J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)
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Music CD Cover
Edition: Music CDCD Release Date: 1999-03-16
Music Label: Erato
Soundtracks:
- Sinfonia
- Adagio
- Chorus: "Kommt, Eilet Und Laufet"
- Recitativo (Soprano, Alto, Tenor, Bass): "O Kalter M?nner Sinn!"
- Aria (Soprano): "Seele, Deine Spezereien"
- Recitativo (Alto, Tenor, Bass): "Hier Ist Di Gruft"
- Aria (Tenor): "Sanfte Soll Mein Todeskummer"
- Recitativo (Soprano, Alto): "Indessen Seufzen Wir"
- Aria (Alto): "Saget, Saget Mir Geschwinde"
- Recitativo (bass): "Wir Sind Erfreut"
- Chorus: "Preis Und Dank"
- 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
Free Music Notes for J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)
Free Music Review: A Treatise on Baroque Musicianship
Hit: 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 T?rk, 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.
J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman) Poster
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 LevineClassical Music CDs
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