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Kuhnau – Sacred Music (1998)

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Kuhnau – Sacred Music (1998)

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	Ihr Himmel Jubilirt Von Oben 	13:19
1 	Symphony – Chorus & Soloists: Ihr Himmel Jubilirt 	3:22
2 	Contertenor Recitative: Es Ist Vollbracht 	0:43
3 	Countertenor & Bass Duet: Hilf Mir Es, Jesu, Auch Vollbringen 	3:18
4 	Countertenor Recitative: Indessen Bleibt Die Seele 	0:35
5 	Countertenor Aria: Jesu, Wenn Ich Dich Nur Habe 	3:18
6 	Chorus & Soloists: Gieb, Jesu, Dass Dein Wille 	2:03

	Weicht Ihr Sorgen Aus Dem Hertzen 	13:50
7 	Sonata – Aria: Weicht Ihr Sorgen Aus Dem Hertzen 	2:47
8 	Recitative: Ich Bleib In Gottgelass' Ner Ruh 	1:36
9 	Aria: Weicht Ihr Sorgen Aus Dem Hertzen 	0:56
10 	Recitative: Was Frag Ich Nach Der Welt 	1:00
11 	Aria: Ich Habe Gott, Was Fehlt Mir Noch? 	2:31
12 	Recitative: So Kan Ich Allen Tand 	1:22
13 	Aria: Komm Doch, Komm Doch Süsse Stunde 	3:38

	Wie Schön Leuchtet Der Morgenstern 	13:30
14 	Chorale: Wie Schön Leuchtet Der Morgenstern 	1:55
15 	Tenor Recitative: Allein, Heut Wird Der Grosse Klein 	0:55
16 	Chorus: Uns Ist Ein Kind Geboren 	1:43
17 	Tenor Aria: O Wundersohn, Dein Überirdisch Wesen 	2:26
18 	Tenor Recitative: Doch Leuchtet In Der Niedrigkeit 	1:25
19 	Tenor Aria: Kommt, Ihr Völker, Kommt Mit Haufen 	1:46
20 	Tenor Accompagnato: Ich Huld' Ge Dir, Grossmächt' Ger Prinz 	1:19
21 	Soprano Duet – Chorale: Zwingt Die Saiten In Cythara 	2:01

	Gott, Sei Mir Gnädig Nach Deiner Güte 	12:11
22 	Chorus: Gott, Sei Mir Gnädig Nach Deiner Güte 	2:23
23 	Countertenor Aria: Wasche Mich Wohl Von Meiner Missetat 	1:36
24 	Countertenor Recitative: Denn Ich Erkenne Meine Missetat 	0:23
25 	Soprano & Bass Solo – Chorus: An Dir Allein Hab' Ich Gesündiget 	2:06
26 	Tenor & Bass Arioso: Siehe, Ich Bin Aus Sündlichem Samen Gezeuget 	1:43
27 	Chorus: Entsündige Mich Mit Isopen 	1:04
28 	Soprano & Tenor Arioso – Chorus: Lass Mich Hören Freud Und Wonne 	2:56

	Tristis Est Anima Mea
29 	Tristis Est Anima Mea Usque Ad Mortem 	4:50

	O Heilige Zeit 	15:57
30 	Chorus & Soloists: O Heilige Zeit! 	3:20
31 	Bass Aria: Wüte Nur, Du Alte Schlange 	2:39
32 	Countertenor Arioso: Ach, Denk Ich Zwar, Mein Liebster Jesu 	2:57
33 	Soprano Aria: Eigne Dir Mein Herze Zu 	2:04
34 	Tenor & Bass Duet – Chorus: Was Ist Der Mensch Als Staub Und Erde 	1:54
35 	Countertenor Arioso: Haltet Mich Nicht Länger Auf 	1:31
36 	Bass Arioso – Chorus: Ich Bin Entzückt 	1:32

Bass Vocals – Colin Campbell, Peter Harvey
Bassoon – Alastair Mitchell
Cello – Jane Coe
Countertenor Vocals – James Bowman, Robin Blaze
French Horn – Andrew Clark, Roger Montgomery
Oboe – Katharina Spreckelsen
Organ – Gary Cooper
Soprano Vocals – Deborah York, Lisa Beckley, Marianne Hellgren, Susan Hamilton
Tenor Vocals – Charles Daniels, James Gilchrist
Theorbo – David Miller
Timpani – Charles Fullbrook
Trumpet – Crispian Steele-Perkins, James Ghigi, Phillip Bainbridge
Viola – Katherine McGillivray, Rona Tavior
Violin – Anne Schumann, Simon Jones
Violone – Mark Levy

Choir, Orchestra – The King's Consort
Conductor, Score Editor [Editions By] – Robert King


Johann Kuhnau was one of life’s polymaths—as well as being a composer he trained as a lawyer, spoke several languages, helped found Leipzig’s opera house, theorized about music and even found time to write a novel sending up the shortcomings of the contemporary music scene. Musically he’s the link between Schütz and Bach, but he was alive to many different stylistic traits as this selection of sacred music demonstrates. From the brilliantly brassy opening of Ihr Himmel jubilirt to the restrained intensity of Tristis est anima mea, it’s music invigorated at every turn by The King’s Consort. ---hyperion-records.co.uk


As the distinguished German-baroque scholar John Butt points out in his clear and informative note, Johann Kuhnau (1660-1722) is often assigned to the dusty footnotes of Bach biographies. Read on and we are reminded that he was Cantor at St Thomas’s, Leipzig until his death, crossing paths with Bach and inspiring the younger man to borrow the title Clavier-Ubung for the prime repository for Bach’s published keyboard works. Out of Bach’s shadow, Kuhnau stands tall as a polymath of a sort that had almost ceased to exist in the pragmatic social climate of the seventeenth-century musician: lawyer, novelist, philosopher, theorist, linguist and musician. In purely stylistic terms, Butt’s note gives us a chance to place Kuhnau’s art in that subtle and evolving tradition of Lutheran church music, as perhaps the only important figure of his generation who, if not actually encountering Schutz first-hand (and Kuhnau still may have done as a young boy in Dresden), was at least partly shaped by the world of old orthodox Lutheranism – and yet was still composing cantatas in Leipzig when Bach was a well-established Kapellmeister. With all this in mind, and having ruminated on the notes, do we not find this selection of six ‘cantatas’ sounds more akin to Schutz’s figural imagery, J. C. Bach’s and Weckmann’s intense emotionalism or Buxtehude’s own immaculate refinement? Inevitably we wonder, do we hear embryonic Bach?

This splendid and varied cross-section of his choral music has definite affinities with these figures but leaves us in no doubt that Kuhnau is far more than merely a confident practitioner who followed the plot of changing fashion. Through a keen sense of assimilation comes a singular, mainly sober, yet highly accomplished church composer. Gott, sei mir gnadig is a fine, evocative work full of rhetorical detail and inference, whilst in Wie schon leuchtet der Morgenstern the declamation straddles the concentrated world of the Bach motet, Komm, Jesu, komm, yet punctuated by the secular ostentation and chuckling horns of another world – this is hardly the man who publicly denounced modern opera in the first decade of the eighteenth century (though that may have had more to do with a political spat with Telemann than his own creative inclinations).

Robert King and his consort of singers and players highlight the multi-layered references in Kuhnau’s cantatas, from the graceful Bach-aria lilt of Weicht ihr Sorgen, with the sympathetic colouring, if questionable diction, of Deborah York offset by an affectionate and responsive band of strings and unison oboes, to the decidedly pietist world of the accompagnato recitative in Wie schon leuchtet. The way the solo voices emerge from a ‘community’ of integrated musicians is an attractive characteristic of these performances. Above all, such an approach helps to emphasize Kuhnau’s richly imbued, though direct projection of strong melodic ideas and contrapuntal fluency (with an almost Handelian gait – and then we read that Kuhnau encountered Handel as a student). The beguiling and antiquated Tristis est anima mea is worth its weight in gold. Only rarely do the solo sopranos forget to listen to each other here, and elsewhere. Vocally colourful (all the soloists are on fine form, but especially Robin Blaze and Peter Harvey) and instrumentally outstanding, this is an important recording of a woefully neglected figure whose music has real stature. ---Jonathan Freeman-Attwood, gramophone.co.uk

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