Bach: Sacred Arias & Cantatas
Copy at Case Memorial Library
Personnel: David Daniels, countertenor; The English Concert; Harry Bicket, conductor.
Contents: Mass in B minor BWV 232. Qui sedes (4:16); Agnus Dei (5:17) — St. John passion BWV 245. Von den Stricken (4:46); Es ist vollbracht (5:14) — St. Matthew passion BWV 244. Du lieber Heiland du … Buss und Reu (10:10); Erbarme dich (6:46) ; Erbarm'es Gott … Können Tränen (7:58) — Cantata "Ich habe genug", BWV 82a. Ich habe genug (6:48); Schlummert ein, ihr matten Augen (10:04) — Cantata "Vergnügte ruh, beliebte seelenlust", BWV 170 (5:40) — Cantata "Was mir behagt, ist nur die muntre jagd!", BWV 208. Schafe können sicher weiden (4:20). Recorded Nov. 13-17, 2007, St. Jude-on-the-Hill, Hampstead Garden Suburb, London.
From the notes by Simon Heighes: "Bach's church music was originally performed by a youthful ensemble of schoolboys and students. But they were not quite as young as we might imagine. In the eighteenth century voices tended to break much later than they do today. … [T]he usual age at which a boy alto became a tenor was over 18. With age came experience."
Personnel: David Daniels, countertenor; The English Concert; Harry Bicket, conductor.
Contents: Mass in B minor BWV 232. Qui sedes (4:16); Agnus Dei (5:17) — St. John passion BWV 245. Von den Stricken (4:46); Es ist vollbracht (5:14) — St. Matthew passion BWV 244. Du lieber Heiland du … Buss und Reu (10:10); Erbarme dich (6:46) ; Erbarm'es Gott … Können Tränen (7:58) — Cantata "Ich habe genug", BWV 82a. Ich habe genug (6:48); Schlummert ein, ihr matten Augen (10:04) — Cantata "Vergnügte ruh, beliebte seelenlust", BWV 170 (5:40) — Cantata "Was mir behagt, ist nur die muntre jagd!", BWV 208. Schafe können sicher weiden (4:20). Recorded Nov. 13-17, 2007, St. Jude-on-the-Hill, Hampstead Garden Suburb, London.
From the notes by Simon Heighes: "Bach's church music was originally performed by a youthful ensemble of schoolboys and students. But they were not quite as young as we might imagine. In the eighteenth century voices tended to break much later than they do today. … [T]he usual age at which a boy alto became a tenor was over 18. With age came experience."
posted by casemusic at 10:03 AM
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