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Bach: 6 Motets BWV 225-230
 
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Bach: 6 Motets BWV 225-230

19 May 2003 | Format: MP3

£5.49 (VAT included if applicable)
Also available in CD Format
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Product details

  • Original Release Date: 1 Jan. 2003
  • Release Date: 19 May 2003
  • Label: Decca (UMO)
  • Copyright: (C) 2003 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:18:08
  • Genres:
  • ASIN: B001LX3H3M
  • Amazon Bestsellers Rank: 577,877 in Albums (See Top 100 in Albums)

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Amazon.com: 1 review
8 of 8 people found the following review helpful
The best presentation of the motet texts yet! 18 Jun. 2005
By Jack Repenning - Published on Amazon.com
Format: Audio CD Verified Purchase
These works present (for me, anyway) a very new interpretation of great music I've loved for a long time. I learned the beauties of Luther's translations by singing these Bach settings, and have always honored the performances that let Luther's power and weight flow forth, driven home by the powerful style of Bach's biggest organ masterpieces. But these performances are different. A bit up-tempo, a bit brighter in the building acoustics, the women's voices a bit more up-front, and suddenly they're conversational, contemporary--actual thoughts, blessed by Luther's words and Bach's harmonies, instead of being mere display-frames for the sounds. It's in some ways a fuller, more complete performance than I've ever heard before. And I think neither Bach nor Luther ever intended their work to get in the way of the texts they worked with, making this reading more authentic, more in line with their intent, than any I've ever heard (or attempted).

I can't quite give it full marks, on technical grounds, because there is just a bit of raggedness to the choir. Their brisk tempo leaves me, personally, baffled at how they could possibly pack in Bach's great countermelodies and Luther's great strophes, but they do, largely, and the rhythms return closer to speech than worship of the harmonies and vowels. But like speech, there's an occasional splatter of voices hitting the same word not quite together. And the brighter acoustics, while allowing the clear articulations at a more rapid pace, do lose some of the sonorities.

But still, if I mark this performance down a shade for these weaknesses, I equally wish now I could go back and ding all those others I've loved, just a touch, for not catching the sense of the text in the way that this one does!
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