Two of Bach’s finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with the delicious agony of grief that is Pergolesi’s 'Stabat mater', an acknowledged masterpiece by one of the 18th century’s most influential composers. Bach so admired the composition of his Neapolitan colleague that he made his own ‘parody’ of it to a German text. On this recording, La Nuova Musica, in its 10th anniversary year, and its two eminent soloists display equal mastery of both idioms.
Counter-tenor Tim Mead is praised for his “alluring...consistently excellent” interpretations (The New York Times). With his “rich, mellifluous sound” (Guardian), he is recognised as one of the finest across the generations of counter-tenors. Described as having a voice of bell-like clarity with an impeccable vocal technique and powerful stage presence, Lucy Crowe has established herself as one of the leading lyric sopranos of her generation.
Johann Sebastian Bach: Widerstehe doch der Sünde, BWV 54
I. Aria "Widerstehe doch der Sünde"
II. Recitativo "Die Art verruchter Sünden"
III. Aria "Wer Sünde tut, der ist vom Teufel"
Giovanni Battista Pergolesi: Stabat Mater, P. 77
I. Duo "Stabat mater dolorosa"
II. Aria "Cujus animam gementem" (soprano)
III. Duo "O quam tristis et afflicta"
IV. Aria "Quae moerebat et dolebat" (alto)
V. Duo "Quis est homo qui non fleret"
VI. Aria "Vidit suum dulcem natum" (soprano)
VII. Aria "Eja, mater, fons amoris" (alto)
VIII. Duo "Fac, ut ardeat cor meum"
IX. Duo "Sancta mater, istud agas"
X. Aria "Fac, ut portem Christi mortem" (alto)
XI. Duo "Inflammatus et accensus"
XII. Duo "Quando corpus morietur"
XIII. Duo "Amen"
Johann Sebastian Bach: Vergnügte Ruh, beliebte Seelenlust, BWV 170
I. Aria "Vergnügte Ruh! beliebte Seelenlust!"
II. Recitativo "Die Welt, das Sündenhaus"
III. Aria "Wie jammern mich doch die verkehrten Herzen"
IV. Recitativo "Wer sollte sich demnach"
V. Aria "Mir ekelt mehr zu leben"
30th March 2017
“[La Nuova Musica] let phrases sigh and breathe and supply a decent amount of bass under properly expressive melodic lines...Crowe and Mead are both in sumptuous voice, and both fiery in the most dramatic moments of the Stabat Mater.”