Impetus Madrid Baroque Ensemble, Mariví Blasco & Yago Mahugo - C.P.E. Bach: Lieder (2017)
BAND/ARTIST: Impetus Madrid Baroque Ensemble, Mariví Blasco, Yago Mahugo
- Title: C.P.E. Bach: Lieder
- Year Of Release: 2017
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:02:51
- Total Size: 229 mb
- WebSite: Album Preview
Tracklist
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01. Geistliche Oden und Lieder I, H. 686: VII. Prüfung am Abend
02. Geistliche Oden und Lieder I, H. 686: IX. Bitten
03. Geistliche Oden und Lieder I, H. 686: XV. Morgengesang
04. Geistliche Oden und Lieder I, H. 686: XXX. Trost der Erlösung
05. Geistliche Oden und Lieder I, H. 686: XLVI. Bußlied
06. Geistliche Oden und Lieder I, H. 686: XLIX. Wider den Übermut
07. Geistliche Gesänge, H. 749: II. Passionslied
08. Geistliche Gesänge, H. 749: XI. Weihnachtslied
09. Geistliche Gesänge, H. 749: XIII. Der Tag des Weltgerichts
10. Geistliche Gesänge, H. 749: XXIX. Über die Finsterniss kurz vor dem Tode Jesu
11. Geistliche Gesänge, H. 752: XII. Andenken an den Tod
12. Geistliche Gesänge, H. 752: XVII. Gott, der Ernährer der Menschen
13. Geistliche Gesänge, H. 752: XXIX. Jesus in Gethsemane
14. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: VII. Prüfung am Abend
15. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: IX. Bitten
16. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XV. Morgengesang
17. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XXX. Trost der Erlösung
18. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XLVI. Bußlied
19. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XLIX. Wider den Übermut
20. Geistliche Gesänge on Fortepiano Solo, H. 749: II. Passionslied
21. Geistliche Gesänge on Fortepiano Solo, H. 749: XI. Weihnachtslied
22. Geistliche Gesänge on Fortepiano Solo, H. 749: XIII. Der Tag des Weltgerichts
23. Geistliche Gesänge on Fortepiano Solo, H. 749: XXIX. Über die Finsterniss kurz vor dem Tode Jesu
24. Geistliche Gesänge on Fortepiano Solo, H. 752: XII. Andenken an den Tod
25. Geistliche Gesänge on Fortepiano Solo, H. 752: XVII. Gott, der Ernährer der Menschen
26. Geistliche Gesänge on Fortepiano Solo, H. 752: XXIX. Jesus in Gethsemane
The flowering of the German Lied tradition may be most closely associated with Schubert, but in fact the genre has much deeper roots than that. Already in the 18th century, composers such as C.P.E. Bach were forming a musical language that would set the stage for its extensive development 100 years later. At this point, they made a distinction between the 'Lied', 'Ode' and 'Hymne'; Bach strongly preferred the Lied (or song), which was composed in verses, and required an accompaniment, unlike the ode. Indeed, Bach's keyboard accompaniments were so wonderfully florid that they could be performed without the singer – as 'Handstücke', as he marked in the score. This new recording includes versions of each Lied for fortepiano solo alone alongside the standard version with the soprano, giving the listener a unique chance to experience Bach's Lieder in two different but equally authentic ways.
Soprano Mariví Blasco has performed at prestigious venues across Spain, in roles as varied as Mozart (Despina in Così fan tutte at the Teatro Arenal) and Poulenc (in Dialogues des Carmélites at the Teatro Real). This is her first collaboration with renowned keyboardist Yago Mahúgo, already a prominent recording artist with Brilliant Classics, whose CDs have previously garnered high praise. A specialist in historical performance practice, Mahúgo performs on a fortepiano by Keith Hill, modelled after Anton Walter (1796).
This CD contains a selection of Geistliche Oden und Lieder (sacred songs) by Carl Philipp Emanuel Bach, the most talented son of the great Johann Sebastian.
By the end of the 18th century the Lied took its now familiar form: a strophic setting of poems for solo voice with the accompaniment of a keyboard instrument. C.P.E. Bach’s Lieder were mostly on sacred texts, by Gellert and Sturm. As always with this composer we are struck by the craftsmanship, originality and forward looking in his works. The accompaniment offers more than a simple basso continuo, they are richly written keyboard settings, featuring occasional ritornelli between the strophes. Beautifully sung by Spanish soprano Mariví Blasco, specialised in Early Music, cofounder of Accademia del Piacere and L’Arpeggiata. Yago Mahugo plays the fortepiano, is leader of the Ímpetus Madrid Baroque Ensemble and plays the keyboard solo versions of the songs as a bonus.
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01. Geistliche Oden und Lieder I, H. 686: VII. Prüfung am Abend
02. Geistliche Oden und Lieder I, H. 686: IX. Bitten
03. Geistliche Oden und Lieder I, H. 686: XV. Morgengesang
04. Geistliche Oden und Lieder I, H. 686: XXX. Trost der Erlösung
05. Geistliche Oden und Lieder I, H. 686: XLVI. Bußlied
06. Geistliche Oden und Lieder I, H. 686: XLIX. Wider den Übermut
07. Geistliche Gesänge, H. 749: II. Passionslied
08. Geistliche Gesänge, H. 749: XI. Weihnachtslied
09. Geistliche Gesänge, H. 749: XIII. Der Tag des Weltgerichts
10. Geistliche Gesänge, H. 749: XXIX. Über die Finsterniss kurz vor dem Tode Jesu
11. Geistliche Gesänge, H. 752: XII. Andenken an den Tod
12. Geistliche Gesänge, H. 752: XVII. Gott, der Ernährer der Menschen
13. Geistliche Gesänge, H. 752: XXIX. Jesus in Gethsemane
14. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: VII. Prüfung am Abend
15. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: IX. Bitten
16. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XV. Morgengesang
17. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XXX. Trost der Erlösung
18. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XLVI. Bußlied
19. Geistliche Oden und Lieder on Fortepiano Solo, H. 686: XLIX. Wider den Übermut
20. Geistliche Gesänge on Fortepiano Solo, H. 749: II. Passionslied
21. Geistliche Gesänge on Fortepiano Solo, H. 749: XI. Weihnachtslied
22. Geistliche Gesänge on Fortepiano Solo, H. 749: XIII. Der Tag des Weltgerichts
23. Geistliche Gesänge on Fortepiano Solo, H. 749: XXIX. Über die Finsterniss kurz vor dem Tode Jesu
24. Geistliche Gesänge on Fortepiano Solo, H. 752: XII. Andenken an den Tod
25. Geistliche Gesänge on Fortepiano Solo, H. 752: XVII. Gott, der Ernährer der Menschen
26. Geistliche Gesänge on Fortepiano Solo, H. 752: XXIX. Jesus in Gethsemane
The flowering of the German Lied tradition may be most closely associated with Schubert, but in fact the genre has much deeper roots than that. Already in the 18th century, composers such as C.P.E. Bach were forming a musical language that would set the stage for its extensive development 100 years later. At this point, they made a distinction between the 'Lied', 'Ode' and 'Hymne'; Bach strongly preferred the Lied (or song), which was composed in verses, and required an accompaniment, unlike the ode. Indeed, Bach's keyboard accompaniments were so wonderfully florid that they could be performed without the singer – as 'Handstücke', as he marked in the score. This new recording includes versions of each Lied for fortepiano solo alone alongside the standard version with the soprano, giving the listener a unique chance to experience Bach's Lieder in two different but equally authentic ways.
Soprano Mariví Blasco has performed at prestigious venues across Spain, in roles as varied as Mozart (Despina in Così fan tutte at the Teatro Arenal) and Poulenc (in Dialogues des Carmélites at the Teatro Real). This is her first collaboration with renowned keyboardist Yago Mahúgo, already a prominent recording artist with Brilliant Classics, whose CDs have previously garnered high praise. A specialist in historical performance practice, Mahúgo performs on a fortepiano by Keith Hill, modelled after Anton Walter (1796).
This CD contains a selection of Geistliche Oden und Lieder (sacred songs) by Carl Philipp Emanuel Bach, the most talented son of the great Johann Sebastian.
By the end of the 18th century the Lied took its now familiar form: a strophic setting of poems for solo voice with the accompaniment of a keyboard instrument. C.P.E. Bach’s Lieder were mostly on sacred texts, by Gellert and Sturm. As always with this composer we are struck by the craftsmanship, originality and forward looking in his works. The accompaniment offers more than a simple basso continuo, they are richly written keyboard settings, featuring occasional ritornelli between the strophes. Beautifully sung by Spanish soprano Mariví Blasco, specialised in Early Music, cofounder of Accademia del Piacere and L’Arpeggiata. Yago Mahugo plays the fortepiano, is leader of the Ímpetus Madrid Baroque Ensemble and plays the keyboard solo versions of the songs as a bonus.
Year 2017 | Classical | FLAC / APE
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