Diego Fasolis - Bach Cantatas & Other Vocal Works

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Diego Fasolis & Ensemble Vanitas

Bach Cantatas & Other Vocal Works

General Discussions

Greetings & question

Bob Roberts wrote (May 26, 2002):
I have just joined the group, and I was browsing the archives and discovered a recording I hope you can help provide more information about:
http://www.bach-cantatas.com/Performers/Fasolis.htm

It is the second recording on the page I am interested in:

Salmo 51 BWV 1083 dallo Stabat Mater di Pergolesi / Cantate BWV 170, 198, 106, 196, 103

It says that this is from The Classic Voice Magazine. I am unfamiliar with this publication, and wondered if anyone could tell me if it is possible to purchase back-copies of this magazine or just of the recordings?

Many thanks in advance,

Riccardo Nughes wrote (May 26, 2002):
[To Bob Roberts] "The Classic Voice" is an italian magazine. Its April 2002 number featured those 2 CD’s set.

It is a real pity that this wonderful recording had such a limited availability , IMO it's one of the best recording ever of Bach Cantatas. And, as it happened with Fasolis' MP (BWV 244), it won't be published in other ways. If not sold-out , back-copies may be available, try to write at: voice@wwsedition.it
However I'm not sure they send items abroad.

Salmo 51 BWV 1083 dallo Stabat Mater di Pergolesi / Cantate BWV 170, 198, 106, 196, 103

Carlo Stringhi wrote (June 12, 2002):
I'm a new subscriber to this list.

At http://www.bach-cantatas.com/BWV106.htm#RC I found
25
Salmo 51 BWV 1083 dallo Stabat Mater di Pergolesi / Cantate BWV 170, 198, 106, 196, 103
Diego Fasolis
Coro della Radio Svizzera / I Barocchisti
Soprano - Nancy Argenta; Counter-tenor - Bernhard Landauer; Tenor – Daniel Auchincloss; Basses - Georg Zeppenfeld, Furio Zanasi
The Classic Voice Magazine
Dec 2000
TT: 17:50

I will appreciate any information about this recording (what is The Classic Voice Magazine? I couldn't find any information about it).

Greetings from Italia.

Riccardo Nughes wrote (June 12, 2002):
[To Carlo Stringhi] This is what I wrote in a previous message on the BCML :

"The Classic Voice" is an italian magazine. Its April 2002 number featured
those 2 cd’s set.
It is a real pity that this wonderful recording had such a limited availability , IMO it's one of the best recording ever of Bach Cantatas. And, as it happened with Fasolis'MP, it won't be published in other ways. If not sold-out , back-copies may be available, try to write at : voice@wwsedition.it...

If you need other info you can write me off-list.

BTW I invite all Italian members of BRML & BCML to join :
http://it.groups.yahoo.com/group/MusicaBarocca/
The Italian group dedicated to J.S.Bach and baroque music.

Greetings from Italy,

Fasolis' BWV 170/Tilge Hochster

Riccardo Nughes wrote (March 21, 2004):
< I hope that someone will reissue the Cantatas recorded by Fasolis: http://www.bach-cantatas.com/Performers/Fasolis.htm#RC , a really great set. >
It seems that someone heard me ^__^
From www.mdt.co.uk :

BACH
Cantata BWV 170
"Tilge, Höchster meine Sünden" Psalm 51 from Pergolesi's Stabat Mater BWV
1083
"Vergnügte Ruh, beliebte Seelenlust" Cantata BWV 170
Nancy Argenta, Soprano
Giullemette Laurens, Mezzosoprano
Coro della Radio Svizzera, Lugano I Barocchisti/ Diego Fasolis
Arts 476942

Just one of the 2 cds featured in the original set, unfortunately...

When I heard A.Scholl singin'with Herreweghe BWV 170 I said to myself :"this one will be unsurpassed". But I was wrong : G.Laurens is sublime in this recording, and this is my favourite recording of this Cantata. Highly highly recommended ^___^

Aryeh Oron wrote (March 21, 2004):
[To Riccardo Nughes] I tend to agree with you that Fasolis' is one the best cantata albums which have been issued in the last couple of years. The accuracy and the vividness of the playing, the high level and the dedication of singing and the sense of tension which Fasolis always manages to give to his Bach renditions make this album hard to resist.

However, regarding Cantata BWV 170, my favourite rendition is of the Dutch contralto Aaafje Heynis with Szymon Goldberg and Netherlands Chamber Orchestra (recorded in 1960). Her deep, warm, rich and velvety contralto voice have hardly been matched by any other female singer. Her expression is simply heart-rending. Whenever I want to listen to this cantata, my hand goes directly to the place in the shelves where this album is located. BTW, the other cantata on this CD, BWV 169, also gets the best recorded performance (the conductor is Anton van der Horst).

Talking about counter-tenors, my favourite in cantata BWV 170 is the unsurpassable Alfred Deller. I guess that Brad holds similar opinion.

Fasolis

Sw Anandgyan wrote (April 3, 2004):
I hope this CD will appeal to those who could not get their hands on that magazine that offered the BWV 1083 done by Diego Fasolis ...
http://tinyurl.com/yr7q4

Only the cantata BWV 170 is added to this piece on the Arts label.

Three November releases

Riccardo Nughes wrote (October 23, 2004):
Secular Cantatas:
O holder Tag, erwünschte Zeit (Wedding Cantata) BWV 210
Schweigt stille, plaudert nicht (Coffee Cantata) BWV 211
Bach Collegium Japan, Carolyn Sampson (soprano),Makoto Sakurada (tenor),Stephan Schreckenberger (bass)
Masaaki Suzuki
BISCD1411

Cantatas BWV 198; 106; 196; 53
Argenta, Laurens, Coro Radio Svizzera, Ensemble Barocchisti/ Fasolis
Arts 476952

[Finally the reissue of this recording originally published with an Italian magazine, highly recommended]

Mass in B minor.
Barbara Bonney, Ruxandra Donose-Danila, Cornelia Wulkopf, Peter Schreier, Yaron Windmuller, Anton Scharinger, Munich PO/ Celibidache. EMI 2cds

[Part of a 15 cds set dedicated to Celi ; I have to say that I'm not particullary fond of him, however I'm very curious about this recording that I presume it will feature slow tempos ^__^ ]

Bradley Lehman wrote (October 24, 2004):
Riccardo Nughes wrote:
< Cantatas BWV 198; 106; 196; 53
Argenta, Laurens, Coro Radio Svizzera, Ensemble Barocchisti/ Fasolis
Arts 476952
[Finally the reissue of this recording originally published with an Italian magazine, highly recommended] >
That's great news, thanks for sharing this. I've been collecting all the Diego Fasolis recordings I can find, based first on recommendations from group members a year or two ago here, and then on hearing them. What marvelous musicianship he puts together. Will watch for this one!

I just got his Carissimi "Jonas", haven't opened it yet....

Yoël L. Arbeitman wrote (October 24, 2004):
[To Bradley Lehman] And I long wondered why I could not find the Melchior Hoffmann cantata which Riccardo uploaded with Laurens to the: http://launch.groups.yahoo.com/group/GMHof/

The Carlos Mena I found reasonable easily (out of country, as I recall).

Thanks to Riccardo again.

German Review of Fasolis' Bach's Cantatas

Sw Anandgyan wrote (November 21, 2004):
The latest commercial release of some music performed under the guidance of Diego Fasolis is reviewd at this German Internet magazine; Klassik.com: http://tinyurl.com/4hm2p

Johann Sebastian Bach: Cantata BWV 198 "Trauerode"
Johann Sebastian Bach: Cantata BWV 106 "Actus tragicus"
Johann Sebastian Bach: Cantata BWV 196
Johann Sebastian Bach: Cantata BWV 53

The mechanical translation to English gives this, you'llunderstand that Bach becomes brook when it's not stream;

The matter of course, with the Johann Sebasbrook (like many of its colleagues in 18. Century) Sunday for Sunday a Kantate composed, shifts the today's listener into disbelieving astonishment. Not only, because it does not concern by any means works of the bar - high individual quality distinguishes almost everyone that approximately 200 received Kantaten. But also in view of the work expended of a composer, who had to master still numerous other obligations apart from its activity as Kantor and teachers. From where did brook take all the time? While one nachgruebelt over this question, it offers itself to hear or other Kantate - Diego Fasolis took up I Barocchisti ' and the choir Swiss of the radio Lugano three Chorkantaten and a Solokantate with the instrument valley ensemble `, among them two of the most famous vowel works out brook feather/spring: ` the Trauerode ' BWV 198 and `the Actus tragicus' BWV 106. Besides the Kantaten stands ` the gentleman thinks of us ' BWV 196 and the alto Solokantate `impact nevertheless, desired hour' of BWV 53. The Solistenquartett consists Bernhard Landauer (Altus) of Nancy Argenta (Sopran), Daniel Auchincloss (tenor) and George Zeppenfeld (bass). `leave, to princess, leave still another jet' read the initial words ` of the Trauerode ' to Kantate mentioned, which composed brook 1727 on the occasion of the death of the cure princess Christiane Eberhardine of Saxonia. Accordingly bombastische or effusive passages, lights an intonation of the mourning are missing to this work dominated. The Kantate is split, the emphasis lies in the first part with the majestic entrance choir and the virtuosen old air ` as died the heroine so diverted!', the landauer surely and with numerous dynamic shades speaks. Who does not like the sound of a Altus, will itself from this bringing in hardly umstimmen to leave, but landauer remains interpretatorisch error free. The other three Solisten hold into approximately this level: Nancy Argenta in their air ` grows silent, to it holden strings ', tenor and bass in their comparatively short appearances. The small occupied choir from Lugano stands back opposite, above all concerning the discussion. Thus the three choir portions become the weakest places of this bringing in. Klanglich lies everything in the green range, if necessary the Continuogruppe seems during the Choraele sometimes to go down. ` the Actus tragicus ' was one the Lieblingskantaten 19. Century. Clearly more scarcely than ` the Trauerode ', the two works differ also by the instrumentale Sonatina, which is the choir ` God time the very best time ' precedes. In the basic tendency the two Kantaten lie meanwhile close leg other: Also in ` the Actus tragicus ' death and eternity are the central topics. George Zeppenfeld, which in the preceding work only a Rezitativ was allowed to complete, knows now in the air `orders your house' his strong bass to unfold. When listening to the choir one has still the impression that some its members difficulties with the German language have. Very urgently however landauer sings `into your hands instruction 'I means spirit', before brilliert Argenta in their Arioso `it is the old federation'. An important detail in the orchestra are the two blockfloeten, which provide for a very distinctive, individual sound. Weaker instrument valleyists can spoil thereby the entire Kantate, but with ` I Barocchisti ' does not exist this danger. Altogether bringing in is located in the upper centre zone of the numerous ` Actus tragicus' photographs. In the Kantate ` the gentleman brook thinks without wind instruments, Streicher and Continuo completely forms the basis for five sentences of us ' does, under which the Sopranarie segnet ` it, which is afraid the gentleman ' a weighty place takes. Again Argenta convinces as perhaps the best of the four Solisten by safe technology and high organization variety. In the introductory Sinfonia proves brook that a reduced orchestra does not have to mean by any means reduced inspiration. The solo air ` impact nevertheless, desired hour ' fascinates those by its unusual occupation with bells, striking evenly that hour of sense-figurative. Guillemette Laurens (Mezzosopran) is here the Solistin. It has the area to demonstrate the flexibility and range of their voice; Fasolis holds back the orchestra, as it is surely attached with a solo air. The bells sound dezent and not as instrumentale curiosity to the schau are placed. Unterm line a good bringing in of four brook Kantaten, which are faced with however strong competition. At the latest since the brook year 2000 also the two more rarely played Kantaten of these CD in numerous admission are present. The small occupied choir and the members of ` I Barocchisti, making music on historical instruments, ' orient themselves at historical performance practice. In this intensively investigated area there are numerous speculations, which point among other things on a solistische occupation of the choir portions - from this point of view is the CD thus a half thing.

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Last update: ýFebruary 2, 2006 ý21:38:14