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Although a lot of mystery shrouds their conception, Bach’s motets count amongst his works which were played uninterruptedly in Leipzig from their origin up until now.
For this reason interpretative traditions have overlapped in the course of the centuries in these six remarkable pages. Philippe Herreweghe, at the light of recent research, has found inspiration in the Leipzig practices.
These traditions give these motets all their glamour, whilst given them stark relief with very different configurations (simple and double chorus, basso continuo, varied instrumentation).
Led by outstanding soloists, Collegium Vocale Gent is at the peak of its art. A new version destined to become a milestone!
Bach, J S: Singet dem Herrn ein neues Lied, BWV 225
I. Singet dem Herrn ein neues Lied
II. Choral: Wie sich ein Vat'r erbarmet - Aria: Gott nimm dich ferner unser an
III. Lobet den Herrn
Bach, J S: Komm, Jesu, komm!, BWV 229
I. Komm, Jesu, komm
II. Aria: Drum schliess ich mich in deine Hände
Bach, J S: Jesu, meine Freude, BWV 227
I. Choral: Jesu, meine Freude
II. Es ist nun nichts
III. Choral: Unter deinem Schirmen
IV. Denn das Gesetz
V. Trotz dem alten Drachen
VI. Ihr aber seid nicht fleischlich
VII. Choral: Weg mit allen Schätzen
VIII. Andante: So aber Christus in euch ist
IX. Choral: Gute Nach, o Wesen
X. So nun der Geist
XI. Choral: Weicht, ihr Trauergeister
Bach, J S: Lobet den Herrn, alle Heiden, BWV 230
Motet «Lobet den Herrn, alle Heiden» for 4 voices
Bach, J S: Fürchte dich nicht, ich bin bei dir, BWV 228
Motet «Fürchte dich nicht, ich bin bei dir» for double chorus
Bach, J S: Der Geist hilft unser Schwachheit auf, BWV 226
I. Der Geist hilft unser Schwachheit auf
II. Alla breve: Der aber die Herzen forschet
III. Choral: Du heilige Brunst
14th August 2011
“"Jesu, meine freude" with just five soloists and continuo is perfectly poised, while "Singet dem Herrn" (which Mozart so revered) and "Der Geist hilft" burst into life with more singers and instruments. Throughout, Herreweghe achieves a supremely flexible responsiveness to the texts.”
“The results reflect Herreweghe's sensibility for tonal nuance and, above all, the fashioning of sung texts. An orchestra of strings and winds doubles his vocal A-team in Singet dem Herrn, an extravagance perhaps but a convincing one nonetheless...Honest-to-goodness quality governs Herreweghe's approach, matched by the heartfelt commitment and excellence of his colleagues and exquisitely balanced recorded sound.”
“The one-voice-to-a-part lobby doesn't wholly convince Herreweghe; he approaches the instrumentation of each motet on a case-by-case basis, cornetto and trombones lending grandeur to a finely chiselled account of Furchte dich nicht. Three motets do surrender to one-to-a-part treatment, however - and very successful they are too”
“For expressive eloquence, top marks, but [Herreweghe] is hampered at times by the sense of a "guest" ensemble short on the familiar bearings of a regular vocal outfit - even if this is relative...Vintage Herreweghe in parts, if not in toto.”
“Herreweghe has assembled a luxuriously attractive group of soloists...None can be singled out, for they are collectively outstanding and, more to the point, intensely persuasive of Herreweghe's decision to perform as 'solo' works certain motets that are more usually heard tutti...For those who have only heard Herreweghe's earlier recording this is an essential upgrade, but it's also a clear front-runner among other impressive recent versions”
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