Music / kor

Membra Jesu nostri


Reviews (25)


AllMusic

2021

By

By

James Manheim

2021

"Bach's roots are convincingly explored here, and the sound from the Abbaye aux Dames in the old western French town of Saintes is flawless. Daucé and Ensemble Correspondances are best known for recordings of Charpentier and other French Baroque music, but they have scored a major breakthrough here".


MusicWeb international

2019 February

By

By

Göran Forsling (f. 1942)

2019 February

"All in all this is an attractive work that should be heard more often. The playing and singing of the concerted forces of Donizetti Opera is committed and Corrado Rovaris holds the many strands of the score in tight reins. The soloists do a worthy job and I want to give a special laurel wreath to tenor Juan Francisco Gatell for his sensitive lyrical singing and stylishness".


Sydsvenskan

d. 12. Nov. 2016

By

By

Tobias Lund

d. 12. Nov. 2016

"Det är en lisa att lyssna på Vox Scaniensis när de sjunger Dietrich Buxtehudes kantatsamling Membra Jesu Nostri ... Hannah Tibell, Hanna Ydmark och de andra i den lilla instrumentgruppen ger sina mellanspel en nästan folklig prägel. Sångarna sjunger med känsla och uttryck, men orden om Jesus sargade kropp förleder dem inte till effektsökeri. Deras konsekvent mycket rena intonation gör dessutom att musiken får en något dämpad färgskala. Kantaterna smälter slutligen samman till en helhet. Kroppen tar form ... Tydliga uttryck men med klok återhållsamhet".


Kristeligt dagblad

d. 4. Apr. 2022

By

By

Peter Dürrfeld

d. 4. Apr. 2022

"Kender man nogle af Bachs bedste kantater, vil man uvægerligt blive skuffet, hvis man forventer samme høje niveau hos forgængeren Buxtehude. En ny indspilning på budgetmærket Brilliant Classics, hvor Luther Bach Ensemble under ledelse af den hollandske dirigent Tymen Jan Bonda fortolker netop Membra Jesu Nostri er stort set nydelig, men undgår ikke helt det lidt småkedelige - i hvert fald sidder man tilbage med en fornemmelse af, at der er grumme langt fra Buxtehude til Bach".


Jyllands-posten

d. 31. Dec. 2001

By

d. 31. Dec. 2001


Diapason

2014 octobre

By

By

Gaëtan Naulleau

2014 octobre


BBC music magazine

2014 June

By

By

Nicholas Anderson

2014 June

"The lightly articulated and youthful sounding declamation of the Magdalen Choir is stylishly supported by the small instrumental ensemble, Phantasm, whose playing is both elegant and expressive ... Their [Magdalen College boys' voices] distinctive timbre and innocent expressive immediacy provide an additional and unfailingly pleasing dimension to the work".


BBC music magazine

2012 November

By

By

Paul Riley (musikanmelder)

2012 November

"Koopman captures the fascinating creative tension between the text, which is rooted in catholic mysticism, and a sense of Buxtehude the northern Lutheran".


Fono Forum

2023 Dezember

By

By

Reinmar Emans

2023 Dezember


Diapason

2011 janvier

By

By

Gaëtan Naulleau

2011 janvier


Diapason

2019 mai

By

By

Gaëtan Naulleau

2019 mai


Early music today

2017 June-August

By

By

Adrian Horsewood

2017 June-August

"Vox Scaniensis features five soloists who are perhaps not such familiar names ... These voices are absolutely ideal, each one individual, intelligent and characterful but completely at ease in ensemble ... The instrumental ensemble - as small as the scoring allows ... is no less excellent, and captures the dance rhythms of Buxtehude's music ... superbly. This is, quite simply, the most outstanding recording of Membra Jesu Nostri I've ever heard, and is, I feel, quite faultless".


Fono Forum

2021 September

By

By

Susanne Benda

2021 September

"Ihre Stimme ist dunkel, aber sehr gerade und nie schwer: Die Mezzosopranistin Lucile Richardot herrscht mit ihrer ebenso eigenartigen wie tief berührende Stimme über ein fachliches Zwischenreich, und so wie sie in dieser Aufnahme von deutscher Barockmusik des 17. Jahrhunderts Dietrich Buxtehudes schlichtes "Klag Lied" singt, würde sie dieses glatt ins Zentrum des Doppel-CD katapultieren. Wenn der Rest nicht wäre ... Den zehn Vokalisten [Ensemble Correspondances] , allesamt sowohl überzeugende Solisten als auch feine Ensemblesänger, gelingt nämlich auch im Kollektiv, womit die Mezzosopranistin alleine glänzt: eine perfekte Balance".


BBC music magazine

2012 June

By

By

Nicholas Anderson

2012 June

"This new version enters an already well-populated arena with at least 16 version to choose from. While the recorded sound is bright and immediate and Sigiswald Kuijken's stylistic criteria irreproachable, the result, to my ears at last, simply does not match some of the competing versions".


International record review

2014 September

By

By

Robert Levett

2014 September

"Daniel Hyde's real achievement here is to offer a more inward-looking and movingly fragile view of Bxtehude's cycle that one normally encounters - one that is utterly in keeping with the nature of the work and its religious import".


The gramophone

2014 May

By

By

David Vickers

2014 May

"The 26-strong Choir of Magdalen College swamp the half-dozen players in choruses - although the choir's confidently precise sonorities are laudable ... There is rich splendour in choral textures during the final cantata Ad Faciem'".


International record review

2012 July/August

By

By

Nicholas Anderson

2012 July/August

"With at least 17 different recordings ... it becomes ever harder to choose one from among them ... Koopman has opted for a choir pitch notably higher, as far as I can recall, than any rival version. This proves on occasion to be unsettling especially in the uppermost vocal ranges ... The greatest virtue of the performance for me lies in the contributions of tenor Jörg Dürmüller and bass Klaus Mertens. Their declamation is fervent, warmly coloured and pleasingly rounded. The 20-voice choir also comes across convincingly".


The gramophone

2012 October

By

By

David Vickers

2012 October

"Siri Karoline Thornhill and Dorothee Wohlgemuth ... their confident embellishments go some way to compensating for occasional shrillness and dodgy tuning ... Paced and played sensitively, and I enjoyed Koopman's customarily elaborate yet intelligent organ realisation ... Overlong pauses prohibit flowing between movements".


The gramophone

2023 Awards

By

By

Fabrice Fitch

2023 Awards

"Opella Musica's approach avoids monumentality in favour of concision, transparency and dynamism ... While the voices individually don't quite match those that Konrad Junghänel or Philippe Pierlot have at their disposal, their vision is not only different but consistently well defended ... The instrumental ensemble is compact, the acoustic comparatively dry and the miking comparatively close, all of which supports the main aesthetic choice ... All the same ... I can recommend this one wholeheartedly".


International record review

2010 November

By

By

Robert Levett

2010 November

"The Purcell Quartet and Fretwork relish the variegated sonorities afforded by Buxtehude's score, as well as the word-painting, while blending with the voices to effect a homogenous yet multi-timbred sound of great beauty".


The gramophone

2019 July

By

By

Marc Rochester

2019 July

"Gramophone focus - Editor's choice: What we have here is a wonderfully full yet transparent sound, greatly enhanced by the sheer quality of the voices, and recorded with such luxuriance that the only concessions to the thinner forces are greater flexibility and a sense of a more focused expressive intent. This is a truly lovely recording which certainly lacks neither the drama nor the intimacy ... but adds to it a clarity of thought and expressive detail that I find wholly absorbing".


Opus

2017, nr. 73

By

By

Hanna Höglund

2017, nr. 73

"Ett i grunden höviskt verk som i den här avskalade tappningen fått en klart, lite nyvaket uttryck som en enkel men lycklig filfrukost en daggfrisk morgon ... I Wallins tolkning är vibrato en sällsynhet men desto mer gödslar man med vackra, surrigt murriga viola da gambor ... För alla barockfans av svensk-tysk-dansk vokalmusik är det här en skiva att lyssna på om och om igen så att detaljer och struktur får chans att veckla ut sig i full blom".


The gramophone

2021 June

By

By

Marc Rochester

2021 June

"Vocal forces of just 10 singers supported by the same number of instrumentalists bring a level of intimacy that is entirely appropriate to this programme of 17th-century music reflecting on the Passion. Solo voices have a disarming purity and immediacy of expression about them, while the small instrumental forces are a perfect match in quality of soung and directness of expression ... Exquisitely performed by this outstanding instrumental and vocal enesemble".


The gramophone

2012 August

By

By

David Vickers

2012 August

"The sonatas for two violins and basso continuo that commence each cantata are played with an unusual lightness of touch ... The Sonata in tremulo (Ad genua) is played softly and intelligently but the blend and tuning of the choral quintet in "Ad ubera portabimini" is marred by pinched and anaemic singing ... Other single-voice-per-part versions ... communicate the penitential words with warmer sentimentality".


International record review

2012 May

By

By

Christopher Price

2012 May

"It seems generally accepted now that Buxtehude's cantatas should be performed with the soloists singing the choruses ... It increases the burden on the singers: they have to be outstanding as both soloists and choristers and one bad singer can seriously mar even the best-directed performance ... Despite the fine playing of La Petite Bande's viols throughout this work and the attractive bass voice of Jens Hamann ... Schenck's contribution of the soprano part means it is not a wholly successful performance".



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