Barnaby Smith: Bach Barnaby Smith & The Illyria Consort

• Johann Sebastian Bach (1685 - 1750): Cantata “Ich habe genug”, BWV 82:
• 1 Bach: Cantata “Ich habe genug”, BWV 82: I. Ich habe genug, ich habe den Heiland 07:07
• 2 Bach: Cantata “Ich habe genug”, BWV 82: II. Ich habe genug! Mein Trost ist nur allein 01:13
• 3 Bach: Cantata “Ich habe genug”, BWV 82: III. Schlummert ein, ihr matten Augen 10:07
• 4 Bach: Cantata “Ich habe genug”, BWV 82: IV. Mein Gott! wann kommt das schöne Nun! 00:48
• 5 Bach: Cantata “Ich habe genug”, BWV 82: V. Ich freue mich auf meinen Tod 03:32
• Matthäuspassion, BWV 244: XXXIX:
• 6 Bach: Matthäuspassion, BWV 244: XXXIX: Erbarme dich, mein Gott, um meiner Zähren Willen! 06:16
• Mass In B Minor BWV 232:
• 7 Bach: Mass In B Minor BWV 232: XV. Et in unum Dominum 04:39
• Johannespassion, BWV 245:
• 8 Bach: Johannespassion, BWV 245: XXX. Es ist vollbracht! 05:22
• Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170:
• 9 Bach: Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170: I. Vergnügte Ruh, Beliebte Seelenlust! 06:40
• 10 Bach: Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170: II. Die Welt, Das Sündenhaus 01:15
• 11 Bach: Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170: III. Wie Jammern Mich Doch Die Verkehrten Herzen 07:32
• 12 Bach: Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170: IV. Wer Sollte Sich Demnach 01:02
• 13 Bach: Cantata “Vergnügte Ruh, Beliebte Seelenlust”, BWV 170: V. Mir Ekelt Mehr Zu Leben 05:28
• Mass in B Minor, BWV 232:
• 14 Bach: Mass in B Minor, BWV 232: XXVI. Agnus Dei 05:36
• Oster-Oratorium, BWV 249:
• 15 Bach: Oster-Oratorium, BWV 249: IX. Aria, Saget, saget mir geschwinde 05:33
• Weihnachtsoratorium, BWV 248:
• 16 Bach: Weihnachtsoratorium, BWV 248: XIX. Aria, Schlafe, mein Liebster, genieße der Ruh 09:38
• Total Runtime 01:21:48

Info zu Barnaby Smith: Bach

A new collection of JS Bach’s finest music for the alto voice, performed by leading British Baroque countertenor Barnaby Smith with Bojan Čičić and his Illyria Consort. Programmed in a cycle, the repertoire reflects the story from Candlemas, through the Passion to the Resurrection, demonstrating the unequalled beauty of Bach’s writing. “Bach has been a central figure in my personal musical journey. He is my greatest love as a musician, not only because of the repertoire, but his importance for the modern-day countertenor voice within that repertoire. From a singer’s perspective, Bach is a gift but it’s also the hardest thing you’ll ever do. When you’re singing, you feel totally subservient to the music. His genius feels truly beyond anything you can comprehend. The way he writes for the voice, the gestures within the music, and the opportunities he gives you as a singer are incredibly liberating. There is so much that you can bring to it as an orator, and that is an absolute gift.”

"The lovely tone and fullness of Smith’s countertenor was a real asset in ‘Cara sposa, amante cara’… an intuitive sense of the expressive and dramatic import of Handel’s melodic gestures….” (Opera Today)

"Bevan’s shine blended comfortingly with Smith’s softer warmth in the affectionate dialogue and running chains of thirds. The duo’s gleeful triplets were as light as air, but focused and true: “how happy we” indeed!...the da capo was even more felicitously florid, culminating in an extravagant cadenza in which the two voices wound around each other, higher and higher, an outpouring of happiness which overflowed into the concluding string postlude." (Opera Today)

Barnaby Smith, counter-tenor, direction
Mary Bevan, soprano
The Illyria Consort
Gavin Edwards, vocals
Leo Duarte, oboe
Bojan Čičić, violin
Katie Jeffries-Harris, alto
Reiko Ichise, viola da Gamba

Keine Biografie vorhanden.

Dieses Album enthält kein Booklet