"Unusually these three church cantatas are accompanied by a cello, which was uncommon, especially in church: the five-string piccolo, fashionable at the start of the 18th century. The key to the originality and coherence of this recording by the Ensemble Baroque de Limoges with Concerto Vocale Leipzig is to have approached these works from the instrumental angle. Conductor Christophe Coin, who studied with Jordi Savall and Nikolaus Harnoncourt, has, for the last 30 years, been France’s most fervent apostle of the music of the 17th and 18th centuries. It all came together in 1993: his first love of baroque music, his quest for authenticity in the interpretation of known and lesser known repertories, his approach to voices and periodRead more instruments, his work as a cellist himself, never sacrificed to a career as conductor… These cantatas numbered 49, 115 and 180, over and above their Protestant backcloth, subtly exhale the festive flavour and conviviality of the “table music” played at the Renaissance courts (Tafelmusik); in fact, two of the cantatas were inspired by parables about wedding banquets.
"Those who missed Christophe Coin's three earlier recordings for Astrée devoted to Bach's cantatas featuring arias with prominent violoncello piccolo accompaniment will delight in this generous mid-price reissue of the first volume. The performances are all remarkably good, owing to Coin's incisive direction and virtuoso violoncello piccolo playing as well as to the stellar cast of Baroque specialist vocalists in their youthful prime--two of whom, Andreas Scholl and Christoph Prégardien, eventually would sign with major labels and achieve international acclaim. Barbara Schlick already had recorded with the Musica Antiqua Köln on Archiv and with the Concentus Musicus Wien on Teldec.
While the three cantatas offered are among Bach's least familiar, they include many elements that typify the master's command of the form. For example, the opening work, BWV 180 "Schmücke dich, o liebe Seele" (Deck yourself, my soul, with gladness), begins with a stately chorale whose seriousness is playfully undermined by lighthearted flute and oboe dialogues. Pregardien's dramatic second-movement aria also is brilliantly heightened by an engaging, rhythmically charged continuo of violoncello piccolo and obbligato flute. Likewise Coin augments the feeling of disparity in Schlick's lovely fifth-movement aria by complementing Bach's underlying rhythmic fabric with momentum shifts at important junctures. Incidentally, for all of these performances Coin has boldly chosen to eschew the usual (and admittedly more orthodox) small chest organ in favor of the full-bodied 1737 Silbermann instrument at the recording's venue--the Ponitz village church in Thuringia, Germany. While this certainly heightens the impact of the arias and chorales, the recitatives benefit most.
Astrée's sound is gorgeous--warmly reverberant though never at the expense of clarity or detail.You simply can't go wrong here." [2/25/2004]
--John Greene, ClassicsToday.com Reviewing earlier release of this recording, Naive 8897Read less
Mache dich, mein Geist, bereit, BWV 115: Recitative: Gott, so vor deine Seele wacht (Alto)
Mache dich, mein Geist, bereit, BWV 115: Aria: Bete aber auch dabei (Soprano)
Mache dich, mein Geist, bereit, BWV 115: Recitative: Er sehnet sich nach unserm Schreien (Tenor)
Mache dich, mein Geist, bereit, BWV 115: Chorale: Drum so lasst uns immerdar (Chorus)
Average Customer Review: ( 1 Customer Review )
tres naiveSeptember 10, 2013By Richard S. (Miami Beach, FL)See All My Reviews"Disappointingly inadequate program notes accompany this disc. The name La Collection Naive is right on the mark."Report Abuse
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