Ferveur, louange et passion
View record and artist detailsRecord and Artist Details
Composer or Director: Dietrich Buxtehude, August Kühnel, Johann Christoph Bach, Johann Hermann Schein, Jean-Dominique Krynen, Christoph Bernhard, Johann Rosenmüller
Genre:
Vocal
Label: Paraty
Magazine Review Date: 09/2015
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: PARATY415133
Tracks:
Composition | Artist Credit |
---|---|
Mein Freund ist mein und ich bin sein |
Johann Christoph Bach, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Johann Christoph Bach, Composer |
Fürchtet euch nicht! |
Christoph Bernhard, Composer
Caroline Howald, Conductor Christoph Bernhard, Composer Ensemble Isabelle d’Este |
Klag-Lied, 'Muß der Tod denn auch entbinden' |
Dietrich Buxtehude, Composer
Caroline Howald, Conductor Dietrich Buxtehude, Composer Ensemble Isabelle d’Este |
(7) Sonatas, Movement: D minor, BuxWV257 |
Dietrich Buxtehude, Composer
Caroline Howald, Conductor Dietrich Buxtehude, Composer Ensemble Isabelle d’Este |
Zu Gott sollst du nicht schreien |
Jean-Dominique Krynen, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Jean-Dominique Krynen, Composer |
Sonata a due |
August Kühnel, Composer
August Kühnel, Composer Caroline Howald, Conductor Ensemble Isabelle d’Este |
Das ist meine Freude |
Johann Rosenmüller, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Johann Rosenmüller, Composer |
Aus tiefer Not |
Johann Hermann Schein, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Johann Hermann Schein, Composer |
Christ unser Herr zum Jordan kam |
Johann Hermann Schein, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Johann Hermann Schein, Composer |
Erbarm dich, O Herre Gott |
Johann Hermann Schein, Composer
Caroline Howald, Conductor Ensemble Isabelle d’Este Johann Hermann Schein, Composer |
Author: David Vickers
Three short pieces for two interweaving voices and detailed continuo realisations from Schein’s Opella nova (published 1618) represent ‘distress and beseeching’, whereas the new work Zu Gott sollst du nicht schreien, commissioned from Jean-Dominique Krynen, applies an atonal language to rhetorical figurations steeped in the Baroque idiom. The conceptual experiment to use religious music to convey ‘earthly eroticism’ and ‘elevated sexuality’ culminates incongruously with the lament composed by Buxtehude for his own father’s funeral in 1674 (Klag-Lied); its instrumental parts are ‘diversified’ (ie tinkered with). The self-conscious interventionism means that I’m not entirely sure who this album is supposed to gratify beyond the creative instincts of the performers themselves.
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