Sigiswald Kuijken - Cembaloconcerts 1 - COMPACT DISCS [CD]

Johann Sebastian Bach himself described the Ascension Oratorio InchLobet Gott in seinen ReichenInch (BWV 11) as an InchOratorio Festo Ascensionis ChristiInch. In the old Bach edition it was still classified under the cantatas, but with a duration of almost half an hour it clearly goes beyond the scope of Bach's classical cantatas. The cantatas for the two Sundays before (BWV 108 & 86) and the Sunday after (BWV 44) the Feast of Ascension complete the present programme, which Sigiswald Kuijken recorded with La Petite Bande as part of his series of Bach cantatas for all Sundays and feast days of the church year on 18 CDs between 2005 and 2014. The special charm of these recordings lies in the solo instrumentation of all instrumental and choral voices, which lends Bach's music a great transparency.

Lange was the vocal work of Dieterich Buxtehude (1637-1707 to) the shadow of his organ works, until you realized the importance of his sacred music in the last century. Key work in rediscovering attended the seven-part Latin cantata cycle membra jesu nostri ', a mystizistische, meditative contemplation of the members of Jesus Christ on the cross. Sigiswald Kuijken leaves in his recording not a shred of doubt arise that Buxtehude was one of the greatest composers of the 17th century. As a complement, there is Buxtehude's poignant lament on the death of his father. The ensemble La Petite Bande this year celebrates it's 40th anniversary by the way, and like no other has this formation with it's founder Sigiswald Kuijken the development of historical performance practice had a decisive influence. Witness thereof is an equally extensive as impressive discography which added wins another highlight with this recording.

Sigiswald Kuijken is one of the most important pioneers of the early music scene and celebrates his 80th birthday on 16 February 2024. Throughout his life as a musician, he has looked far beyond Inchclassical violin playingInch. Even as a student, he explored baroque playing techniques on the violin and developed a milestone in historical violin playing without a support or chin rest, with the instrument resting freely on his shoulder. He learnt to play the viola da gamba at a young age as a self-taught musician. In 2004, he first advocated the revival of the violoncello da spalla - and played the shoulder cello, which was the actual basso continuo instrument in the Baroque period and was completely forgotten in the course of history. As a university teacher, Sigiswald Kuijken has influenced generations of musicians and recorded countless discs himself. To mark his anniversary, he presents himself and his audience with a very personal recording and introduces Inchhis three instrumentsInch - the violin, the viola da gamba and the violoncello da spalla - with selected unaccompanied solo works. The compositions are by Heinrich Ignaz Franz von Biber, Thomas Baltzar, Diego Ortiz, Carl Friedrich Abel and Johann Sebastian Bach. As a Inchpersonal treatInch, Kuijken also plays the Allemande from Bach's 2nd Cello Suite in ornamented form on the clavichord, just as Johann Sebastian himself probably presented his solo suites at home in his day.