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Frans Brüggen - J.S. Bach: St. John Passion (2011)

Frans Brüggen - J.S. Bach: St. John Passion (2011)

BAND/ARTIST: Frans Brüggen

  • Title: J.S. Bach: St. John Passion
  • Year Of Release: 2011
  • Label: Glossa
  • Genre: Classical
  • Quality: FLAC (image+.cue,log,scans)
  • Total Time: 01:50:41
  • Total Size: 535 mb
  • WebSite:
Tracklist:

CD1:
First Part:
01. No. 1 Coro: Herr, unser Herrscher (10:35)
02. No. 2 Evangelist, Jesus: Jesus ging mit seinen Jungern… (02:18)
03. No. 3 Chorale: O grosse Lieb, o Lieb ohn’ alle Masse (00:39)
04. No. 4 Evangelist, Jesus: Auf dass das Wort erfullet wurde (01:03)
05. No. 5 Chorale: Dein Will gescheh, Herr Gott, zugleich (00:47)
06. No. 6 Evangelist: Die Schar aber und der Oberhauptmann (00:44)
07. No. 7 Aria (alto): Von den Stricken meiner Sunden (04:42)
08. No. 8 Evangelist: Simon Petrus aber folgete Jesu nach (00:14)
09. No. 9 Aria (soprano): Ich folge dir gleichfalls (04:08)
10. No. 10 Evangelist, Maid, Peter, Jesus, Servant: Derselbige Junger (02:57)
11. No. 11 Chorale: Wer hat dich so geschlagen (01:24)
12. No. 12 Evangelist: Und Hannas sandte ihn gebunden… (02:06)
13. No. 13 Aria (tenor): Ach, mein Sinn (02:30)
14. No. 14 Chorale: Petrus, der nicht denkt zuruck (01:10)
Second Part:
15. No. 15 Chorale: Christus, der uns selig macht (00:53)
16. No. 16 Evangelist, Pilate: Da fuhreten sie Jesum… (04:13)
17. No. 17 Chorale: Ach grosser Konig, grosse zu allen Zeiten (01:20)
18. No. 18 Evangelist, Pilate, Jesus: Da sprach Pilatus zu ihm… (02:02)
19. No. 19 Arioso (bass): Betrachte, meine Seel (02:16)
20. No. 20 Aria (tenor): Erwage, wie sein blutgefarbter Rucken (08:30)
21. No. 21 Evangelist: Und die Kriegsknechte flochten… (05:53)
22. No. 22 Chorale: Durch dein Gefangnis, Gottes Sohn (00:46)
23. No. 23 Evangelist: Die Juden aber schrieen und sprachen… (04:17)
24. No. 24 Aria (bass) - Coro: Eilt, ihr angefochtnen Seelen (04:07)
25. No. 25 Evangelist: Allda kreuzigten sie ihn… (02:00)
26. No. 26 Chorale: In meines Herzens Grunde (00:55)

CD2:
01. No. 27 Evangelist: Die Kriegsknechte aber… (03:53)
02. No. 28 Chorale: Er nahm alles wohl in acht (00:59)
03. No. 29 Evangelist, Jesus: Und von Stund an (01:32)
04. No. 30 Aria (Altus): Es ist vollbracht! (06:10)
05. No. 31 Evangelist: Und neiget das Haupt und verschied (00:31)
06. No. 32 Aria (Bass) - Coro: Mein teurer Heiland (04:29)
07. No. 33 Evangelist: Und siehe da (00:25)
08. No. 34 Arioso (tenor): Mein Herz, indem die ganze Welt (00:57)
09. No. 35 Aria (soprano): Zerfliesse, mein Herze (06:54)
10. No. 36 Evangelist: Die Juden aber (01:59)
11. No. 37 Chorale: O hilf, Christe, Gottes Sohn (00:55)
12. No. 38 Evangelist: Darnach bat Pilatum (01:52)
13. No. 39 Coro: Ruht wohl, ihr heiligen Gebeine (05:59)
14. No. 40 Chorale: Ach Herr, lass dein lieb Engelein (01:40)

Performers:
Markus Schäfer - tenor
Thomas Oliemans - baritone
Carolyn Sampson - soprano
Michael Chance - alto
Marcel Beekman - tenor
Peter Kooij - bass
Cappella Amsterdam
Orchestra of the Eighteenth Century [on period instruments]
Frans Brüggen – conductor

Anyone seeking a reliable, historically informed rendition of J.S. Bach's St. John Passion would do well to consider this exceptional recording by Cappella Amsterdam and the Orchestra of the Eighteenth Century, conducted by early music pioneer Frans Brüggen. The high quality of the singing recommends it, especially the performances of Markus Schäfer as the Evangelist and Thomas Oliemans as Jesus, and the other soloists and chorus convey the story of the Passion of Christ with eloquence and gravitas. The original instruments and authentic period style of the playing give the instrumental parts a strikingly plangent quality, which is perhaps most vivid in the oboes, whose chains of suspensions are among the most affecting characteristics of this work. While the performers are all in top form, the recording process may be the one aspect listeners will question. The St. John Passion was recorded live in Rotterdam, Haarlem, and Leiden, so the quality of the sound is variable from one hall to the next, and highly echoic in many tracks. Ostensibly taken from the best takes of these performances, and assembled to give the impression of one event, there are nonetheless significant differences in the placement of the voices and in the closeness of the orchestra that may indicate some changes in microphone placement. Beyond these subtle points, this is still a terrific package that serves the music well and bears comparison with other period versions.





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