J S Bach - Magnificat, Christmas Cantata BWV63
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Label: Linn
Cat No: CKD469
Format: Hybrid SACD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 16th October 2015
Contents
Works
Cantata BWV63 'Christen, atzet diesen Tag'Chorale Prelude BWV600 'Gott, durch deine Guete'
Chorale Prelude BWV603 'Puer natus in Bethlehem'
Chorale Prelude BWV606 'Vom Himmel hoch, da komm' ich her'
Chorale Prelude BWV733 'Meine Seele erhebt den Herren'
Magnificat in E flat major, BWV243a
Hodie Christus natus est
Artists
Dunedin ConsortConductor
John ButtWorks
Cantata BWV63 'Christen, atzet diesen Tag'Chorale Prelude BWV600 'Gott, durch deine Guete'
Chorale Prelude BWV603 'Puer natus in Bethlehem'
Chorale Prelude BWV606 'Vom Himmel hoch, da komm' ich her'
Chorale Prelude BWV733 'Meine Seele erhebt den Herren'
Magnificat in E flat major, BWV243a
Hodie Christus natus est
Artists
Dunedin ConsortConductor
John ButtAbout
This is the premiere recording of J S Bach’s Magnificat heard for the first time within its original liturgical context, alongside the beautiful Christmas Cantata BWV63.
Dunedin Consort recreates Bach’s first Christmas at Leipzig (Vespers in the Nikolaikirche, 25 December 1723). The recording opens with a Gabrieli motet and includes organ preludes and a seasonal congregational chorale.
Director John Butt has given listeners an interpretation that will provide a refreshing outlook on this masterpiece and will show the Magnificat in a completely new light.
This recording marks the return of Dunedin Consort’s star-studded cast, including Nicholas Mulroy, Matthew Brook, Joanne Lunn and Clare Wilkinson, plus newcomer Julia Doyle.
Butt’s liturgical reconstruction of Bach’s St John Passion was named a ‘Critics’ Choice’ by BBC Radio 3 ‘CD Review’ and Gramophone, as well as being named ‘Recording of the Month’ by three separate publications.
The Dunedin Consort has established a reputation as one of the finest period performance choirs around, under the direction of prize-winning historical performance specialist John Butt OBE.
The multi-award-winning Dunedin Consort has won praise for the natural style of its soloists and renown for the virtuosity of its singers.
In addition to a GRAMMY nomination, Dunedin Consort has won two Gramophone Awards: the 2007 ‘Baroque Vocal’ Award for ‘Handel: Messiah’ and the 2014 ‘Choral’ Award for ‘Mozart: Requiem’.
Further accolades include: Esther was voted one of the ‘Top 10 Classical Albums of 2012’ by The Times, 2011 saw them included in Gramophone’s ‘Twenty Greatest Choirs’ list and its recording of Bach’s Matthew Passion was named ‘Building A Library: First Choice’ by BBC Radio 3 ‘CD Review’, whilst Six Brandenburg Concertos was named Gramophone ‘Choice’ and awarded five stars by both BBC Music and The Guardian.
Dunedin Consort recreates Bach’s first Christmas at Leipzig (Vespers in the Nikolaikirche, 25 December 1723). The recording opens with a Gabrieli motet and includes organ preludes and a seasonal congregational chorale.
Director John Butt has given listeners an interpretation that will provide a refreshing outlook on this masterpiece and will show the Magnificat in a completely new light.
This recording marks the return of Dunedin Consort’s star-studded cast, including Nicholas Mulroy, Matthew Brook, Joanne Lunn and Clare Wilkinson, plus newcomer Julia Doyle.
Butt’s liturgical reconstruction of Bach’s St John Passion was named a ‘Critics’ Choice’ by BBC Radio 3 ‘CD Review’ and Gramophone, as well as being named ‘Recording of the Month’ by three separate publications.
The Dunedin Consort has established a reputation as one of the finest period performance choirs around, under the direction of prize-winning historical performance specialist John Butt OBE.
The multi-award-winning Dunedin Consort has won praise for the natural style of its soloists and renown for the virtuosity of its singers.
In addition to a GRAMMY nomination, Dunedin Consort has won two Gramophone Awards: the 2007 ‘Baroque Vocal’ Award for ‘Handel: Messiah’ and the 2014 ‘Choral’ Award for ‘Mozart: Requiem’.
Further accolades include: Esther was voted one of the ‘Top 10 Classical Albums of 2012’ by The Times, 2011 saw them included in Gramophone’s ‘Twenty Greatest Choirs’ list and its recording of Bach’s Matthew Passion was named ‘Building A Library: First Choice’ by BBC Radio 3 ‘CD Review’, whilst Six Brandenburg Concertos was named Gramophone ‘Choice’ and awarded five stars by both BBC Music and The Guardian.
Sound/Video
Paused
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1Hodie Christus natus est à 8, Ch. C8
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2Das Orgel-Büchlein - No. 2, Gott, durch deine Güte, BWV 600
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3Christen, ätzet diesen Tag, BWV 63 - I. Christen, ätzet diesen Tag
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4Christen, ätzet diesen Tag, BWV 63 - II. O selger Tag!
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5Christen, ätzet diesen Tag, BWV 63 - III. Gott, du hast es wohl gefüget
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6Christen, ätzet diesen Tag, BWV 63 - IV. So kehret sich nun heut
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7Christen, ätzet diesen Tag, BWV 63 - V. Ruft und fleht den Himmel an
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8Christen, ätzet diesen Tag, BWV 63 - VI. Verdoppelt euch demnach
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9Christen, ätzet diesen Tag, BWV 63 - VII. Höchster, schau in Gnaden an
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10Das Orgel-Büchlein - No. 8, Vom Himmel hoch, BWV 606
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11Neu Leipziger Gesangbuch - Vom Himmel hoch
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12Fuga sopra il Magnificat, BWV 733 (Meine Seele erhebet den Herren)
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13Magnificat in E-Flat Major, BWV 243a - I. Magnificat
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14Magnificat in E-Flat Major, BWV 243a - IIa. Et exsultavit
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15Magnificat in E-Flat Major, BWV 243a - IIb. Vom Himmel hoch
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16Magnificat in E-Flat Major, BWV 243a - III. Quia respexit
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17Magnificat in E-Flat Major, BWV 243a - IV. Omnes generationes
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18Magnificat in E-Flat Major, BWV 243a - Va. Quia fecit
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19Magnificat in E-Flat Major, BWV 243a - Vb. Freut euch und jubiliert
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20Magnificat in E-Flat Major, BWV 243a - VI. Et misericordia
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21Magnificat in E-Flat Major, BWV 243a - VIIa. Fecit potentiam
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22Magnificat in E-Flat Major, BWV 243a - VIIb. Gloria in excelsis Deo!
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23Magnificat in E-Flat Major, BWV 243a - VIII. Deposuit potentes
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24Magnificat in E-Flat Major, BWV 243a - IXa. Esurientes implevit bonis
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25Magnificat in E-Flat Major, BWV 243a - IXb. Virga Jesse
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26Magnificat in E-Flat Major, BWV 243a - X. Suscepit Israel
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27Magnificat in E-Flat Major, BWV 243a - XI. Sicut locutus est
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28Magnificat in E-Flat Major, BWV 243a - XII. Gloria
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29Das Orgel-Büchlein - Puer natus in Bethlehem, BWV 603
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30Neu Leipziger Gesangbuch - Puer natus in Bethlehem
Europadisc Review
The Dunedin Consort's ongoing traversal of Bach's major choral works reaches Christmas in this latest release on the Linn label. Alongside the early, E flat major Christmas version of the Magnificat (complete with four seasonal interpolations) it presents not only the joyous Christmas cantata Christen, ätzet diesen Tag, BWV 63, but a selection of organ appropriate chorale preludes, congregational hymns and an introductory double-choir motet by Giovanni Gabrieli. The result is a model of richly contextualised music-making to match the Dunedin's earlier recording of Bach's St John Passion, which proved such a critical success.
The extra items serve not just to frame the two main works, setting off their brilliant scoring, but also to affect the shape and rhythm of the whole event: an abridged re-creation (no sermon!) of the Vespers service on Bach's first Christmas Day in Leipzig (1723). The cantata dates back to his Weimar years, but its scoring (including no fewer than four trumpets, the most he ever used) was clearly chosen to impress his new employers. So too was the scarcely less opulent yet remarkably concentrated Magnificat setting (probably composed for the Feast of the Visitation on 2 July 1723). In both these works, Butt and his musicians combine an earthy exuberance (trumpets and drums gloriously forthright) with some beautifully sensitive and ethereal singing and playing. With no more than two voices per part in the choruses, the upper voices combine tonal purity with a tasteful degree of passion, while the male voices add a particular pungency.
Standout moments in the cantata include the first recitative, with rapt strings accompanying alto Clare Wilkinson's superbly pointed declamation; the first duet, an Adagio in which soprano and bass (Joanne Lunn and Matthew Brook) weave an expressive braid with Alex Bellamy's sinuous oboe solo; the dance-like second duet, and bustling concluding chorus.
In the Magnificat, alert listeners will notice the many, often subtle differences between this E flat version and the more familiar D major score. With recorders instead of the D major's flutes, this version has a more 'grounded' feel, and the Dunedin Consort make the strongest possible case for it. Solos (vocal and instrumental) are outstanding, and tenor Nicholas Mulroy really comes into his own in an imperious account of 'Deposuit potentes'. Throughout, Butt keeps the momentum flowing, not just within but between movements, so that the four Christmas inserts feel thoroughly integrated into the overall scheme.
Most of the organ preludes are taken from Bach's Orgelbüchlein, and are jewels in their own right; here they not only serve to enhance the hymns they introduce, but benefit hugely in turn from being heard in liturgical context. They, like the Magnificat fugue, BWV 733, which makes a superb curtain-raiser for the Magnificat itself, are performed on the Peter Collins organ of Greyfriars Kirk, Edinburgh, with John Butt and Stephen Farr sharing duties at the console.
The Gabrieli motet makes a splendid opening item, and the Dunedin singers are joined by fifty or so 'extras' in the congregational chorales, which are accompanied in the highly idiosyncratic style that bach is known to have employed.
The whole project is underpinned by Butt's customary combination of sound scholarship and inspired musicianship, and Linn's excellently focused recording is of demonstration quality. With four extra tracks (including a blessing with harmonised response) available from the Linn website for further context, this is an enormously satisfying and enjoyable disc, reinforcing yet again the Dunedin Consort's enviable reputation in this repertoire.
EUROPADISC DISC OF THE YEAR 2015
The extra items serve not just to frame the two main works, setting off their brilliant scoring, but also to affect the shape and rhythm of the whole event: an abridged re-creation (no sermon!) of the Vespers service on Bach's first Christmas Day in Leipzig (1723). The cantata dates back to his Weimar years, but its scoring (including no fewer than four trumpets, the most he ever used) was clearly chosen to impress his new employers. So too was the scarcely less opulent yet remarkably concentrated Magnificat setting (probably composed for the Feast of the Visitation on 2 July 1723). In both these works, Butt and his musicians combine an earthy exuberance (trumpets and drums gloriously forthright) with some beautifully sensitive and ethereal singing and playing. With no more than two voices per part in the choruses, the upper voices combine tonal purity with a tasteful degree of passion, while the male voices add a particular pungency.
Standout moments in the cantata include the first recitative, with rapt strings accompanying alto Clare Wilkinson's superbly pointed declamation; the first duet, an Adagio in which soprano and bass (Joanne Lunn and Matthew Brook) weave an expressive braid with Alex Bellamy's sinuous oboe solo; the dance-like second duet, and bustling concluding chorus.
In the Magnificat, alert listeners will notice the many, often subtle differences between this E flat version and the more familiar D major score. With recorders instead of the D major's flutes, this version has a more 'grounded' feel, and the Dunedin Consort make the strongest possible case for it. Solos (vocal and instrumental) are outstanding, and tenor Nicholas Mulroy really comes into his own in an imperious account of 'Deposuit potentes'. Throughout, Butt keeps the momentum flowing, not just within but between movements, so that the four Christmas inserts feel thoroughly integrated into the overall scheme.
Most of the organ preludes are taken from Bach's Orgelbüchlein, and are jewels in their own right; here they not only serve to enhance the hymns they introduce, but benefit hugely in turn from being heard in liturgical context. They, like the Magnificat fugue, BWV 733, which makes a superb curtain-raiser for the Magnificat itself, are performed on the Peter Collins organ of Greyfriars Kirk, Edinburgh, with John Butt and Stephen Farr sharing duties at the console.
The Gabrieli motet makes a splendid opening item, and the Dunedin singers are joined by fifty or so 'extras' in the congregational chorales, which are accompanied in the highly idiosyncratic style that bach is known to have employed.
The whole project is underpinned by Butt's customary combination of sound scholarship and inspired musicianship, and Linn's excellently focused recording is of demonstration quality. With four extra tracks (including a blessing with harmonised response) available from the Linn website for further context, this is an enormously satisfying and enjoyable disc, reinforcing yet again the Dunedin Consort's enviable reputation in this repertoire.
EUROPADISC DISC OF THE YEAR 2015
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