J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)

J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)

J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)
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CD Details

Edition: Music CD
CD Release Date: 1999-03-16
Music Label: Erato
Soundtracks:
  1. Easter Oratorio BWV 249: Sinfonia
  2. Easter Oratorio BWV 249: Adagio
  3. Easter Oratorio BWV 249: Chorus: 'Kommt, eilet und laufet'
  4. Easter Oratorio BWV 249: Recitativo: 'O kalter Manner Sinn!'
  5. Easter Oratorio BWV 249: Aria: 'Seele, deine Spezereien'
  6. Easter Oratorio BWV 249: Recitativo: 'Hier ist die Gruft'
  7. Easter Oratorio BWV 249: Aria: 'Sanfte soll mein Todeskummer'
  8. Easter Oratorio BWV 249: Recitativo: 'Indessen seufzen wir'
  9. Easter Oratorio BWV 249: Aria: 'Saget, saget mir geschwinde'
  10. Easter Oratorio BWV 249: Recitativo: 'Wir sind erfreut'
  11. Easter Oratorio BWV 249: Chorus: 'Preis und Dank'
  12. Magnificat BWV 243: Chorus: 'Magnificat anima mea Dominum'
  13. Magnificat BWV 243: Aria: 'Et exsultavit spiritus meus in Deo'
  14. Magnificat BWV 243: Aria: 'Quia respexit humilitatem'
  15. Magnificat BWV 243: Chorus: 'Omnes generationes'
  16. Magnificat BWV 243: Aria: Quia fecit mihi magna qui potens est'
  17. Magnificat BWV 243: Aria: 'Et misericordia'
  18. Magnificat BWV 243: Chorus: 'Fecit potentiam in brachio suo'
  19. Magnificat BWV 243: Aria: 'Deposuit potentes de sede'
  20. Magnificat BWV 243: Aria: 'Esurientes implevit bonis'
  21. Magnificat BWV 243: Chorus: 'Suscepit Israel puerum suum'
  22. Magnificat BWV 243: Chorus: 'Sicut locutus est ad patres nostros'
  23. Magnificat BWV 243: Chorus: 'Gloria Patri, gloria Filio'

Music reviews of J. S. Bach: Easter Oratorio/Magnificat (Ton Koopman)

Music Review: A Treatise on Baroque Musicianship
Rating: 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 Türk, 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.
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