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Jauchzet Gott in allen Landen! Or Celebrate God in all countries, is the leading work on this dazzling new disc from Phoenix Edition. The way the soprano and trumpeter duel with each other is captivating and the driving motifs and high coloratura in the music most definitely depicts a celebration. This virtuosic piece is complemented with other gems from the baroque era from the likes of Krieger, Rosenmüller and Zelenka. There are certainly no better suited performers for this cantata than Ruth Ziesak and Reinhold Friedrich. Ziesak is equally at home in a concert hall as well as on an opera stage, overwhelming the public worldwide with her singing, which with all of its charisma and virtuosity never oversteps the boundaries of musical limits. Rheinhold Friedrich is a modern thinking virtuoso, eliciting all conceivable shadings from his instrument, and is at home with both historical performance practice and the avant garde. Both artists are regular guest performers with the Berliner Barock-Compagney, which regularly receive prizes for their recordings.
Johann Sebastian Bach: Jauchzet Gott in allen Landen!, BWV 51
Aria: Jauchzet Gott in allen Landen!
Recitative: Wir beten zu dem Tempel an
Aria: Hochster, mache deine Gute
Chorale: Sei Lob und Preis mit Ehren - Finale: Alleluja!
Johann Philipp Krieger: Sonata a 2 No. 6 in B flat major
Sonata a 2 No. 6 in B flat major
Johann Rosenmuller: Ad pugnas, ad bella
Ad pugnas, ad bella
Gottfried Finger: Sonata in C major
Sonata in C major
Johann Rosenmuller: O felicissimus paradysi aspectus
O felicissimus paradysi aspectus
Jan Dismas Zelenka: Psalm 112 in F major, ZWV 82, "Laudate pueri Dominum"
Quis sicut dominus
“…not only is Ziesak on cracking form but also she is supported by Reinhold Friedrich's sensitively complementary trumpet partnership and the constantly alert string playing of the Berline Barock Compagney.”
15th August 2008
“Fleet, flexible, clarion singing? That’s Ziesak’s forte. Golden trumpeting? Step forward, Reinhold Friedrich. Pitch both into German Baroque church pieces, from the familiar Bach cantata Jauchzet Gott to Rosenmüller’s sacred concertos and you’re guaranteed a bright, interesting display. The drawbacks? Soloists and the Berliner Barock-Compagney never give us the thrill of audacity, which these showpieces demand: this is safety-first music-making.”
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