Haydn: The Creation

Linn: CKD401

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Label:

Linn

Catalogue No:

CKD401

Discs:

Release date:

11th June 2012

Barcode:

0691062040129

Medium:

SACD

Format:

Hybrid Multi-channel

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Haydn: The Creation

Amanda Forsythe (soprano), Keith Jameson (tenor) & Kevin Deas (bass-baritone)

Boston Baroque, Martin Pearlman

SACD - 2 discs

$19.25

In stock - usually despatched within 1 working day.

The three-time Grammy-nominated ensemble, widely regarded as ‘one of the world’s premier period instruments bands’ (Fanfare), will mark the beginning of its relationship with Linn with a recording of Haydn’s The Creation.

Soloists Amanda Forsythe, Keith Jameson and Kevin Deas will join the ensemble and conductor Martin Pearlman for the performance of Haydn’s crowning achievement.

The Creation remains one of the greatest works of choral repertoire and has been astonishing audiences since its premiere in 1798.

The ensemble’s previous performances of The Creation have received rave reviews, with the Boston Globe stating: ‘Boston Baroque performed [Haydn’s Creation] with vibrant color and a fleet momentum…and made it a vivid, effervescent occasion.’

Founded in 1973 by Martin Pearlman, Boston Baroque is already familiar to an international audience with its critically acclaimed catalogue of recordings.

Boston Baroque's recordings—of which Fanfare magazine wrote ‘each one is an incomparable gem’— are heard by millions on classical radio stations in North America and Europe.

Boston Baroque's many career milestones include the American premiere of Rameau's Zoroastre; a Mozart opera series including Marriage of Figaro, Così fan tutte, and the American period-instrument premieres of Mozart's Don Giovanni and The Magic Flute; and a revelatory exploration of the Beethoven symphonies on period instruments.

Haydn: The Creation

play Part I, Prelude: `Die Vorstellung des Chaos'

play Part I, No. 1, Recitativ mit Chor: `Im Anfange schuf Gott Himmel und Erde'

play Part I, No. 2, Arie mit Chor: `Nun schwanden vor dem heiligen Strahle'

play Part I, No. 3, Recitativ: `Und Gott machte das Firmament'

play Part I, No. 4, Solo mit Chor: `Mit Staunen sieht das Wunderwerk'

play Part I, No. 5, Recitativ: `Und Gott sprach: Es sammle sich das Wasser'

play Part I, No. 6, Arie: `Rollend in schaumenden Wellen'

play Part I, No. 7, Recitativ: `Und Gott sprach: Es bringe die Erde Gras hervor'

play Part I, No. 8, Arie: `Nun beut die Flur das frische Grun'

play Part I, No. 9, Recitativ: `Und die himmlischen Heerscharen'

play Part I, No. 10, Chor: `Stimmt an die Saiten'

play Part I, No. 11, Recitativ: `Und Gott sprach: Es sei'n Lichter an der Feste'

play Part I, No. 12, Recitativ: `In vollem Glanze steiget jetzt `

play Part I, No. 13, Terzett mit Chor: `Die Himmel erzahlen die Ehre Gottes'

play Part II, No. 14, Recitativ: `Und Gott sprach: Es bringe das Wasser'

play Part II, No. 15, Arie: `Auf starkem Fittiche schwinget sich'

play Part II, No. 16, Recitativ: `Und Gott schuf grosse Walfische'

play Part II, No. 18, Terzett mit Chor: `In holder Anmut stehn, mit jungem Grun'

play Part II, No. 19, Recitativ: `Und Gott sprach: Es bringe die Erde hervor'

play Part II, No. 20, Recitativ: `Gleich offnet sich der Erde Schoss'

play Part II, No. 21, Arie: `Nun scheint in vollem Glanze der Himmel'

play Part II, No. 22, Recitativ: `Und Gott schuf den Menshen'

play Part II, No. 23, Arie: `Mit Wurd' und Hoheit angetan'

play Part II, No. 24, Recitativ: `Und Gott sah jedes Ding'

play Part II, No. 25, Terzett mit Chor: `Zu dir, o Herr, blickt alles auf'

play Part III, No. 30: Recitativ: `Aus Rosenwolken bricht'

play Part III, No. 31: Duett mit Chor: `Von deiner Gut', o Herr und Gott'

play Part III, No. 32: Recitativ: `Nun ist die erste Pflicht erfullt'

play Part III, No. 33: Duett: `Holde Gattin, dir zur Seite'

play Part III, No. 34: Recitativ: `O glucklich Paar, und glucklich immerfort'

play Part III, No. 35: Chor: `Singt dem Herrn alle Stimmen'

29th July 2012	“Pearlman adopts near-ideal tempi for every number, and his choir and period band — medium forces for a work the composer conducted with up to 200 — are excellent. Two of his soloists, Amanda Forsythe and Kevin Jameson, sound more like cheeky servants than Archangels, but Kevin Deas’s resonant bass notes and liquid baritone ones are perfect for Raphael and Adam.”
September 2012 ****	“[a] clean account, nicely scaled and finely balanced...There's skilful work throughout from the three soloists...Pearlman displays a keen sense of the music's shape and encompasses its range of character without over-emphasis. The overall sound picture is perfectly arranged for definition as well as grandeur.”
October 2012	“Weil's conception of the work has changed little since his Sony recording with Tafelmusik nearly 20 years ago: brisk, no-nonsense choral singing, topped by eager, bright-edged (if not always perfectly-tuned) boys of the Tolzer Knabenchor; excellent choral-orchestral balance...Where Weil, 2012 vintage, scores decisively over his earlier recording is in his soloists...Best is Kevin Deas...with as sonorous a lower register...as any Raphael on disc.”
September 2012	“Forsythe has a most pleasing voice, bright, clear and readily communicative. She has the agility required...and there is a smile in her voice that is very winning...[Jameson] gets right inside the text, his singing most musical, with a particularly satisfying legato...In all, this is a delightful, charming and often moving performance on a smallish scale, one that you may find rather lacking in drama.”