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Cantatas For Bass / Harry Van Der Kamp


Release Date: 02/21/2008 
Label:  Sony Classical Vivarte Series Catalog #: 68264   Spars Code: DDD 
Composer:  Johann RosenmüllerJohann Christoph BachDietrich BuxtehudeMatthias Weckmann,   ... 
Performer:  Harry Van der Kamp
Orchestra/Ensemble:  Period Instrument Ensemble
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 16 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews



CANTATAS FOR BASS Harry van der Kamp (bs); Period Instrument Ens SONY SK 68264 (75:39 Text and Translation)


Selections by ROSENMÜLLER, J. Christoph BACH, BUXTEHUDE, WECKMANN, SCHÜTZ, TUNDER, BRUHNS


Harry van der Kamp has made dozens of recordings, most notably of the sacred works of Bach; but so far as I can discover, this disc, originally released in 1996 and now in print as an ArkivMusic reissue, is the only solo Read more recital album he has ever made. As the renowned Dutch bass reaches his 65th year, it is appropriate to recognize and honor one of the very greatest singers of Renaissance and Baroque repertoire ever to grace vinyl and silver discs. Even if this were not an anniversary year, however, this disc would merit inclusion in the Classical Hall of Fame as one of the finest vocal recital albums ever produced.


First, there is the remarkable voice itself. It is quite full-bodied and resonant, despite a general absence of vibrato (employed only occasionally at climaxes, and then in a very light and subtle manner). The timbre is silken-smooth, free of graveliness even in its sepulchral low notes; there is no register break, with a seamless flow from bottom to top, and no hint of strain at either end of the spectrum. Both treacherous leaps of unusual intervals and florid runs of triplets and 16th notes are dispatched effortlessly. Diction is exemplary for its clarity. Second, there are the profoundly penetrating and subtle intelligence and artistry that van der Kamp applies to every note. He is a master of musical understatement, able to make telling points with the slightest inflection of volume, tone color, and phrasing. In repertoire where word-painting is all-important, he has few rivals and no superiors.


In line with the dark hues of the bass voice, most of the sacred arias recorded here—those of Heinrich Schütz, Johann Rosenmüller, Johann Christoph Bach, and Nicholas Bruhns—are works of lamentation or imprecation. The exceptions are the two celebratory pieces of Dietrich Buxtehude, the gently pastoral and lyrical Salve coelestis pater of Franz Tunder, and the unusually florid Kommet her zu mir alle of Matthias Weckmann, the one item here that clearly follows models from the Italian rather than German Baroque. Listening to these works is a salutary reminder of how seemingly still musical waters can in fact run very deep. Operas from the High Baroque onward have accustomed us to listen for emotional expressiveness in overtly theatrical gestures—ecstatic abandonment, martial triumphalism, violent rage, lachrymose sorrow. Here is music that instead explores and evokes profound joy and sorrow with a noble dignity and gravity that, in its courtly restraint, is not one whit less powerful.


As an expositor in this musical mode, van der Kamp is unsurpassed. For example, Buxtehude’s Mein Herz ist bereit expresses solemn exaltation with extraordinary lightness and transparency. Even more astonishing is the Fili mi, Absalom of Schütz, which I unhesitatingly consider to be the greatest freestanding sacred aria ever written. The grief of King David at the loss of his rebellious son is a truly regal lament of stunning, even shattering, power, with the alternately ascending and descending solo bass line both punctuated and supported by a dolorously sonorous quartet of trombones. The work has rightly been often recorded, but no one else on CD matches van der Kamp. (The only other version that does rival him was recorded back in 1969 by Wilhelm Pommerien, with an instrumental ensemble led by Helmut Rilling, as part of two LPs of selected movements from Books 1 and 2 of the Symphoniae Sacrae— more treasures of the old Nonesuch catalog that cry out for reissue on CD.)


The unnamed period-instrument ensemble has 19 members, playing in various combinations upon violin, viola da gamba, cello, cornett, trumpet, sackbut, and trombone, with bassoon, violone, chitarrone, harp, and organ providing the continuo accompaniment as needed; one of the cornett players is the famed early-music conductor Roland Wilson. No ensemble leader is named—I suspect it is either van der Kamp himself, or else Wilson—but everyone plays exquisitely. The recorded sound is forward (the soloist is rather closely miked) and somewhat resonant. Full texts are included in German, English, and French, and also in Latin when that rather than German is the original language. This disc is an indispensable part of any collection of sacred Baroque music, and has my highest possible recommendation.


FANFARE: James A. Altena
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Works on This Recording

1.
Lamentationes Jeremiae: Zum karmittwoch by Johann Rosenmüller
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: 17th Century 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 6 Minutes 40 Secs. 
Language: German 
2.
Wie bist du denn, o Gott by Johann Christoph Bach
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 12 Minutes 10 Secs. 
Language: German 
3.
Mein Herz ist bereit, BuxWV 73 by Dietrich Buxtehude
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 8 Minutes 18 Secs. 
Language: German 
4.
Ich bin der Auferstehung, BuxWV 44 by Dietrich Buxtehude
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 6 Minutes 3 Secs. 
Language: German 
5.
Kommet her zu mir alle by Matthias Weckmann
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: 1664; Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 7 Minutes 43 Secs. 
Language: German 
6.
Kleine geistliche Konzerte, Op. 9: Ich liege und schlafe, SWV 310 by Heinrich Schütz
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: by 1639; Dresden, Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 3 Minutes 27 Secs. 
Language: German 
7.
Symphoniae sacrae, Op. 6: Fili mi, Absalon, SWV 269 by Heinrich Schütz
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: 1629; Venice, Italy 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 6 Minutes 9 Secs. 
Language: Latin 
8.
Salve coelestis pater by Franz Tunder
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: 17th Century; Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 5 Minutes 34 Secs. 
Language: Latin 
9.
De profundis clamavi by Nicolaus Bruhns
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: ?1689-91; Germany 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 13 Minutes 21 Secs. 
Language: Latin 
10.
Lamentationes Jeremiae: Zum Gründonnerstag by Johann Rosenmüller
Performer:  Harry Van der Kamp (Bass)
Orchestra/Ensemble:  Period Instrument Ensemble
Period: Baroque 
Written: 17th Century 
Date of Recording: 06/1995 
Venue:  Baptist Church, Haarlem, Netherlands 
Length: 5 Minutes 32 Secs. 
Language: German 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Fine singing, superb sackbut playing September 24, 2012 By James W. (Burlington, VT) See All My Reviews "Harry van der Kamp has a beautiful voice. He also is a master of early music ornamentation, and on this CD he delivers sensitive renditions of early music for voice. I was pleasantly surprised by the fine singing: this is the first time I have heard Harry van der Kamp. I purchased the album for the sackbut accompaniment on track 7 ("Fili mi, Absalon"). Charles Toet, Wim Becu, Harry Ries, and Ole Anderson play the sackbut with great skill. The accompaniament they provide for Harry van der Kamp's base solo is top notch. Highly recommended." Report Abuse
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