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Bach: Motetten

Collegium Vocale Gent

Bach: Motetten

...perfectly poised
LPH 002 (Phi)
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Tracks: Listen and Download

Format
Track Time Listen
1
Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: I

Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: I

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
04:44 Play $1.70
2
Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: II

Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: II

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
04:05 Play $1.70
3
Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: III

Motet 'Singet dem Herrn ein neues Lied' for double chorus, BWV 225: III

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
03:48 Play $1.70
4
Motet 'Komm, Jesu, komm' for double chorus, BWV 229: I

Motet 'Komm, Jesu, komm' for double chorus, BWV 229: I

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
06:53 Play $3.40
5
Motet 'Komm, Jesu, komm' for double chorus, BWV 229: II

Motet 'Komm, Jesu, komm' for double chorus, BWV 229: II

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:19 Play $1.70
6
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: I

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: I

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:03 Play $1.70
7
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: II

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: II

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
02:34 Play $1.70
8
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: III

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: III

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:01 Play $1.70
9
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: IV

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: IV

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
00:52 Play $1.70
10
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: V

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: V

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
02:10 Play $1.70
11
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VI

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VI

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
02:34 Play $1.70
12
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VII

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VII

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:05 Play $1.70
13
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VIII

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: VIII

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:51 Play $1.70
14
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: IX

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: IX

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
03:45 Play $1.70
15
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: X

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: X

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:23 Play $1.70
16
Motet 'Jesu, meine Freude' for 5 voices, BWV 227: XI

Motet 'Jesu, meine Freude' for 5 voices, BWV 227: XI

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:05 Play $1.70
17
Motet 'Lobet den Herrn, alle Heiden' for 4 voices, BWV 230

Motet 'Lobet den Herrn, alle Heiden' for 4 voices, BWV 230

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
06:18 Play $3.40
18
Motet 'Fürchte dich nicht, ich bin bei dir' for double chorus, BWV 228

Motet 'Fürchte dich nicht, ich bin bei dir' for double chorus, BWV 228

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
08:06 Play $3.40
19
Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: I

Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: I

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
03:52 Play $1.70
20
Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: II

Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: II

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
02:19 Play $1.70
21
Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: III

Motet 'Der Geist hilft unser Schwachheit auf' for double chorus, BWV 226: III

Composer Johann Sebastian Bach
Band Collegium Vocale Gent
01:43 Play $1.70
Total Running Time 63 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

Led by outstanding soloists, Collegium Vocale Gent is at the peak of its art. This new version is destined to become a milestone recording.

This album is licensed for download from Phi recordings. 

Download includes - cover art, booklet
Collegium Vocale Gent

Collegium Vocale Gent

In 2010, Collegium Vocale Gent celebrated its founding forty years before, by a group of friends studying at the University of Ghent, on Philippe Herreweghe's initiative. They were one of the first ensembles to use new ideas about baroque performance practice in vocal music.
profile & recordings >>
Johann Sebastian Bach

Johann Sebastian Bach

Considered by many to be the supreme composer of the Baroque style, and regarded as one of the greatest composers of all time.
profile & recordings >>

'Herreweghe does all three here with different motets. "Jesu, meine freude" with just five soloists and continuo is perfectly poised, while "Singet dem Herrn" (which Mozart so revered) and "Der Geist hilft" burst into life with more singers and instruments. Throughout, Herreweghe achieves a supremely flexible responsiveness to the texts.' The Observer

'...an ecstatic reading by any standards' Gramophone  

Although a lot of mystery shrouds their conception, Bach's motets count amongst his works which were played constantly in Leipzig from their origin up until now. For this reason, interpretative traditions have overlapped in the course of the centuries. Philippe Herreweghe, at the light of recent research, has found inspiration in the Leipzig practices. These traditions give the motets all their glamour and give them a stark relief with very different configurations (simple and double chorus, basso continuo, varied instrumentation). 

'When, now nearly thirty years ago, we released our first recording of Bach's motets, the Collegium Vocale Gent belonged to a small group of pioneering ensembles that were opening the doors to a new sound world. For the first time these motets were being heard with a small number of singers - no more than two or three per part - at a time when the motets were customarily performed by lavish formations or amateur choirs. In addition, the vocal parts were doubled colla parte by strings and winds, and on early instruments! Finally, and especially, the overall approach was determined by a new investigation of rhetorical expression, founded on research and encompassing articulation, phrasing, rhythms and dynamics. Ever since this recording was released, the Collegium Vocale Gent has been involved in a host of projects that have featured all Bach's great works. A goodly number of cantatas has thus been recorded, and the motets were, here and there, taken up again in concerts. Why, then, present a new recording today?

It is true that we have, throughout these years, deepened our appreciation of the subject through reading and through many conversations with eminent musicologists; but we have arrived at the conclusion that, in respect of both the forces involved and the general approach, a revolutionary, groundbreaking rereading was not necessary. A lot has been done in recent years in connection with the cantatas and their performance, supposedly from a historical viewpoint, to impose the idea of one singer per part; it is a point of view that we do not share. As far as Bach's motets are concerned, we are still of the opinion that several approaches are possible and even necessary if this wonderful music is to sound at its best, especially for a recording - an objective event that Bach himself would undoubtedly approached in a pragmatic manner.

With regard to the number of singers we believe, for example, that a small grouping is able to do justice to the expressive eloquence of motets such as Jesu, meine Freude and Komm, Jesu, komm. Similarly, Lobet den Herrn, a motet of questioned authenticity and that probably dates from an earlier period, sounds for this reason all the more convincing with one singer per part. By contrast, Singet dem Herrn takes full advantage of a large configuration, depending of course on the venue, which in this case is the Church of Christ Jesus in Berlin. 

We therefore speak of continuous research. This new recording was made because we wanted to give a progress report and, especially, because we are privileged with the Collegium Vocale Gent to be able to work with wonderful singers and instrumentalists. They form a true group of musicians, united and enthusiastic. These moments are as fragile as they are precious. We therefore wanted to leave a trace.'

Philippe Herreweghe 

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