Sigiswald Kuijken - Himmelfahrts-Oratorium, BWV 11 - COMPACT DISCS [CD]

Johann Sebastian Bach has always been a fixing point in the musical cosmos of Sigiswald Kuijken and La Petite Bande. Over the years, the ensemble recorded the cantatas for an entire church year, the great sacred works, and also Bach's important instrumental works. Nevertheless, there was still a gap that Kuijken wanted to close. The present recording is the first volume (of three) of Bach's harpsichord concertos In addition to the original concertos, the recording project also includes Bach's own arrangements of violin concertos for harpsichord.

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.

Haydn Die Tageszeiten (InchTimes Of DayInch); Symphonies Nos. 6, 7 & 8 / Herbig, Staatskapelle Berlin, Haydn / Petite Bande / Kuijken, Composer Franz Joseph Haydn, Conductor Günther Herbig, Orchestra/Ensemble Berlin Staatskapelle Orchestra, Number of Discs 1. At last, a fine period-instrument disc of the Morning, Noon, and Night Symphonies! La Petite Bande produces robust sound from a string section with a complement (2/2/1/1/1) comparable to Haydn's Read more Recitative Adagio of InchLe Midi.Inch The warm, rich transverse flutes are especially lovely in the following Adagio. As has happened in other recordings, I'm not sure how a single-cello ensemble manages that movement, which has simultaneous lines for Violoncello concertante and for Violoncello e Basso. Both are present here, so probably the double bass goes it alone. Kuijken has never been one for the slashing attacks so prized by modern symphony orchestras, which have even penetrated into recordings of these 1761 works. His friendly, intimate ensemble suits early Haydn perfectly; the Menuets in particular benefit from the sense of happy country dancing. We have become accustomed to performances which take the Allegro finale of InchLe MatinInch at a near- Presto tempo; Kuijken restores a true Allegro. A first reaction is that it is too slow, but he soon convinces us that it is eminently right. This is important when considering the three symphonies as a set-which we often do these days InchLe MidiInch also ends Allegro (which Kuijken takes a bit faster than in InchLa MatinInch), as Haydn saves Presto for his final finale. Even there, however, Kuijken's is a moderate Presto, allowing all the instrumental details to come through. While I do prefer quicker tempos here and there, these consistent, gentle performances are most satisfying. As you will have guessed from the total timing, Kuijken takes all repeat