Kuhnau: Complete Sacred Works, Vol. 6 / Meyer, Opella Musica
Vol. 6 of this complete recording presents what might be termed the opposite ends of the broad spectrum covered by Kuhnauâs music, both in formal matters and in chronological respects. On the one hand, in âIhr Himmel jubiliert von obenâ and âLobet, ihr Himmel, den Herrnâ we have two magnificent Ascension cantatas for large ensembles from Kuhnauâs late period as St. Thomas music director. On the other hand, âBone Jesu, care Jesuâ and âLaudate pueri Dominum,â works of Italian stamp scored for chamber ensemble from Kuhnauâs time as a St. Thomas organist with a wide range of activities, offer exemplary illustrations of the sacred concerto of the late seventeenth century. âIch freue mich im Herrnâ for four concertists, choir, and strings occupies a middle position between these works and offers an interesting mixture consisting of the concerto-aria-cantata popular in the late seventeenth century and the rondo form and is borne musically by the affection of joy. Once again the Opella Musica ensemble of soloists founded by Gregor Meyer in 2011 and the historically oriented Camerata Lipsiensis orchestra interpret the cantatas on the basis of the recently published critical musicological edition.
Vol. 6 of this complete recording presents what might be termed the opposite ends of the broad spectrum covered by Kuhnauâs music, both in formal matters and in chronological respects. On the one hand, in âIhr Himmel jubiliert von obenâ and âLobet, ihr Himmel, den Herrnâ we have two magnificent Ascension cantatas for large ensembles from Kuhnauâs late period as St. Thomas music director. On the other hand, âBone Jesu, care Jesuâ and âLaudate pueri Dominum,â works of Italian stamp scored for chamber ensemble from Kuhnauâs time as a St. Thomas organist with a wide range of activities, offer exemplary illustrations of the sacred concerto of the late seventeenth century. âIch freue mich im Herrnâ for four concertists, choir, and strings occupies a middle position between these works and offers an interesting mixture consisting of the concerto-aria-cantata popular in the late seventeenth century and the rondo form and is borne musically by the affection of joy. Once again the Opella Musica ensemble of soloists founded by Gregor Meyer in 2011 and the historically oriented Camerata Lipsiensis orchestra interpret the cantatas on the basis of the recently published critical musicological edition.
Description
Vol. 6 of this complete recording presents what might be termed the opposite ends of the broad spectrum covered by Kuhnauâs music, both in formal matters and in chronological respects. On the one hand, in âIhr Himmel jubiliert von obenâ and âLobet, ihr Himmel, den Herrnâ we have two magnificent Ascension cantatas for large ensembles from Kuhnauâs late period as St. Thomas music director. On the other hand, âBone Jesu, care Jesuâ and âLaudate pueri Dominum,â works of Italian stamp scored for chamber ensemble from Kuhnauâs time as a St. Thomas organist with a wide range of activities, offer exemplary illustrations of the sacred concerto of the late seventeenth century. âIch freue mich im Herrnâ for four concertists, choir, and strings occupies a middle position between these works and offers an interesting mixture consisting of the concerto-aria-cantata popular in the late seventeenth century and the rondo form and is borne musically by the affection of joy. Once again the Opella Musica ensemble of soloists founded by Gregor Meyer in 2011 and the historically oriented Camerata Lipsiensis orchestra interpret the cantatas on the basis of the recently published critical musicological edition.
