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Jauchzet Gott in Allen Landen [Hybrid SACD]

Ziesak; Friedrich; Berliner Barock Compagney , Various Audio CD

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Amazon.com: 4.7 out of 5 stars  3 reviews
5 of 5 people found the following review helpful
5.0 out of 5 stars Really enjoyable disc June 19 2010
By Robert Fliss - Published on Amazon.com
Format:Audio CD
I've listened to this disc better than a dozen times in the short time I've owned it. It stands up remarkably well to repeated hearings.

The pairing of Bach's familiar Cantata No. 51 with some obscure Baroque works is particularly effective. Frankly, the only other composer on this disc I had any familiarity with was Zelenka -- and that's not much.

But the two Rosenmuller solo cantatas are so fine that I may have to make a project out of finding some of his other music.

The vocal program is mixed with two splendid trumpet sonatas. So what you get here is an attractively varied Baroque concert rather than the usual "Volume Umpteen in the Complete Works of ..." I'm as terrible a completist as any classical buff, but there's a lot to be said for discs that are programmed like a real concert.

Other than that, it's hard to improve on Giordano Bruno's review above. I am not a musician, but rather a dedicated listener who has had some musical training, if you count singing in high school choir and a whole lot of community theater productions.

So my non-professional verdict is that this disc may well become a standout in your Baroque collection.
6 of 7 people found the following review helpful
5.0 out of 5 stars Praise Bach in All Lands! June 9 2009
By Giordano Bruno - Published on Amazon.com
Format:Audio CD|Verified Purchase
What sounds, except the dinner bell, could be as exhilarating as a baroque cantata for soprano and trumpet? Bach's solo Cantata #51, Jauchzet Gott in allen Landen, is deservedly one of his most popular and oft-performed, not only because its rousing strains could wake a congregation of beefy Bürghers any Sunday of the year but also because it's brilliantly constructed, a composition so refined that every phrase is crucial. The performance of it on this CD is as polished as any I've ever heard, and that would be enough to justify five-times-five stars, but the other soprano/trumpet pieces -- two sacred concerti by Johann Rosenmüller (1619-1684) and a setting of Psalm 113 Laudate Pueri by Jan Dismas Zelenka (1679-1745) are NOT overshadowed by the Bach. All three are thrilling both in affect and in musical originality -- works that Bach himself would not have been ashamed to claim. Wisely, I think, these joyous barn-burners are insulated from each other by two elegant instrumental sonatas, by Johann Krieger and Gottfried Finger.

Soprano Ruth Ziesak and trumpeter Reinhold Friedrich are not narrow "early music" specialists. Ziesak has recorded Liszt, Mendelssohn, and Mahler as well as Bach. Friedrich has performed Luciano Berio and plays modern trumpet for conductor Claudio Abbado. "For him, New and Old Music are one instead of a contrast..." Nevertheless, both Ziesak and Reinhold bring complete understanding of "historical performance practices" to their interpretation of these very specifically Baroque masterworks. As the cover art shows, Friedrich plays a keyless Baroque trumpet by preference on this CD.

The Baroque trumpet is not a "half-way" step toward the modern trumpet with pistons. It was already an ancient and sophisticated piece of musical technology by the 17th Century, with very high standards of expectation for its well-paid masters. Trumpeters were governed by guilds that insured competent instruction. The instrument itself was longer, narrower, and straighter in tubing. The smaller mouthpiece had a sharper rim and a more conical shape. Expert players performed in the 'clarino' register, the highest octaves of overtones, in which a full diatonic scale can be produced simply by the lips, without the need for keys. Players can change 'crooks' to perform in various keys. The timbre of the Baroque trumpet is brighter and more vocal than the modern. Trills and rapid ornaments can be, for a virtuoso player, more facile and elegant. Reinhold Freidrich is certainly a virtuoso player.

Together, Friedrich and Ziesak match phrasing and timbre as tightly as if they had musical ESP. This is not a sterile-sounding studio recording, however. For once, the SACD technology really succeeds in bringing a live concert right into your living room. The strings and organ of the Berliner Barock Compagney offer a rich continuo and acoustic backdrop for the voice/trumpet fireworks, and if you listen on two levels, you'll hear some 'not bad at all' Baroque bassoon obbligato passagework.

If Rosenmüller and Zelenka are unfamiliar composers to you, this CD would be a very convincing introduction to their excellence.
4.0 out of 5 stars Hyped as an SACD disc - sounds better in Stereo April 17 2014
By Amazon Customer - Published on Amazon.com
Format:Audio CD|Verified Purchase
The performance by everyone in this performance of Canata 52 is excellent. As another reviewer remarked it is one of the best available. However do not listen to this in SACD mode which in this recording and others has left me questioning the hype.
You would think this would be another technological tool the recording person could apply at the time of the recording, and if used this way I believe SACD discs would not have been a total failure for the recording industry.
But instead of spending time in figuring out new positions of Mikes and blends of recording at the recording session, in every SACD disc I have auditioned, I feel the actual recording is made the same way as it has in the past and in the back room of the recording studios the record companies pinched pennies and added false reverb to create the quasi surround sound effects. A sell out to the listener and producing recordings which sound exactly what they are - fake multi-channel 'effects' smudging the clarity of the real sound. This is an example of good old bait and switch by the recording industry. Just think if they had made an effort to make multi-channel recording work.

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