Erbarm Dich mein, O Herre Gott, for soprano, 4 violes, violone & continuo, SWV 447
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 1: Muss der Tod denn auch entbinden
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 2: Unsre Herzen sind die Väter
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 3: Solcher ist mir auch gewesen
Erbarm Dich mein, O Herre Gott, for soprano, 4 violes, violone & continuo, SWV 447
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 1: Muss der Tod denn auch entbinden
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 2: Unsre Herzen sind die Väter
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 3: Solcher ist mir auch gewesen
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 4: Dieser nun wird mir entrissen
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 5: Und dass er nun den empfangen
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 6: Er spielt nun die Freuden-Lieder
Fried- und Freudenreiche Hinfahrt, cantata in 2 sections for SB voices, instruments & continuo (or organ), BuxWV 76: Klag-Lied, Verse 7: Schlafe wohl, du Hochgeliebter
Cantata No. 35, "Geist und Seele wird verwirret," BWV 35 (BC A125)
Everything works in this release from countertenor Iestyn Davies, from the program to the orchestral accompaniment by Jonathan Cohen's Arcangelo ensemble, to the organ at London's St-Jude-on-the Hill, played by Tom Foster. It is good to see that the album's strengths have propelled Davies onto the classical best-seller lists, not often hospitable to countertenors. The main attraction on the program is the pair of cantatas Bach wrote in Leipzig in 1726, probably inspired by the presence of a fine boy alto in his choir at the ...
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Everything works in this release from countertenor Iestyn Davies, from the program to the orchestral accompaniment by Jonathan Cohen's Arcangelo ensemble, to the organ at London's St-Jude-on-the Hill, played by Tom Foster. It is good to see that the album's strengths have propelled Davies onto the classical best-seller lists, not often hospitable to countertenors. The main attraction on the program is the pair of cantatas Bach wrote in Leipzig in 1726, probably inspired by the presence of a fine boy alto in his choir at the time. These hit the sweet spot in Davies' range, and he sounds uncannily clear and even haunting throughout, but there is much more. Bach also wrote himself ornate obbligato organ parts in these, and Hyperion's engineers catch just the right balance between Foster's organ, Davies' voice, and the Arcangelo ensemble. The program, as a whole, is entirely absorbing. The prominent role of the instruments is indicated right off by the substantial opening Sinfonia of the Cantata No. 169,...
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