Wydawnictwo: Carus
Nr katalogowy: CAR 83286
Nośnik: 3 SACD
Data wydania: marzec 2016
EAN: 4009350832862
Nr katalogowy: CAR 83286
Nośnik: 3 SACD
Data wydania: marzec 2016
EAN: 4009350832862
Nasze kategorie wyszukiwania
Epoka muzyczna: barok
Obszar (język): niemiecki
Rodzaj: pasja, muzyka pasyjna
Hybrydowy format płyty umożliwia odtwarzanie w napędach CD!
Epoka muzyczna: barok
Obszar (język): niemiecki
Rodzaj: pasja, muzyka pasyjna
Hybrydowy format płyty umożliwia odtwarzanie w napędach CD!
Bach: Matthaus-Passion BWV 244
Carus - CAR 83286
Kompozytor
Johann Sebastian Bach (1685-1750)
Johann Sebastian Bach (1685-1750)
Wykonawcy
Hannah Morrison, soprano
Sophia Harmsen, alto
Tilman Lichdi, tenor (Evangelist)
Peter Harvey, bass (arias)
Christian Immler, bas (Jesus)
Kammerchor Stuttgart
Barockorchester Stuttgart / Frieder Bernius
Hannah Morrison, soprano
Sophia Harmsen, alto
Tilman Lichdi, tenor (Evangelist)
Peter Harvey, bass (arias)
Christian Immler, bas (Jesus)
Kammerchor Stuttgart
Barockorchester Stuttgart / Frieder Bernius
Utwory na płycie:
In the St. Matthew Passion, Johann Sebastian Bach created one of the most significant Protestant church music works. Frieder Bernius, together with the Kammerchor Stuttgart and the Barockorchester Stuttgart have now recorded this composition. These prize-winning experts of historically informed performance, with their filigree sound, master this monumental composition which portrays Christ’s passion with incomparable musical, spiritual and emotional intensity. With this new recording, the ensembles, together with renowned soloists including Tilman Lichdi, demonstrate once more that their fine, flexible lines make them ideal interpreters of Bach’s music. This limited deluxe edition captivates by means of a particularly opulent presentation in a comprehensive digibook as well as excellent SACD recording technology. Bernius’s recording is based on the new edition by the acknowledged Bach expert Klaus Hofmann, published by Carus-Verlag. It is no secret that Bach’s original score and parts were full of ambiguities and contradictions. Once again, Bernius sets new standards with respect to performance and artistry by following Hofmann’s approach, who presented his edition in accordance with current findings of Bach research, taking into account numerous impulses contributed by historical performance practice.