Meine Wunschgeburt

The Prelude and Fugue in E Minor forms a frame, as it did in Bach’s time, around this program, designed to fit the liturgical format that gave Bach’s music its purpose; the Fantasia precedes the motet on which it is based and follows Cantata BWV 64, which quotes the fifth stanza of Johann Franck’s poem “Jesu, meine Freude.” The recording was made in the Arnstadt church where Bach served from 1703 to 1707 (the 1699 organ has recently been restored), but the two cantatas and the motet date from his first year in Leipzig. This impressive presentation, the first in a series called Bach in Context, is a hardbound book of 84 pages. The notes favor Joshua Rifkin’s understanding of one voice to a part in Bach’s vocal/choral music, the use of a harpsichord as well as the church organ (not the more versatile chest organ), and the liturgical context in which the music was originally sung.

Kemmler's career began as a member of a trio named Hubert Kah, consisting of Hubert Kemmler (vocals, keyboards), Markus Löhr (guitars, keyboards) and Klaus Hirschburger (bass) at the time of the New German wave 1982 commercial success with the singles "Rosemarie", "Sternenhimmel" ("Starry Sky") and "Einmal Nur Mit Erika… (Dieser Welt Entfliehn)" ("Just Once With Erika … To Escape This World"), and with the albums Meine Höhepunkte ("My High Points") and Ich Komme ("I'm Coming"). During this time, Kemmler caused quite a stir by his TV appearances, wearing a nightdress or straitjacket. Before Kemmler's music career, he studied law at the University of Tübingen.

L'Arpa Festante's softly lyrical playing and Winter's shapely singing reveal abundant melodious charm and an appealing sense of pastoral instrumental colour…These excellent performances remind us how many of the finest Saxonian Baroque composers had close ties with the university town long before Bach turned up in 1723.