Miriam Feuersinger, Les Escapades Johann Rosenmüller

The viol consort Les Escapades takes the listener on a journey through a wondrous night with its dreams and visions. In the mild light of the moon, thoughts fly and we meet dream creatures and fairies in the nocturnal entourage from Shakespeare's A Midsummer Night's Dream. Music from the Baroque, Classical, Romantic and Impressionist periods will be heard, some of which the ensemble has arranged especially for itself. For example, Gabriel Faure's famous "Apres un rIve" or Claude Debussy's "RIverie" are performed in a completely new and unusual sound, played on the delicate gut strings of a baroque viol consort.

Johann Sebastian Bach's incomplete surviving works have a very special appeal. The music seems to be within our grasp and yet it still leaves us puzzled. What might these works have sounded like? The cantatas Ehre sei Gott in der Hohe (BWV 197. 1), Alles, was von Gott geboren (BWV 80. 1) and Singet dem Herrn ein neues Lied (BWV 190. 1) have also only survived in fragments - and yet they fascinate us with their musical power.

Johann Sebastian Bach's incomplete surviving works have a very special appeal. The music seems to be within our grasp and yet it still leaves us puzzled. What might these works have sounded like? The cantatas Ehre sei Gott in der Hohe (BWV 197. 1), Alles, was von Gott geboren (BWV 80. 1) and Singet dem Herrn ein neues Lied (BWV 190. 1) have also only survived in fragments - and yet they fascinate us with their musical power.

"Ich bin vergnügt …" (I am content …) is the title of the new album by soprano Miriam Feuersinger. It refers to Johann Sebastian Bach's cantata "Ich bin vergnügt mit meinem Glücke" BWV 84, but it also corresponds entirely to the feelings of the singer, who is fulfilling a long-cherished wish of her heart with this programme: On this release, the proven Bach specialist presents the three most beautiful cantatas written by Johann Sebastian Bach for solo soprano.

Im riesigen Kantatenschaffen Bachs nehmen seine Dialogkantaten eine ganz besondere Stellung ein: Wie in einer persönlichen Zwiesprache treten die »Christliche Seele« (Sopran) und »Christus« (Bass) in einen Dialog, von Bach als geistliches »Liebesduett« gestaltet, das Miriam Feuersinger und Klaus Mertens hier auf denkbar innigste Weise interpretieren.

This programme, performed by Ensemble 1684 under the direction of Gregor Meyer, brings to life the rich and vibrant sacred music of 17th-century composer Johann Rosenmüller.

A once abandoned Passion project by J. S. Bach? Harpsichordist and conductor Alexander Grychtolik, together with the Il Gardellino Orchestra, embarks on a captivating artistic experiment with this presentation of the Passion Oratorio BWV Anh. 169. The starting point for the partial reconstruction attempt and the completion of the work is the surviving libretto by the poet Picander from 1725. This unique endeavor draws the audience into a profound exploration of human empathy with the poignant suffering of Jesus and sheds light on a passion aesthetic we had not seen previously in Bach’s repertoire.

For the 400th birthday of Johann Rosenmüller, the soloists’ ensemble Gli Scarlattisti under the direction of Jochen Arnold presents a selection from the collection of so-called “Kernsprüche.” These sacred concertos, most of which are unknown today, are characterized by a particularly charming versatility in the interplay of the various vocal and instrumental parts. In their day, they were similarly considered to be as stylistically influential as Schütz’s Kleine Geistliche Konzerte. How good it is that the musicians, with their numerous first recordings, have rescued this collection from oblivion.

A repertoire gap provided the impetus for a genuine new discovery: there is plenty of repertoire for the flute from the Baroque period and again since the 20th century. However, the productive Romantic era treated this instrument somewhat neglected. The Terragni/Sarasin duo wanted to remedy the situation and resorted to the tried and tested means of adaptation, which has been common in music for centuries.

Over the course of his long and eventful career, Dussek composed 38 violin sonatas – or rather sonatas for the keyboard, accompanied by the violin – and the partnership of Julia Huber and Miriam Altmann is acquiring impressive credentials and critical praise as they gradually uncover them for the first time.