There are people who buy everything Yo-Yo Ma releases, and that's a good thing: his incessant musical curiosity and his ability to carry his audience with him constitute a true bright spot in today's classical music scene. Fans of the two Simply Baroque discs Ma recorded with Ton Koopman and the Amsterdam Baroque Orchestra will find much to like ...
With this set of 12 cantatas, a few of them quite short, Dutch historical-instrument conductor Ton Koopman approaches the end of his monumental traversal of the complete Bach cantata corpus. The cantatas here mostly date from the last two decades of Bach's life. By this time Bach had cantatas from earlier cycles ready for most occasions pertaining ...
Just when you think that Ton Koopman's magnificent cycle of the complete cantatas of Bach can't get any better, on the last disc of the last volume, it does with a reconstruction of Bach's fragmentary Cantata 193 Ihr Tore zu Zion by Koopman himself. After 19 volumes of three discs apiece, Koopman has proved himself to be perhaps the current ...
Brand new Bach! What more does anyone need to hear? Discovered in 2005, the strophic aria Alles mit Gott und nicht ohn' ihn (All things with God and nothing without Him) for soprano with a continuo of lute, organ, and bass, plus a ritornello of two violins and viola, is gloriously ripe Bach from 1713 written for the 52nd birthday of his patron, ...
Since Ton Koopman began recording Bach's complete cantatas in 1994, he has gone through three labels in getting his recordings to the public. First it was Erato, then it was Teldec, and now, finally, Antonie Marchand, the company that has not only completed Koopman's work but reissued the earlier volumes. All this is a wonderful example of ...
The 22nd and final volume in Ton Koopman and the Amsterdam Baroque Orchestra and Choir's series of recordings of Bach's cantatas includes two of his final Lutheran cantatas, all four of his short Catholic masses based on movements taken from earlier cantatas, and an early secular version of one of the sacred cantatas plus arrangements of two ...
Even at their most deeply spiritual, there is a profound humanity to Ton Koopman and the Amsterdam Baroque Orchestra and Choir's recordings of Bach's cantatas that makes them essentially of this world. Take their performance of Was mein Gott will, das g'scheh allzeit (What my God wills, that'll always happen) BWV 111. If there is a typical Bach ...
After he finished recording everything he could possibly record by J.S. Bach in 2004, Dutch keyboard player and conductor Ton Koopman turned to recording everything he could possibly record by Dietrich Buxtehude in 2005. It made perfect sense. Buxtehude was a direct inspiration for the young Bach -- the story of the younger composer trekking from ...
It sure doesn't sound like Johann Sebastian Bach -- this is lighthearted and laughing music of broad wit and human warmth -- and it sure doesn't sound like Ton Koopman -- this is goofy and giddy music-making with plenty of juice -- and yet it's both Bach and Koopman. Apparently even Bach had to lighten up sometimes -- how many cantatas with names ...
Just because there are ten cantatas in this tenth volume of Ton Koopman and the Amsterdam Baroque Orchestra and Chorus' complete recordings of Bach's cantatas is no reason to play them all straight through them. After all, the cantatas were intended to be heard just once a week at Sunday services, and playing ten straight through comes dangerously ...
With so many recordings of Bach's cantatas to choose from, why should the listener choose Volume 11 of Ton Koopman's survey of the complete cantatas? Does it include any of the "greatest hits" among the cantatas? No, none of the nine works included here, all from the second year of Bach's residence in Leipzig, are particularly well-known. Does it ...
Just how to arrange Johann Sebastian Bach's cantatas for purposes of recording is always a daunting question -- to organize a complete cantata project by BWV number works the least well of all possible options. If J.S. Bach: Cantatas, Vol. 17, gives any indication of what Ton Koopman has in mind, it appears to be historical context rather than ...
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