Texte paru dans: / Appeared in:
Early Music Today (03-05/2015)


Code-barres / Barcode: 0034571280516 (ID462)

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Reviewer: Graham Lock

Hyperion’s predominantly black‑grey cover is unfortunate, given both the dazzling array of musical colours Bach employs and Arcangelo's brilhantly variegated performances.


Jonathan Cohen has assembled a talented bunch of musicians ‑ 25 instrumentalists and 25 singers (five soloists, 20 ripienists): they have the individual versatility to exploit the profusion of styles and formats Bach drew on ‑ stile antico to galant, solo voice to double choir ‑ yet also have the collective ethos to maintain an overall sense of cohesion. The solo and duet movements are especially lovely, expressive yet never indulgent: try the flickering chiaroscuro of Neal Davies' peat‑dark bass, Ursula Paludan Morlerg’s gleaming, fat‑toned hunting horn and a pair of bassoons in the Quoniam, or the unearthly beauty of Tim Mead’s imploring alto in the Agnus Dei.


I had feared the four‑voices‑per‑part choruses might be a touch ponderous, but their lines are finely shaped and their textures sound rich rather than heavy. This is a superbly conceived and executed set

absolutely joyous and gloriously colourful.

Dont let that cover put you off!
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