Customer Reviews

Bach: Magnificat, BWV. 243; Jauchzet Gott in allen Landen

5 star:		(17)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

This CD will not disappoint. Its peformance uses period instruments, although I bought it before I had any idea of what "period instruments" meant. To some people, period instruments are needed for "authenticity," but as far as I'm concerned, the sound and performance are the most important regardless of instruments used.

The solo and ensemble work in the Magnificat are all excellent. I prefer the smaller sized choir's sound to a 100 voice Mahler symphony chorus's sound in Bach because the larger groups can overwhelm Bach's counterpoint. I'm also impressed by the trumpet players who brilliantly negotiate their parts on valveless period instruments. I definitely notice a difference in the sound of natural D trumpets to modern piccolo trumpets, and I think that the natural trumpets blend better with the whole group's sound.

The performance of Cantata 51 does not disappoint either. The outer movements are beautiful duets between soprano and trumpet, and again I appreciate the natural trumpet's sound here in place of a piccolo trumpet. Recordings with both instruments can be found and having heard both, I prefer this recording. Mr. Steele-Perkins' playing is outstanding, and Ms. Kirkby's singing is also very beautiful. This is a smaller scale work and does not need a large operatic voice, so the lighter sound of Ms. Kirkby's soprano and Mr. Steele-Perkins' natural trumpet are an excellent match.

This is an all around excellent CD and after repeated listening it has a permanent place in my top shelf.

This is the way a Magnificat should sound! Gardiner's rendition of Bach's Magnificat clearly magnifies the glory of the Lord. It is clear from this recording alone that Bach was indeed a master-craftsman. From the explosive opening through all the carefully considered solos, ensemble and singers blend seamlessly. Thomas' bass aria and Brett's & Rolfe-Johnson's duet are some of the highlights of the non-choral numbers. The voices of Brett (male-alto) and Rolfe-Johnson (tenor) combine very well, perhaps because they are both males? The Monteverdi Choir never fails to sound enthused about what they are singing. The "Fecit potentiam" and "Gloria Patri" are as much pep-rallies as prayers. The disc is topped off nicely by the inclusion of the cantata/motet Jauchzet Gott in allen Landen. Emma Kirby's soprano floats over the many rises and falls of her five movement cantata with grace. Her effortless technique and crystal clear voice are perfect. Gardiner gives her just the right amount of orchestral support - almost throwing her higher during the final soaring "Alleluja". This is a terrific period instrument recording, perfect balance, perfect soloists, GREAT choir!

I agree with other customer reviewers that this is an exceptional recording of two beautiful pieces of music. Other recordings of the Magnificat do not compare to this in recording quality, production, or performance. The male soloists in the Magnificat stand out, and Emma Kirkby is incredible in Jauchzet Gott in allen Landen. When I am looking for a CD to buy for a gift, this one is always on the top of my list.

Bach's "Magnificat" has been a favorite since it was composed for a Chirstmas service in 1723 at Leipzig. He revised it in 1730 by taking out some elements more relevant to Christmas, transposed it down a half-step to D major, and some other small changes. This recording is of the 1730 version and is performed with tremendous energy and exuberance. And why not? These are the words of Mary upon being greeted by Elizabeth as the mother of the Lord. The soloists are very fine and the choruses are unbelievably clear and precise. The instrumental playing is first rate. Who would expect any less from John Eliot Gardiner.

Some have complained that the tempi are too fast. They may be a tad on the fast side for my taste as well, but it never feels rushed to me. I think Gardiner had a vision and pulled it off thanks to the abilities of his performers and his own skill as a conductor.

The "Magnificat" is also a wonderful work to sing. If you get a chance to participate in a local chorus and sing this work, please do! We sang it with the Ann Arbor Cantata Singers not long ago, and it was a most rewarding experience.

The cantata "Acclaim God in All Lands!" is terrific, as well. I have been an Emma Kirkby devotee since I first heard her sing "Messiah" in Ann Arbor in December 1980 (I was in the 35 voice chorus as one of the tenors). Her angelic voice always delights me and often surprises me with its flexibility, purity, range, and power. The amazing Crispian Steele-Perkins brings his natural trumpet virtuosity to this recording and he always delights. How can you have a bad day after listening to such playing?

If an album of serious art music can be a "feel good" CD, well, this is it. It is like a shot of sunshine and energy to your soul.

Having sung several pieces from the Magnificat, I know how difficult it can be to not only maintain your own place in your part, but to make sure that the separate parts form a cohesive whole. This recording achieves both and effortlessly, as one would expect from the amazing chorus and soloists, under the direction of the irrepressible John Elliot Gardiner. Gardiner's infamous desire for speed is well-suited to this piece. The Et Miseriecordia and the Suscepit Israel are both simply superb, and the final Gloria Patri is wonderful.

This CD is a real tribute to the mastery of Johann Sebastian Bach. John Eliot Gardiner gives a crisp and brilliant interpretation, using period instruments, of the Magnificat in D major, BWV 243 and the virtuosistic cantata "Jauchzet Gott in allen Landen" BWV 51. The Monteverdi Choir is just superb, fresh voices with the proper amount of balance and complete technical assurance; their performance make this difficult peace sound very easy. The soloists on the Magnificat (Nancy Argenta, Patrizia Kwella, Charles Brett, Anthony Rolfe-Johnson and David Thomas)are just fine, with voices that match very well the quality of the chorus. Then we also have on this recording the magnificent Emma Kirkby, bringing her best qualities to "Jauchzet". The freshness of her voice, united with her virtousistic flexibility, give great pleasure. She is definitely the best of all the singers of Early Music. Her greatness is complemented by the superb trumpet playing of Crispian Steele and again the conducting of Gardiner and the magnificent ensemble of the English Baroque Soloists. The sound is excellent, the performance stellar. What more to ask? Just buy it!

This is the first Magnificat recording I've heard with period instruments, and I agree with other reviewers that the effect is excellent. The instruments blend so much better than those of a modern orchestra, for this type of music. The overall recording, conducting, dynamics, tempi, and soli are also superb.

One negative comment, though -- the "period instrumentation" of this recording extends to the voices, and personally, I don't care for countertenors. In my opinion, the breathy sound of male falsetto can't compare with the tonal richness and control of a mature contralto or mezzo voice. Perhaps it blends with Baroque- style instruments better, but I still don't like it. For me, the alto solo "Esurientes Implevit Bonis" and the duet "Et Misericordia" are quite disappointing on this CD.

If you don't agree with my assessment of countertenors, and you enjoy Bach; then you will love this CD. Even with the qualifications noted above, it's the best Magnificat recording I've heard, and further proves that you can't go wrong with the Philips label.

As far as BMV 51, also on this CD, I'm not sure it could be done better. Kirby is simply brilliant -- a bright, lyric, soprano with great technical skill. If you aren't familiar with BMV 51, don't expect a traditional cantata -- it's more of a soprano cantata or motet, with no other voices. It's fabulous, though. If you have heard it before, this is probably better than what you've heard.

The main reason to purchase this CD is for the second cantata Jauchzet Gott in Allen Landen. Here, the virtuosity of soprano Emma Kirkby is matched by that of trumpeter Crispian Steele-Perkins. The opening aria gets us off to a cracking start with soprano and trumpeter competing to see who can praise God with the greater glory. The following three movements are more reflective with the absence of the trumpet. And finally with the closing Alleluia, Steele-Perkins returns, like the Arch-angel Gabriel on Judgement Day, to praise God with trumpet. At the end of it all, even a sinner like me must admit, on bended knee, that God is great.

The fast tempo of this recording has often been criticised, but I think it's just the ticket for such a triumphal work. I didn't realise how fast it was until I listened to the Joshua Rifkin recording of this cantata, which seemed to go at a snail's pace in comparison. Different strokes for different folks, I guess.

The true stars of this CD are Emma Kirkby and Crispian Steele-Perkins in the 'Jauchzet' Cantata (more like a motet here in form), but we cannot overlook the 'Magnificat'; the fine ensemble singing is only enhanced by the period feel. Ultimately, I feel closer to the presentation Bach envisioned for his compositions. However, I would have preferred the classic coiled horn of the eighteenth century in the 'Jauchzet', if possible.

Emma Kirkby, with her cool, vibrato-less, scintillating soprano voice and precise delivery, undoubtedly sounds like the 12 year boy who sung the 'Jauchzet' during its premier. Absolutely authentic. The work challenging from a musical standpoint, being almost Italianate in ornamentation, with its dialogue between virtuoso voice and trumpet.

The 'Magnificat', when performed at Christmas, was sung in Latin (on other occasions in German). With the use of a large period orchestra, and the sophistication of musical mood enhancing the litergy, we have a remarkable achievement.

Highly recommended.

It is certainly easy to understand the popularity of the Magnificat by Bach. It is strong and vibrant, it is balanced and elegant, and it is reflective and expressive. It bursts forth at the listener like an explosion and then receeds to a vast range of intricate mazes of orchestration and lyrics.

I sometimes think (or hear) Bach favors certain instruments, keyboards and strings, over wind and percussion. However in this wonderful work, the human voice and a vast range of period instruments are seemlessly integrated into a superb concoction of ear candy.

Never does the chorus overpower the orchestration or vice versa. The complimenting vocal and instrument dialogues are sublime. The same can be said for the duets between Sopranos or the duet between the Tenor and Bass. The final three minutes evoke armies of angels ascending and descending, accompanied by trumpets, pulling the piece together grandly and completely.

I would strongly recommend this for those who appreciate classical vocal music, of a religious nature, rendered in reverence and beauty.