Himmelsmusik
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Label: Erato
Cat No: 9029562977
Format: CD
Number of Discs: 1
Release Date: 5th October 2018
Contents
Works
Bleib bei uns, denn es will Abend werdenCiaconna a 4 in C
Ach, dass ich Wassers g'nug hatte
Komm, susser Tod, BWV478
Sonata a 6 in E minor
Ich suchte des Nachts in meinem Bette
Kommt, ihr Stunden, macht mich frei
O amantissime sponse
Erbarm dich mein, o Herre Gott, SWV447
Symphoniae Sacrae
Gott, hilf mir
Ein kleines Kindelein
Artists
Celine Scheen (soprano)Philippe Jaroussky (countertenor)
Jesus Rodil (tenor)
Dingle Yandell (bass)
L’Arpeggiata
Conductor
Christina PluharWorks
Bleib bei uns, denn es will Abend werdenCiaconna a 4 in C
Ach, dass ich Wassers g'nug hatte
Komm, susser Tod, BWV478
Sonata a 6 in E minor
Ich suchte des Nachts in meinem Bette
Kommt, ihr Stunden, macht mich frei
O amantissime sponse
Erbarm dich mein, o Herre Gott, SWV447
Symphoniae Sacrae
Gott, hilf mir
Ein kleines Kindelein
Artists
Celine Scheen (soprano)Philippe Jaroussky (countertenor)
Jesus Rodil (tenor)
Dingle Yandell (bass)
L’Arpeggiata
Conductor
Christina PluharAbout
Himmelsmusik sees Pluhar taking a more sober and traditionally scholarly approach. She and L’Arpeggiata are joined by star countertenor Philippe Jaroussky and the distinguished Belgian soprano Céline Scheen in a programme that includes the celebrated lamento ‘Ach, dass ich Wassers g’nug hätte’ by Johann Christoph Bach (born over 40 years before his relative Johann Sebastian), Heinrich Schütz’s ‘Erbarm Dich mein, o Herre Gott’ and prompts discovery of works by such lesser-known figures as Johann Theile, Philipp Heinrich Erlebach, Christian Ritter and Franz Tunder. An instrumental piece by the Verona-born Antonio Bertali highlights the influence of Italian music on German composers of the time.
In an interview with the Bremen-based newspaper Weser-Kurier, Christina Pluhar provided some insights into the balance she strikes in her music-making with L’Arpeggiata.
“A way of escaping any categorisation as a specialist in improvisation is to undertake projects in which I play pure Baroque music. I always try to reinvent myself, to create something from my innermost being … I can be quite satisfied with music as it was originally written, and we will play this music without making excursions into other fields … But it is also always exciting to look at this music through the eyes of musicians who come from a different musical genre, since it opens up new perspectives and gives rise to a kind of new music. That can only work when you are well acquainted with the original music and its style, and have great respect for it … There are pieces that lend themselves to being developed into something new, and there are others that must simply be presented in all their purity and beauty – works which must be left as they are. Sensitivity is everything.”
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