J.S. Bach – Easter Oratorio - Magnificat (Koopman)

1 Easter Oratorio BWV 249: Sinfonia
2 Easter Oratorio BWV 249: Adagio
3 Easter Oratorio BWV 249: Chorus: 'Kommt, eilet und laufet'
4 Easter Oratorio BWV 249: Recitativo: 'O kalter Manner Sinn!'
5 Easter Oratorio BWV 249: Aria: 'Seele, deine Spezereien'
6 Easter Oratorio BWV 249: Recitativo: 'Hier ist die Gruft'
7 Easter Oratorio BWV 249: Aria: 'Sanfte soll mein Todeskummer'
8 Easter Oratorio BWV 249: Recitativo: 'Indessen seufzen wir'
9 Easter Oratorio BWV 249: Aria: 'Saget, saget mir geschwinde'
10 Easter Oratorio BWV 249: Recitativo: 'Wir sind erfreut'
11 Easter Oratorio BWV 249: Chorus: 'Preis und Dank'
12 Magnificat BWV 243: Chorus: 'Magnificat anima mea Dominum'
13 Magnificat BWV 243: Aria: 'Et exsultavit spiritus meus in Deo'
14 Magnificat BWV 243: Aria: 'Quia respexit humilitatem'
15 Magnificat BWV 243: Chorus: 'Omnes generationes'
16 Magnificat BWV 243: Aria: Quia fecit mihi magna qui potens est'
17 Magnificat BWV 243: Aria: 'Et misericordia'
18 Magnificat BWV 243: Chorus: 'Fecit potentiam in brachio suo'
19 Magnificat BWV 243: Aria: 'Deposuit potentes de sede'
20 Magnificat BWV 243: Aria: 'Esurientes implevit bonis'
21 Magnificat BWV 243: Chorus: 'Suscepit Israel puerum suum'
22 Magnificat BWV 243: Chorus: 'Sicut locutus est ad patres nostros'
23 Magnificat BWV 243: Chorus: 'Gloria Patri, gloria Filio'

Lisa Larsson - soprano I
Elisabeth von Magnus - soprano II/alto
Bogna Bartosz - alto
Gerd Turk - tenor
Klaus Mertens – bass

The Amsterdam Baroque Orchestra and Choir
Ton Koopman – conductor

Bach wrote his Magnificat for the Christmas season of 1723. He revised it in 1733, shifting the key to D and deleting the four movements specific to the Christmas season to make it a work usable throughout the church year. This is the version recorded here. Similarly, the 'Easter Oratorio' is an adaptation of a secular cantata written for a princely celebration in 1735. Six weeks later, Bach presented his sacred adaptation with new recitatives as the 'Easter Oratorio.' This sort of revision or re-use was a common practice that allowed a composer more extensive use of festival compositions. Ton Koopman uses period instruments, sweet toned, light voiced soloists and a chamber choir and orchestra. Bach is known to have preferred larger performing forces although there is evidence to suggest his music was generally performed one to a part for economic reasons. This is a fine release and a nice addition to the complete cantatas series on Erato. --- arkivmusic.com

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