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Bach: Cantatas And Concertos / Kirkby, Kaiser, Arfken, Et Al
Two of Bachâs most beautiful cantatas prove ideal for Emma Kirkbyâs artistry
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
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Bach: Cantatas And Concertos / Kirkby, Kaiser, Arfken, Et Al
Bach: Cantatas And Concertos / Kirkby, Kaiser, Arfken, Et Al
Two of Bachâs most beautiful cantatas prove ideal for Emma Kirkbyâs artistry
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
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Two of Bachâs most beautiful cantatas prove ideal for Emma Kirkbyâs artistry
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
One of the worldâs brightest Baroque ensembles performing with one of the worldâs most admired Baroque sopranos sounds an enticing propositionâ and so it should. What is moreâ the solo cantatas on offer here are two of Bachâs most moving: Ich habe genugâ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blutâ a relatively early work with a text which moves from the wallowing selfÂpity of the sinnner to joyful relief in Godâs mercy. Each contains music of great humanity and beautyâ and eachâ tooâ contains an aria of aching breadth and nobility â the justly celebrated âSchlummert einâ in the case of Ich habe genugâ and in Mein Herze the humble but assured supplication of âTief gebĂŒcktâ. This aria alone ought to make the cantata a more familiar oneâ but there is plenty more to recommend itâ including a griefÂladen first aria with obbligato oboeâ a dignified chorale with obbligato celloâ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkbyâ whoâ thrillingly virtuosic though she can beâ is perhaps at her best in this kind of longÂbreathedâ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into itâ and Kirkbyâs allows her to shape vibratoÂless long notes and phrases with utter security and ravishing vocal qualityâ with only the occasional high note sounding slightly pinched. Above allâ howeverâ her intelligence and unfailing attention to text are a lesson to all; in âSchlummert einââ the way her voice subsides almost to nothingâ retreating into the orchestral texture at âfallet sanftâ (fall asleep)â is entrancing. The support of the Freiburg Baroque Orchestra is totalâ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are âplaying the wordsâ. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfkenâ furthermoreâ are outstandingly musical. And if that were not enoughâ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloomâ clarity and internal balanceâ and you have a CD to treasure.
-- Gramophone [11/2001]
