J.S. Bach - Easter Oratorio BWV.249, Magnificat BWV.243 (McCreesh)

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'

Gabrieli Consort
Soprano I: Kimberly McCord
Soprano II: Julia Gooding (BWV.243)
Contralto: Robin Blaze
Tenor: Paul Agnew
Bass: Neal Davies
Gabrieli Players
Conductor: Paul McCreesh

Recording: 24-28/04/2000, Paris Church, Brand-Erbisdorf, Germany

There's a longstanding debate about OVPP (One Voice Per Part) in Bach's choral works. On this disc it works better in some choruses than others--for example, it lacks the majesty which a choir can bring to the start of the Magnificat's Gloria. As to the individual voices, in the oratorio's two big arias, soprano Kimberly McCord sings with beguiling poise, though some may find her vibrato a touch fidgety; while Paul Agnew's moving singing of the heavenly tenor aria reflecting on Christ's grave-clothes has bags of intensity, though line and focus occasionally suffer. Neal Davies's forthright bass makes the best impression. The main grumble with the Magnificat is over some tempi, starting with the opening chorus. McCreesh is hardly the first to take fast passages to extremes in Bach, but surely there's more to getting across a dramatic text such as "He has brought rulers down from their thrones" than mere speed. Agnew copes brilliantly, but the end result just sounds silly, unnecessarily edgy. The Gabrieli Players, meanwhile, are tremendous (a special cheer for Katy Bircher's flute obbligato work). The recording (made in a Saxony church) is clean and clear, though with an occasional sense of imbalance between solo voices and instruments. ---Andrew Green, amazon.com

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