Bach Cantatas Gardiner

10 opinii dla Bach Cantatas Gardiner

1. Oceniono 5 na 5

   prettyshorty – 5 września 2024

   収録曲目取り込んだときジャケを見ながら入力したので間違いもあるかもしれませんがせっかくなのでここに共有します(末尾に * のある盤はアルヒーフで出ているものとまったく同じものです)Disc01 For Christmas Day 63/191 [1999 Dec 25 Herdekirche, Weimar]Disc02 For New Year’s Day 143/41/16/171 [2000 Jan 1 Gethsemanekirche, Berlin]Disc03 For the Sunday after New Year/Epiphany 153/58/65/123 [2000 Jan 2 Berlin, Jan 6 Leipzig]Disc04 For the First Sunday after Epiphany 154/124/32 [2000 Jan 9 Hauptkiche St.Jacobi, Hamburg]Disc05 For the Second Sunday after Epiphany 155/3/13 [2000 Jan 16&17 Old Royal Naval College Chapel, Greenwich]Disc06 For the Third Sunday after Epiphany 72/73/111/156 [2000 Jan 22-23 Cheiesa di San Marco, Milan]*Disc07 For Fourth Sunday after Epiphany 26/81/14/50 [2000 Jan 30 Romsey Abbey, Hampshire]Disc08 For the Feast of the Purification of Mary 83/82/125/200 [2000 Feb 2 Priory Church, Christchurch, Dorset]*Disc09 For Septuagesima 144/84/92 [2000 Feb 20 Grote Kerk, Naarden]Disc10 For Sexagesima 18/181/126 [2000 Feb 27 Southwell Minster]Disc11 For Quinquagesima 22/23/127/159 [2000 Mar 5 King’s College Chapel, Cambridge]Disc12 For the Annunciation/Palm Sunday/Oculi 182/54/1 [2000 Mar 26 Walpole St Peter, Norfolk]Disc13 For Easter Sunday/Easter Monday 4/31/66 [2000 Apr 23-24 Georgenkirche, Eisenach]Disc14 For Easter Monday/Easter Tuesday 6/134/145 [2000 Apr 24-25 Georgenkirche, Eisenach]Disc15 For the First Sunday after Easter 150/67/42/158 [2000 Apr 29&30 Johann-Sebastian-Bach-Kirche, Arnstadt]Disc16 For the Second Sunday after Easter 104/85/112 [2000 May 7 Basilique St Willibrord, Echternach]Disc17 For the Third Sunday after Easter 12/103/146 [2000 May 14 Schiosskiche, Altenburg]Disc18 For the Fourth Sunday after Easter 166/108/117 [2000 May 21 St Mary’s, Warwick]Disc19 For the Fifth Sunday after Easter 86/87/97 [2000 May 27&28 Annekirche, Dresden]Disc20 For Ascension Day 43/37/128/11 [2012 May 10 St Giles’Cripplegate, London]Disc21 For the Sunday after Ascension Day 44/150/183 [2000 Jun 4 Sheborne Abbey]Disc22 For Whit Sunday 172/59/74/34 [2000 Jun 11 Holy Trinity, Long Melford]Disc23 For Whit Monday 173/68/174 [2000 Jun 12 Holy Trinity, Long Melford]Disc24 For Whit Tuesday 1048/184/175 [2000 Jun 13 Holy Trinity, Blythbourgh]Disc25 For Trinity Sunday 194/176/165/129 [2000 Jun 18 St Magnus Cathedral, Kirkwall]Disc26 For the Feast of St John the Baptist 167/7/30 [2000 Jun 23&24 St Giles’Cripplegate, London]Disc27 For the First Sunday after Trinity 75/39/20 [2000 Jun 25&26 St Giles’Cripplegate, London]Disc28 For the Second Sunday after Trinity 2/10/76 [2000 Jul 2&3 Basilique Saint-Denis, Paris]Disc29 For the Third Sunday after Trinity 21/135/1044 [2000 Jul 8&9 Fraumunster, Zurich]Disc30 For the Fourth Sunday after Trinity 24/185/177/71 [2000 Jul 23 Blasiuskirche, Muhlhausen]Disc31 For the Fifth Sunday after Trinity 131/93/88 [2000 Jul 23 Blasiuskirche, Muhlhausen]Disc32 For the Sixth Sunday after Trinity 9/170 [2000 Jul 30 St Gumbertus, Ansbach]Disc33 For the Seventh Sunday after Trinity 186/107/187 [2000 Aug 5&6 St Mary’s, Haddington]Disc34 For the Eighth Sunday after Trinity 178/136/45 [2000 Aug 13 Christkirche, Rendsburg]Disc35 For the Ninth Sunday after Trinity 94/168/105 [2000 Aug 19 Duomo di S. Nicolo]*Disc36 For the Tenth Sunday after Trinity 46/101/102 [2000 Aug 27 Dom, Braunschwig]Disc37 For the Eleventh Sunday after Trinity 179/199/113 [2000 Sep 3 St David’s Cathedral]*Disc38 For the Twelfth Sunday after Trinity 69a/35/137 [2000 Sep 10 Jakobskirche, Kothen]Disc39 For the Thirteenth Sunday after Trinity 77/164/33 [2000 Sep 17 Dreikonigskirche, Frankfurt]Disc40 For the Foueteenth Sunday after Trinity 25/78/17 [2000 Sep 24 Abbaye d’Ambronay]Disc41 For the Fifteenth Sunday after Trinity 138/99/51/100 [2000 Sep 28 Unser Lieben Frauen, Bremen]Disc42 For the Feast of St Michael and All Angels 50/130/19/149 [2000 Sep 29 Unser Lieben, Bremen]Disc43 For the Sixteenth Sunday after Trinity 161/27/8/95 [2000 Oct 7 Santo Domingo de Bonaval]Disc44 For the Seventeenth Sunday after Trinity 148/114/47/226 [2000 Oct 14 Allhelgonakyrkan, Lund]Disc45 For the Eighteenth Sunday after Trinity 96/169/116/668 [2000 Oct 22 Thomaskirche, Leipzig]Disc46 For the Nineteenth Sunday after Trinity 48/5/90/56 [2000 Oct 29 Erloserkirche, Potsdam]Disc47 For the Feast of the Reformation 79/192/80 [2000 Oct 31 Schlosskirche, Wittenberg]Disc48 For the Twentieth Sunday after Trinity 162/49/180 [2000 Nov 4 Cattedrale di San Lorenzo, Genova]Disc49 For the Twenty-first Sunday after Trinity 109/38/98/188 [2000 Non 11&12 Old Ryal Naval College Chapel, Greenwich]Disc50 For the Twenty-second Sunday after Trinity 55/89/115/60 [2000 Nov 17 All Saints Tooting]Disc51 For the Twenty-third Sunday after Trinity 139/163/52/140 [2000 Nov 26 Winchester Cathedral]Disc52 For the First Sunday in Advent 61/62/36 [2000 Dec 3 St. Maria Im Kapitol Koln]Disc53 For the Fourth Sunday in Advent 70/132/147 [2000 Dec 10 Michaeliskirche, Luneburg]Disc54 For Christmas Day/For the Second Day of Christmas 91/121/40/110 [2000 Dec 25 St. Bartholomew’s, New York]Disc55 For the Third Day of Christmas 64/151/57/133 [2000 Dec 27 St. Bartholomew’s, New York]Disc56 For the Sunday After Christmas 225/152/28/190 [2000 Dec 31 St. Bartholomew’s, New York]

2. Oceniono 5 na 5

   AK – 5 września 2024

   Beautiful setChoosing Gardiner over other complete editions such as Suzuki, Koopman, Harnoncourt or Rilling certainly is a matter of preference which I will not comment on.The box itself is a beautiful product: the individual CDs come in paperback double-sleeves, so that the respective track listing is on the inside of the sleeve. I find this a great alternative to having a large booklet with all the trackless combined. Here, you can just take out a sleeve and see the track list without having to go through a large booklet that won’t stay flat open. As a result, the booklet is quite minimal, but still useful.It is of course a negative aspect that the original introductory booklet texts are only supplied as PDF files, but compromises have to be made.Overall, I think this box is a good value for money if you’re looking into complete cantata boxes (also considering that Suzuki is virtually sold out).I especially love the cover photographs on the CD sleeves, compared to the Suzuki and Koopman sets, these are so much better.Overall, if you’re in the market for a complete (sacred) cantata box, this is a good choice if Gardiner appeals to your personal taste.

3. Oceniono 5 na 5

   Amazon Customer – 5 września 2024

   une des intégrales les plus convaincantesUne version plus “dépoussiérée” que d’autres… Certaines cantates avaient déjà fait l’objet d’interprétations superbes, mais les intégrales (Harnoncourt/Leonhardt, Suzuki, Koopman, Rilling…), me semblaient assez inégales jusqu’à présent. Cette intégrale est moins inégale, certaines pièces a priori moins intéressantes reprennent vie avec ces musiciens. Il y a en tout cas beaucoup de convictions et aucune cantate ne me semble être interprétée “juste comme ça”, sans intention/vision, ce qui est déjà un exploit. Tout est une question de goût évidemment, surtout pour la musique baroque.En effet, manquent certaines cantates (profanes et quelques-autres), mais je ne regrette pas, 56 CD c’est déjà pas mal et elle me permet d’apprécier beaucoup plus de cantates que j’avais trouver un peu ennuyeuses dans les autres intégrales.Les photos, qu’on les apprécie ou pas, ont au minimum l’avantage de pouvoir associer des visages avec les cantates et donc de ne pas devoir systématiquement rechercher dans un index pour retrouver les cantates préférées 😉

4. Oceniono 5 na 5

   JELEDI – 5 września 2024

   Un pélerinage mémorableLE PRODUIT :Beau coffret sobre, compact et esthétique. Les pochettes des disques sont illustrées chacune d’une superbe photo de Steve McCurry. Commentaires relatifs à chaque cantate et les textes sur un CD (en anglais et allemand). Livraison rapide, emballage protégeant bien le coffret. Prix de vente modique.L’OEUVRE :Cette œuvre unique et trop peu connue que sont les cantates de J.-S. Bach recèle des trésors qui ne demandent qu’à être découverts. La créativité et le génie du Cantor ne cessent de nous étonner : musique liée étroitement aux textes, choix judicieux des instrumentations, des voix et des tonalités, harmonisations très riches (jamais banales), mélodies qui touchent profondément, bref, de la très grande musique.L’INTERPRÉTATION :John Eliot Gardiner exige beaucoup de ses musiciens et chanteurs pour relever le défi de son pèlerinage avec un superbe résultat. Les interprétations sont limpides même avec des tempi parfois étourdissants. Tant le English Baroque Soloists que le Monteverdi Choir sont toujours à la hauteur des attentes, justes, précis, bien équilibrés. Les voix solistes varient au long du pèlerinage, ce qui apporte une belle diversité (malgré des inégalités).L’enregistrement “live” comporte des risques qui sont très bien assumés dans ce cas-ci. Malgré les changements hebdomadaires d’environnement et la présence des auditeurs, l’équipe de prise de son et de montage a réalisé un excellent travail avec un résultat qui dépasse les attentes (les miennes du moins).EN RÉSUMÉ :Sir Gardiner et son équipe ont réalisé une œuvre monumentale d’interprétation des cantates de Bach et c’est un privilège pour nous tous de pouvoir en profiter si facilement et à un coût plus que raisonnable.

5. Oceniono 5 na 5

   Gabriele Ruffini – 5 września 2024

   La miglior esecuzione di sempreDei cicli integrali (o semintegrali) che conosco Rilling, Richter, Harnoncourt/Leonhardt a, Leusink, Koopman, Suzuki questa è sicuramente la mia preferita per unità di concezione, brillantezza orchestrale nelle cantate gioiose, intensita’ e profondita’ nelle cantate di ispirazione metafisica. Di buon livello mediamente il cast che in ogni caso varia sovente tra.le.varie cantate.

6. Oceniono 5 na 5

   Renato Rodolfo-Sioson – 5 września 2024

   (Too Much Info) On Why You Should Get ThisStated baldly: If you acquire only one recording of Bach’s church cantatas, this is the set to purchase. And for all you Bach freaks (like me) out there: Get this recording anyway, even if you were not planning on it.Gardiner’s Bach Cantata Pilgrimage demonstrates, among other things, just how far historically informed performance on period instruments has come in the past 30 or so years. This is most obvious when compared to the venerable, pioneering cycle jointly produced by Gustav Leonhardt and Nikolaus Harnoncourt. Though this is not the proper forum to discuss how that project has, over the years, come to sound somewhat “dated”– and I’m sure Harnoncourt himself has newer things to say when it comes to Bach’s cantatas — I find that Gardiner’s broader range of tempi, expressive (some might argue over-expressive) use of dynamics, and imaginative variety of articulation certainly make his cycle more accessible, perhaps more amenable to early 21st-century ears.It’s ridiculous, really, to try and prove just how excellent Gardiner can be. Still, I’d like to mention a few favorites selected from 1208 tracks of music spread over 58 hours and 40 minutes. All are meltingly beautiful (though I should admit that I’ve always had a weakness for fine singers paired with fine oboists):”Ich habe genung,” the opening aria from BWV 82 (disc 8 track 6)”Es ist vollbracht,” the last aria from BWV 159 (disc 11 track 18)”Wo zwei und drei versammlet sind,” the first aria from BWV 42 (disc 15 track 17)Gardiner’s ensemble consistently projects a beguiling freshness behind their performances — could this be a function of their insanely swift turnover rate, rehearsing and recording a new set of cantatas every week for an entire year? Yet the potential for disaster was somehow averted, and the results never sound under-rehearsed or (even worse) over-planned.It’s already been noted elsewhere that this box set includes all of the Bach Cantata Pilgrimage originally released by Soli Deo Gloria in 27 volumes, plus the Ascension cantatas and oratorio that were recently added as “volume 28” (and thus slightly out of liturgical sequence). More importantly, the four discs issued by DG Archiv before they bowed out of the project have been finally reinstated — a total of 14 cantatas that were excluded from SDG’s 28-volume series. (The cantatas in question were for the Third Sunday after Epiphany, Purification, the Ninth Sunday after Trinity, and Eleventh Sunday after Trinity.)Therefore, the appearance of the entire, newly reconstituted cycle in this compact package makes this a better buy than the incomplete original set of 27 (no, 28) individual volumes. Note also that the discs are more logically ordered than the original volumes, appearing in strict chronological order. (And volume 28, recorded in 2012, has now been inserted in its proper liturgical position as disc 20.)Although one may object that the liner notes are no longer present, an additional CDR provides a separate file (or “booklet”) for every disc. These include all of the original introductory essays — Gardiner’s keenly observant journal entries, with Ruth Tatlow’s notes from the DG Archiv discs — with the cantata texts and translations. Unfortunately, all photos from SDG’s original notes, which always included a vignette of the church where each disc was recorded, are no longer present. Nonetheless, aside from the occasional interior shot — such as one of the stunning nave vaulting of Sherborne Abbey, or of the visually magnificent (if mechanically unreliable) Trost organ at Altenburg’s Schlosskirche — photos were never a major feature of SDG’s presentation.Of course, completists (like me) will want to know what Gardiner did not include in his cycle:1) Obviously, he omits cantatas that are too fragmentary or incomplete to realize in performance, such as BWV 197a (realized somehow for Masaaki Suzuki’s recently completed cycle on BIS), and BWV 193 (included in Ton Koopman’s cycle on his label, Antoine Marchand).2) Also ignored are the four inauguration cantatas for Leipzig: BWV 26, 69, 119 and 120. (However, Gardiner did include the inauguration cantata for Mühlhausen, BWV 71.)3) The three known wedding cantatas are likewise not present: BWV 120a, 195, 197.4) Gardiner omits the two funeral cantatas, BWV 106 and 157. (However, he recently released the `Actus tragicus’ BWV 106 with the Easter oratorio.)5) Finally, one cantata for an unknown occasion, BWV 196, was also left out. (But note that Gardiner recorded all six of the others in this category, and BWV 150 actually appears twice.)From an aesthetic standpoint, the box set is presented in an attractive, pleasingly compact format. Collectors of SDG’s original volumes may have found the covers, featuring photo portraits by Steve McCurry, an odd match for sacred music by a German composer dead for more than 2 1/2 centuries. In time, McCurry’s portraits became oddly comforting, symbolizing the humanity one hopes to find in Bach’s music. Happily, this current set positively celebrates McCurry’s work: the original 28 portraits are now expanded to 56 (one for each disc) and the 28 colorful miniatures on the lid give an appealing, bejeweled look to this treasure chest of musical art.

7. Oceniono 5 na 5

   J. Rogelio Rodríguez – 5 września 2024

   Como señala Gramophon, uno de los hitos discográficos de la década…Desde el 2005 llevo comprando con relativa regularidad una o dos entregas de este peregrinaje bachiano por diferentes iglesias europeas. No más de dos compactos al año.Desde que Gardiner fundara si propio sello, Soli Deo Gloria, cada entrega (bien de la serie que nos ocupa o de otros proyectos) se ha caracterizado por un cuidado exquisito de los detalles, tanto en la edición musical y producción, como en la impresa.Es muy difícil resumir qué me atrajo de esta nueva propuesta. Tenía muchas de las cantatas religiosas de Bach por el propio Gardiner (en su etapa de Archiv), pero también por Herrewehghe, uno de los maestros de referencia en este repertorio. Por un lado hacerme con los 56 cedés de una sola vez y a este precio era tentador, aunque partiese de doce títuos comprados individualmente, entre el 2005 y 2010. Por otra parte, la sensación de que nos encontramos ante un fenómeno cultural, más allá de lo estrictamente musical, de primera magnitud fue consolidándose en mi interior: si bien la edición, hace casi veinte años, de la integral de las cantatas religiosas de Bach por Harnoncourt y Leonhart fue calificado como el fenómeno discográfico más importante desde la posguerra, este peregrinaje de Gardiner y su Coro Monteverdi, sus English Baroque Soloists, así como un elenco de voces de primerísima magnitud (Argenta, Holton, Chance, Ainsley,…) actualiza la aventura de los primeros (Harnoncourt & Leonhart) hacia una dimensión hermeneuticamente distinta.No dispongo de tiempo para analizar en detalle tan siquiera algunas de las piezas individuales. Sólo señalaré que el sonido es soberbio en equilibrio y producción y la organización general de este itinerario musical bachiano resulta impecable. Lo podemos entender leyendo cada una de las notas que acompaña la edición, en un cedé aparte.¿Algún punto de mejora? Tal vez el siguiente: esperaba una recopilación completa de las ediciones individuales que han venido editándose desde el 2000. Pero la edición completa opta por un soporte físico más austero, con simples cubiertas para cada uno de los cedés. El resultado final, no obstante, a pesar de la auteridad, resulta, empero, elegante. Y el precio final es más que interesante.Puede que en más de un título las opciones de Kuijken, el propio Leonhart o Herreweghe superen a la de Gardiner, pero desde el punto de vista global, estamos ante una primera referencia de las cantatas religiosas de Bach. Sentido de la articulación, claridad en los diferentes planos sonoros y, desde luego, la formidable prestación del Coro Monteverdi son algunas de sus fortalezas más evidentes.Espero que lo disfruten igual que lo estoy haciendo yo.Un cordial saludo.

8. Oceniono 5 na 5

   Dizwell – 5 września 2024

   Excellent Complete CantatasThe Gardiner cantatas come in an attractive cardboard box. Each CD is enclosed within that box in its own cardboard slipcase, with very attractive photographic portraits by Steve McMurray on the covers (a different portrait for each CD). The overall effect is of thoughtful beauty, but it’s marred a little by the ease with which the cardboard is damaged. Mine came with a ‘roller mark’ along the entire set, in the middle of the top border, which disappointed a little. In short, nice ‘set aesthetics’, marred a little by the choice of materials and the packing implementation.But we’re here for the music not the packaging, so what to say about that? First, let’s get factual. There are 187 different BWV numbers included: obviously, you get most of the BWV 1 to 227 series (the cantatas proper), but you also get 668, 1044 and 1048. You also get two recordings of BWV 150 (on CDs 15 and 21).What’s “missing”?BWV 15 – not by Bach at allBWV 29 – By BachBWV 41 – By BachBWV 53 – Probably not by Bach anywayBWV 106 – By BachBWV 118 – Not a cantata as such, reallyBWV 119 – By BachBWV 120 – By BachBWV 142 – Not by BachBWV 157 – By BachBWV 160 – Not by BachBWV 189 – Probably not by BachBWV 193 – By Bach, but incompleteBWV 201 – 224 – Secular CantatasSo there are about six genuine omissions, and other apparent ‘missings’ are down to the fact that the cantatas concerned are not by Bach, not wholly by Bach or by Bach but not intended for church performance. The omissions are, it seems to me, relatively trivial. I certainly wouldn’t mark the set down a whole star in consequence!Each of the cantatas that are present were recorded live, with recorded dress rehearsals being used to cover up any disasters or audience coughing fits. I think you would be hard-pressed to tell that audiences were present: I’ve yet to hear an intrusive cough, shuffle of feet or other intrusion. However, the performances definitely have that ‘live’ quality -a heightened intensity, a vibrancy that speaks of adrenaline!I have the Leusink and Suzuki cantata cycles to compare with, and Gardiner knocks the spots of Leusink, whose choir frequently sounds awful, with a tendency for the Sopranos to ‘hoot’ or ‘bloom’ excessively. Leusink’s soloists are also often sub-par. Suzuki and Gardiner are a more interesting comparison: I sometimes find Gardiner a bit plodding where Suzuki is exciting, but I often find Gardiner’s performances more consistent than Suzuki’s. In BWV 130, for example, Gardiner doesn’t sound much like he’s attending the war in heaven between Michael and Satan. A tea-dance might be more his thing. Suzuki, by comparison, is much punchier, zestier, faster… and much more satisfying as a result. That said, Suzuki’s tenors and basses in that particular performance are less prominent than the Gardiner equivalents, so the double fugue is much harder to hear properly. Overall, it’s difficult to choose between them!Another favourite of mine is BWV 127. Gardiner’s sound is much richer than Suzuki’s, partly because he has the choir sing the chorale tune in the first movement which everyone else just has played by the violins. It’s unorthodox, and I can’t decide if it’s the right thing to do or not… but the effect is undeniably lovely.Gardiner’s soloists sound very good: I’ve yet to hear a dud performance. Leusink’s bass, in particular, not infrequently sounds not up to the technical task, but none of Gardiner’s sound out of their depth.Suzuki’s and Gardiner’s orchestras sound about equally as good, in my view. I wouldn’t like to have to choose between them, anyway!The price of this set might seem a little on the high side, but that’s probably because we’re spoiled these days with dirt-cheap boxed sets everywhere you look. You’d have to be a real curmudgeon to begrudge paying about £3 per disk. Additionally, a lot of those ‘everything composer X wrote’ boxed sets tend to include performances from different performers at different times and of highly variable musical quality. This set, on the other hand, presents a coherent, cohesive and consistently-excellent vision of Bach’s cantatas.So, I’d unhesitatingly recommend it. Niggles about packaging aside, any reservations I may have about it are simply those you’d be bound to have when comparing 180+ performances of one impressive conductor with another. If you have the Suzuki, I’d still say get the Gardiner anyway: the differences in interpretation are interesting and enthralling, and will provide hours (weeks/months!) of interest. Meanwhile, Suzuki isn’t available (as far as I know) as an all-in-one boxed set, so you’re looking at spending up big to get his equivalent.Here, then, you get excellent performances, thoughtful and intelligent interpretation, fine musicianship… and all boxed up in one relatively cheap and highly convenient package. You can’t really go wrong here, I feel.

9. Oceniono 5 na 5

   Robert C. Leeson – 5 września 2024

   I’m really pleased to have received this so quicklyI’m really pleased to have received this so quickly. I think 8 days from the UK to Australia must be some kind of record!I’ve heard many of the recordings on ABC radio on Sunday mornings and find the live performance recordings have an energy and immediacy that studio recordings don’t always have, although I do have a soft spot for the Nikolaus Harnoncourt recordings, some of which I still have on vinyl.While I was reading Gardiner’s Music in the Castle of Heaven last year I wished I could hear the cantatas as I was reading his comments. Having this set will enable me to do this next year as a first project when I have retired from full time work. I’m certainly looking forward to it!

10. Oceniono 5 na 5

    Andrew Hallan – 5 września 2024

    A unique collection of all the cantatas.An amazing musical achievement across 56 CDs! Well documented. To best understand the cantatas and their background I strongly recommend John Eliot Gardiner’s portrait of Bach in his “Music in the Castle of Heaven”.