JS Bach - Christmas Oratorio
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Label: Linn
Cat No: CKD499
Format: CD
Number of Discs: 2
Genre: Christmas
Release Date: 21st October 2016
Contents
Artists
Mary BevanJoanne Lunn
Clare Wilkinson
Ciara Hendrick
Nicholas Mulroy
Thomas Hobbs
Matthew Brook
Konstantin Wolff
Dunedin Consort
Conductor
John ButtWorks
Christmas Oratorio (Weihnachts-Oratorium), BWV248Artists
Mary BevanJoanne Lunn
Clare Wilkinson
Ciara Hendrick
Nicholas Mulroy
Thomas Hobbs
Matthew Brook
Konstantin Wolff
Dunedin Consort
Conductor
John ButtAbout
The Dunedin Consort’s acclaimed soloists are Mary Bevan, Clare Wilkinson, Nicholas Mulroy and Matthew Brook (Cantatas 1, 3, 6), Joanne Lunn, Ciara Hendrick, Thomas Hobbs and Konstantin Wolff (Cantatas 2, 4, 5). Butt applies his extensive knowledge of Bach’s performing practices to present the range of choral scoring that Bach seems to have used, realising something of the implications of the composer’s performing conditions and decisions.
Ideally positioned to become the must-have Christmas recording of 2016, this seasonal favourite is a welcome addition to the Dunedin Consort’s already enviable catalogue.
The Dunedin Consort has established a reputation as one of the finest period performance choirs around, under the direction of prize-winning historical performance specialist John Butt OBE. The multi-award-winning ensemble has won praise for the natural style of its soloists and renown for the virtuosity of its singers. In addition to a Grammy nomination, the Dunedin Consort has won two Gramophone Awards: the 2007 ‘Baroque Vocal’ Award for Handel’s
Messiah and the 2014 ‘Choral’ Award for Mozart’s Requiem. Further accolades include: Esther was voted one of the ‘Top 10 Classical Albums of 2012’ by The Times, Gramophone included the Dunedin Consort in its ‘Twenty Greatest Choirs’ list and three of its recordings have been named a ‘Building A Library: First Choice’ by BBC Radio 3’s ‘Record Review’.
Sound/Video
Paused
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1Cantata No. 1. Chorus. Jauchzet, frohlocket, auf, preiset die Tage
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2Cantata No. 1. Evangelist. Es begab sich aber zu der Zeit
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3Cantata No. 1. Recit. Nun wird mein liebster Brautigam
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4Cantata No. 1. Aria. Bereite dich, Zion, mit zartlichen Trieben
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5Cantata No. 1. Chorale. Wie soll ich dich empfangen
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6Cantata No. 1. Chorale and Recit. Er ist auf Erden kommen arm – Wer will die Liebe recht erhohn
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7Cantata No. 1. Aria. Grober Herr, o starker Konig
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8Cantata No. 1. Chorale. Ach mein herzliebes Jesulein
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9Cantata No. 2. Sinfonia
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10Cantata No. 2. Chorale. Brich an, o schones Morgenlicht
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11Cantata No. 2. Evangelist and Angel. Und der Engel sprach zu ihnen – Furchtet euch nicht
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12Cantata No. 2. Aria. Frohe Hirten, eilt, ach eilet
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13Cantata No. 2. Aria. Schlafe, mein Liebster, geniebe der Ruh
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14Cantata No. 2. Chorus of Angels. Ehre sei Gott in der Hohe
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15Cantata No. 2. Chorale. Wir singen dir in deinem Heer
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16Cantata No. 3. Chorus. Herrscher des Himmels, erhore das Lallen
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17Cantata No. 3. Aria. Herr, dein Mitleid, dein Erbarmen
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18Cantata No. 3. Aria. Schliesse, mein Herze, dies selige Wunder
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19Cantata No. 3. Chorale. Seid froh dieweil
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20Cantata No. 4. Chorus. Fallt mit Danken, fallt mit Loben
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21Cantata No. 4. Recit and Chorale. Immanuel, o subes Wort! – Jesu, du mein liebstes Leben
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22Cantata No. 4. Aria. Flosst, mein Heiland, flobt dein Namen
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23Cantata No. 4. Recit and Chorale. Wohlan, dein Name soll allein – Jesu, meine Freud und Wonne
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24Cantata No. 4. Aria. Ich will nur dir zu Ehren leben
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25Cantata No. 5. Chorus. Ehre sei dir, Gott, gesungen
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26Cantata No. 5. Chorale. Dein Glanz all Finsternis verzehrt
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27Cantata No. 5. Aria. Erleucht auch meine finstre Sinnen
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28Cantata No. 5. Aria. Ach, wenn wird die Zeit erscheinen?
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29Cantata No. 5. Chorale. Zwar ist solche Herzensstube
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30Cantata No. 6. Chorus. Herr, wenn die stolzen Feinde schnauben
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31Cantata No. 6. Evangelist and Herod. Da berief Herodes – Ziehet hin und forschet fleibig
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32Cantata No. 6. Recit. Du Falscher, suche nur den Herrn zu fallen
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33Cantata No. 6. Aria. Nur ein Wink von seinen Handen
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34Cantata No. 6. Chorale. Ich steh an deiner Krippen hier
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35Cantata No. 6. Recit. So geht! Genug, mein Schatz geht nicht von hier
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36Cantata No. 6. Aria. Nun mogt ihr stolzen Feinde schrecken
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37Cantata No. 6. Recit. Was will der Hollen Schrecken nun
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38Cantata No. 6. Chorale. Nun seid ihr wohl gerochen
Europadisc Review
As a scholar, Butt understands all these matters perfectly (as demonstrated by his excellent accompanying notes); and as a musician, he has an unerring grip on events as they unfold, bringing out the work’s latent drama while allowing room for reflection. His choice of tempo is as assured as ever, and his use of extra ‘ripienists’ to double the single voices in cantatas 1, 3 and 6 is intelligently applied. He also uses a different vocal ‘team’ in the ‘quieter’ works (cantatas 2, 4 and 5: the ones scored without trumpets and drums), which produces a purer, more reflective sound, enhancing their individual character.
The performance itself is the strongest there’s been for years, perhaps even the best there’s been in the historically informed performance era. The combined Dunedin forces achieve the excitement of Gardiner without his over-driven, over-regimented sound; the honest earthiness of Harnoncourt without his often exasperating eccentricities of tone, shaping and tempi; the gentle introspection of Herreweghe without his tendency to smooth over the works more dazzling features. There’s certainly no shortage of thrills in the trumpet-dominated works, with full-throated singing aplenty and a resplendent tutti sound. In cantata 4, the horns bray magnificently when necessary, most memorably in the closing chorale chorus, while the magnificent bass aria in the first cantata (‘Grosser Herr, o starker König’), robustly sung by Matthew Brook, is a highpoint, with splendid yet dancelike support.
The use of mezzo-sopranos rather than countertenors for the alto lines is a definite plus, especially when the mezzos are as pure-voiced as Clare Wilkinson and Ciara Hendrick. And it’s in the quality of the singing – not starry but open and honest – that this recording scores time and again. This is particularly true of cantatas 2, 4 and 5: the angelic soprano of Joanne Lunn, Ciara Hendrick’s beautifully judged più piano at the beginning of the da capo in ‘Schlafe. mein Liebster’, the meditation on the name Immanuel in cantata 4, and the ravishing trio ‘Ach, wenn wird die Zeit erscheinen?’ in cantata 5 are among the many highlights in performances of constantly alert sensitivity. Special mention also for tenor Thomas Hobbs, whose tireless, gently-toned athleticism does so much to animate the arias ‘Frohe Hirten’ (part 2) and ‘Ich will nur dir zu Ehren leben’ (part 4); he and Nicholas Mulroy make memorable co-Evangelists.
The obbligato instrumental playing throughout is marvellously accomplished, especially violinist Cecilia Bernardini, flautist Katy Bircher, and principal trumpet Paul Sharp. And the continuo team, with Butt himself at the harpsichord and Peter Whelan, no less, on bassoon, would be the envy of any other ensemble. (There’s lovely use of the harpsichord’s lute stop in the ‘echo’ aria ‘Flösst, mein Heiland’ in cantata 4.)
Above all, it’s the sense of committed yet un-posturing devotion and sheer joy that makes this performance so extraordinarily successful. Beautifully recorded and presented, and fastidiously researched, it’s hard to imagine the Christmas Oratorio being better served than this.
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