Christian Senn, laBarocca & Ruben Jais - Bach: The Solo Cantatas for Bass (2018) [Hi-Res]

  • 18 Oct, 15:14
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Artist:
Title: Bach: The Solo Cantatas for Bass
Year Of Release: 2018
Label: Glossa
Genre: Classical
Quality: flac 24bits - 48.0kHz +booklet
Total Time: 00:54:21
Total Size: 601 mb
WebSite:

Tracklist
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01. Ich will den Kreuzstab gerne tragen, BWV 56: I. Ich will den Kreuzstab gerne tragen
02. Ich will den Kreuzstab gerne tragen, BWV 56: II. Mein Wandel auf der Welt
03. Ich will den Kreuzstab gerne tragen, BWV 56: III. Endlich, endlich wird mein Joch
04. Ich will den Kreuzstab gerne tragen, BWV 56: IV. Ich stehe fertig und bereit
05. Ich will den Kreuzstab gerne tragen, BWV 56: V. Komm, o Tod, du Schlafes Bruder
06. Der Friede sei mit dir, BWV 158: I. Der Friede sei mit dir
07. Der Friede sei mit dir, BWV 158: II. Welt, ade, ich bin dein mude
08. Der Friede sei mit dir, BWV 158: III. Nun Herr, regiere meinen Sinn
09. Der Friede sei mit dir, BWV 158: IV. Hier ist das rechte Osterlamm
10. Ich habe genug, BWV 82: I. Ich habe genug
11. Ich habe genug, BWV 82: II. Ich habe genug! Mein Trost ist nur allein
12. Ich habe genug, BWV 82: III. Schlummert ein, ihr matten Augen
13. Ich habe genug, BWV 82: IV. Mein Gott! Wann kömmt das schöne
14. Ich habe genug, BWV 82: V. Ich freue mich auf meinen Tod

With a new disc given over to three cantatas for bass by JS Bach, Christian Senn gives valid voice to that ever-continuing need of bringing the Kantor’s scores alive in fresh recordings. The career of the Chilean- born baritone Senn currently sees him having a strong – and much-applauded – affinity for music of the Baroque, be it in Vivaldi operas, or the Passions and other choral masterpieces by Bach; this is in addition to him impressing greatly in bel canto repertory – notably in Mozart.

On this new release from Glossa (where Senn is operating with a rich and deep bass-baritone colouring to his voice) there are not just the two principal Bach cantatas for solo bass – Ich will den Kreuzstab gerne tragen, BWV 56 and Ich habe genug, BWV 82 – but also the third and more rarely aired work, Der Friede sei mit dir, BWV 158, in which the soloist is joined by a chorus of sopranos.

In his exploration of the mystery of these sacred cantatas, Senn is beautifully supported by Ruben Jais and his Milan-based laBarocca. This is not the period ensemble’s first recording for Glossa – Jais directed it on a previous occasion when accompanying Sonia Prina in her Gluck recital, Heroes in love – and more releases can be expected from this combination in the near future. There is space also for Marc Trautmann to contribute a wry and lively booklet essay placing the three Bach cantatas – and Senn’s recording of them – in an illuminating context.



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