigned to one person per part. The result is light, airy, transparent, and very lovely Bach.
Case in point: for the Magnificat 'for 5 voices, 5-part chorus, orchestra & continuo' in D major, Parrott conducts or rather inspires Emily van Evera, Evelyn Tubb, Taverner Consort and Players, Howard Crook, Caroline Trevor, Simon Grant in a new way to hear this gracious work. That Bach can be interpreted in so many ways gives credence to his importance in musical history. This performance, as pure and gracious as it is and a wonderfully fresh way to hear the work, is not the only 'authentic' way to hear Magnificat. In a stunning recent performance with members of the Los Angeles Philharmonic conducted by Bernard Labadie and his own La Chapelle de Quebec (30 members strong) and soloists Marie-Nicole Lemieux, Brett Polegato, James Taylor, and Mary Wilson the Magnificat offered was another 'option' used in Bach's time: four German Christmas carols were inserted between pertinent movements the way Bach made the work 'German' in his Leipzig Lutheran performances of his day. Another wholly satisfying and refreshing way to enjoy this great work.
Parrott does make his case for the single voice per part in the other works on this set with exquisite readings of the Ascension Oratorio, with Wilfried Jochens, Stephen Charlesworth, Evelyn Tubb, Emma Kirkby, and Margaret Cable, the 'Cantata No. 50 and Cantata No. 4 (Christ lag in Todes Banden) with Emily van Evera, Charles Daniels, David Thomas, and Caroline Trevor, and the 'Easter Oratorio' with Emily van Evera, Charles Daniels, Caroline Trevor, and Peter Kooy.
Every Bach lover should include this set in the library. It is yet another way to hear the Master's works in as pure a state as possible! Grady Harp, December 06
Bach: Magnificat; Easter Oratorio Poster
Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's "choral" music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, however, good balance without good judgment isn't enough. Parrott rips through the piece so quickly that the singers have no time to do anything interesting with their parts. The Ascension Oratorio comes off better, with tempos that are brisk but not dizzying, as well as fine solos by Cable and Kirkby.The Taverner Consort and Players really shine, however, in the Easter works. The opening Sinfonia of Christ lag in Todesbanden (taken surprisingly slowly) is breathtaking, as is the soprano-alto duet; the Sinfonia and opening chorus of the Easter Oratorio fairly rollick along, while Emily van Evera (sensitive and beguiling) and Caroline Trevor (athletic and almost giddy) do themselves proud in their arias, and tenor Charles Daniels, cushioned by flutes and strings, paints a magical picture of heavenly rest. If you just can't stomach the idea of Bach done by a madrigal consort (as some would have it), you'll do well with Ton Koopman or Philippe Herreweghe. But at such a reasonable price, these commendable performances are more than worth a try. --Matthew Westphal
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