Artist: Christina Pluhar
Album: Himmelsmusik
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:15:30
Total Tracks: 13
Total Size: 1,30 GB

Tracklist:

1-01. Christina Pluhar – Der Sionitin Wiegenlied – Nun, ich singe! Gott, ich knie (07:21)
1-02. Christina Pluhar – Lamento – Ach, dass ich Wassers g’nug hätte (07:01)
1-03. Christina Pluhar – Ich suchte des Nachts in meinem Bette (05:42)
1-04. Christina Pluhar – Gott, hilf mir (06:09)
1-05. Christina Pluhar – O amantissime sponse (10:24)
1-06. Christina Pluhar – Chiaccona a 4 in C Major (04:29)
1-07. Christina Pluhar – Von Gott will ich nicht lassen, SWV 366 (05:43)
1-08. Christina Pluhar – Kommt, ihr Stunden, macht mich frei (08:21)
1-09. Christina Pluhar – Aria. Ein kleines Kindelein (02:48)
1-10. Christina Pluhar – Bleib bei uns, denn es will Abend werden (05:32)
1-11. Christina Pluhar – Sonata a 6 in E Minor (05:16)
1-12. Christina Pluhar – Erbarm Dich mein, o Herre Gott, SWV 447 (04:11)
1-13. Christina Pluhar – Komm, süsser Tod, komm, sel’ge Ruh, BWV 478 (02:28)

Download:

Himmelsmusik (‘heavenly music’), a programme of sacred songs and cantatas by German composers of the 17th century, presents a striking contrast with the previous Erato album from Christina Pluhar and her ensemble L’Arpeggiata: Händel Goes Wild.

Himmelsmusik sees Pluhar taking a more sober and traditionally scholarly approach. She and L’Arpeggiata are joined by star countertenor Philippe Jaroussky and the distinguished Belgian soprano Céline Scheen in a programme that includes the celebrated lamento ‘Ach, dass ich Wassers gnug hätte’ by Johann Christoph Bach (born over 40 years before his relative Johann Sebastian), Heinrich Schütz’s ‘Erbarm Dich mein, o Herre Gott’ and prompts discovery of works by such lesser-known figures as Johann Theile, Philipp Heinrich Erlebach, Christian Ritter and Franz Tunder. An instrumental piece by the Verona-born Antonio Bertali highlights the influence of Italian music on German composers of the time.

In an interview with the Bremen-based newspaper Weser-Kurier, Christina Pluhar provided some insights into the balance she strikes in her music-making with L’Arpeggiata.“A way of escaping any categorisation as a specialist in improvisation is to undertake projects in which I play pure Baroque music. I always try to reinvent myself, to create something from my innermost being … I can be quite satisfied with music as it was originally written, and we will play this music without making excursions into other fields … But it is also always exciting to look at this music through the eyes of musicians who come from a different musical genre, since it opens up new perspectives and gives rise to a kind of new music. That can only work when you are well acquainted with the original music and its style, and have great respect for it … There are pieces that lend themselves to being developed into something new, and there are others that must simply be presented in all their purity and beauty – works which must be left as they are. Sensitivity is everything.”