Paulin Bundgen & Clematis – Vater unser: German Sacred Cantatas (2018) [FLAC 24bit/88,2kHz]

Paulin Bündgen & Clematis – Vater unser. German Sacred Cantatas (2018) 
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:19:32 minutes | 1,34 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Ricercar

This recording, whose title is here embodied in an instrumental version by Georg Böhm of the renowned chorale Vater unser, brings together sacred works and Lutheran cantatas for the alto voice. The concertante role allotted to the instruments is particularly important in these works and contributes to their deeply expressive character; these works were heavily influenced by Italian styles of the period. All of the instrumental works are closely linked to sacred music, the majority of them being constructed around chorale melodies.

Most of the works presented here by the Clematis Ensemble and countertenor Paulin Bündgen come from the rich Düben collection held by the Uppsala University. In the 17th century, Gustaf Düben was kapellmeister at the Swedish court; he had mostly gathered manuscript scores of compositions from numerous German, French, Italian and Baltic authors. It is one of the largest sources of Lutherian repertoire of the 17th century, particularly as it contains numerous in unicum scores. Among the composers featured in this piece, some were Schütz’ successors or disciples, but it’s worth mentioning that the German composers of that time – particularly Schein, Franz Tunder (who was Buxtehude’s master) and Johann Fischer – were considerably influenced by Italian baroque. You’ll notice the presence of two Bachs on this album: Johann Michael (1648-1694) and Johann Christoph (1642-1703), two second-degree cousins of Johann Sebastian. Johann Christoph Bach’s Lamento − whom his cousin described as a “deep composer” – is without a doubt one of the best-known compositions of the sacred German repertoire of the time. Like in the entire repertoire, the role of strings remains essential. This sacred piece relies on the text’s numerous descriptive effects, like a “painting in musical form”: the sharpest terms (crying, sighing, sinking…) are underlined by similar vocal and instrumental effects. This Lamento is without a doubt the perfect example of the aria à da capo form that Johann Sebastian Bach so frequently used in his sacred works. This vocal music programme is accompanied by a few instrumental pieces that can be assimilated to church music.

1. Sinfonia Vater unser 00:54
2. Vater unser im Himmelreich 01:32
3. Herr, wenn ich nur dich habe 10:05
4. Salve mi Jesu 06:12
5. Sonata Hertzlich thut mich verlangen 06:43
6. Weil Jesu in meinem Sinn 15:54
7. Sonata a 6 04:14
8. Ach daß ich Wassers g’nug hätte 07:19
9. Vater unser im Himmelreich 05:07
10. Was betrübst du dich meine Seele 04:49
11. Auf, laßt uns den Herren loben 05:54
12. Cum Maria diluculo 03:53
13. Sinfonia da pacem Domine a 7 02:08
14. Grabgesang 04:48

Paulin Bündgen, countertenor