Bach Collegium Paris (en)

  • Autor: Vários
  • Narrador: Vários
  • Editor: Podcast
  • Duración: 0:20:52
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Sinopsis

Podcast of concert's recordings of the Bach Collegium Paris - Paris, France. The Bach Collegium Paris, founded in 2009, is a baroque choral and orchestral ensemble, in residence at the Deutsches Historisches Institut Paris. It focuses on the works of composers of the 17th and 18th centuries, such as J. S. Bach and his contemporaries.Its purpose is to explore the uses of instrumental and vocal practices as elucidated by original sources which describe performance practices, and to suggest new ways to understand and realize the Baroque musical aesthetic.To this end, the Bach Collegium Paris benefits from the skill and experience of its conductor and artistic director, Dr. Patrizia Metzler, whose work on J. S. Bach's compositions formed the core of her PhD and still imbues her current research.More information available on our website www.bachcollegiumparis.org.

Episodios

  • BACH Jean-Sébastien (1685-1750) > Cantate BWV 78 “Jesu, der du meine Seele”

    12/10/2013 Duración: 05min

    Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 78 “Jesu, der du meine Seele” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que Max Reger

  • BACH Jean-Sébastien (1685-1750) > Cantate BWV 140 “Wachet auf, ruft uns die Stimme”

    12/10/2013 Duración: 06min

    Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 140 “Wachet auf, ruft uns die Stimme” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que M

  • BACH Johann Sebastian (1685-1750) > Cantata BWV 4 “Christ Lag in Todesbanden”

    31/03/2012 Duración: 05min

    6th public recording of the Bach Collegium Paris on March, 31st 2012, Église Réformée de l'Étoile (Paris 17th). Patrizia METZLER, directeur musical. Claire COUZELIN, soprano. Xavier JACQUES, alto. Tarik BOUSSELMA, ténor. Fabien LERICHE, basse. Johann Sebastian BACH (1685-1750) Cantata BWV 4 "Christ Lag in Todesbanden" ... read more about this program on : http://www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-4-christ-lag-in-todesbanden © All right reserved Bach Collegium Paris - Paris, France

  • BUXTEHUDE Dietrich (1637-1707) > Cantate BuxWV 75 “Membra Jesu nostri patientis sanctissima” > IV. Ad latus – 2. “Surge, amica mea”

    19/03/2011 Duración: 01min

    Third public recording of the Bach Collegium Paris on March, 19th 2011 in Les Billettes Church (Paris 4th). Patrizia METZLER, musical director. Manon BAUTIAN, soprano. Alicia SANTOS, soprano. Richard WILBERFORCE, contretenor. Peter de LAURENTIIS, tenor. Beltran IRABURU, baryton. BUXTEHUDE Dietrich (1637-1707) Cantate BuxWV 75 “Membra Jesu nostri patientis sanctissima” IV. Ad latus – 2. “Surge, amica mea” Dietrich Buxtehude lived and worked for almost 40 years in the free imperial city of Lübeck. He was the son of Johannes Buxtehude, himself an organist who had emigrated to Denmark and spent 30 years there as organist of Saint-Olaf’s church. When he replaced Franz Tunder as organist at the Marien Kirche in Lübeck in 1786, Dietrich Buxtehude filled one of the most prestigious church music positions in North Germany. Beyond his organist responsibilities, he also served as Werkmeister (administrator and treasurer of the parish). In his role as the city’s principal musician Buxtehude often provided music f

  • BACH Johann Sebastian (1685-1750) > Cantata BWV 147 “Herz und Mund und Tat und Leben” > “Jesus bleibet meine Freude” (final choral)

    09/07/2010 Duración: 03min

    First public recording of the Bach Collegium Paris on July, 9th 2010 in Basilique Sainte-Clotilde (Paris 7th). Patrizia METZLER, musical director. Chiara SKERATH, soprano. Antoine LE ROUX, contretenor. David TRICOU, tenor. Émilien HAMEL, baryton. BACH Johann-Sebastian (1685-1750) Cantata BWV 147 “Herz und Mund und Tat und Leben” “Jesus bleibet meine Freude” (final choral) J.S. Bach wrote Cantata 147 to celebrate the feast of the Visitation of the Virgin Mary and it was first performed during his first year at the Thomaskirche in Leipzig on July 2, 1723. In 1716 he had composed a six movement work with the same title during his time in Weimar where it was intended to be sung on the 4th Sunday of Advent. The revisions he undertook for the performance in Leipzig included substantial citatations from the Song of Mary (the Magnificat in Luke, chapter 1) thus making it fit into the liturgical requirements for the Feast of the Visitation. The text for the original Weimar work was composed by the librettist Salo