1

2002

Amsterdam Holland

Jared Sacks

Jared Sacks

72:53

Microphones: Bruel & Kjaer 4006, Schoeps
Digital Converters: DSD Super Audio/DCS - AD/DA
Speakers: Audiolab, Holland
Software: Pyramix Editing, Merging Technologies
Mixing Board: Rens Heijnis, custom design
Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier
Cables: Van den Hul

Netherlands Bach Society
Jos van Veldhoven - conductor
Johannette Zomer, Anne Grimm, Irmela Brunger - soprano
Peter de Grot, Matthias Lucht - alto
Robert Getchell, harry van Berne - tenor
Mattijs van de Woerd, Henk Neven - Bass

From the beginning of the 17th century, composers in Italy and far beyond its borders discovered the dramatic power of small ensembles, for the most part abandoning the traditional a cappella polyphonic style. The richness of verbal language pointed the way to new modes of expression. Monody played a central role in this development: in essence, it consisted of a single singing voice accompanied by the new style of ‘basso continuo’. The text was supported and followed word by word, making use of the ‘affetti’, a new freedom in the treatment of dissonance as well as sharply contrasting melodic and rhythmic treatments. Of course, any number of new musical forms and genres also developed, one of which was the dialogue - a genre which has repeatedly been given attention by Cappella Figuralis in recent years - and its more expansive version, the oratorio. A dialogue can best be described as a sung conversation, in which each of the persons taking part is represented by a single voice, and a group by a vocal ensemble. In addition, the ‘cast’ sometimes includes a narrator, whose part can be either single-voiced or many-voiced. (…)

(Pieter Dirksen)

Claudio Monteverdi (1567-1643) 1 Lamento della Ninfa from: Madrigali Guerrieri et amorosi (1638)
Girolamo Frescobaldi (1583-1643) 2 Toccata 2a in F from: Suonate d’intavolatura del Sig.
Girolamo Frescobaldi (Roma, Biblioteca Vaticano, Chig Q IV 25)
Harpsichord solo Domenico Mazzocchi (1592-1665) 3 Lamento di David from: Sacrae Concertationes
Johann Kapsberger (ca.1580-1651) 4 Toccata Settima from: Libro quarto di chitarrone (Roma, 1640)Lute solo Alessandro Della Ciaia (ca.1605-ca.1670)
5 Lamentatio Virginis in dispositione Filii de cruce from: Sacri modulatus (1666)
6 Michelangelo Rossi (1602-1656) Settima Toccata
7 Giacomo Carissimi(1605-1674) Historia di Jephte

The Best in New-Format Software The Absolute sound October/November 2004

(…) Every work is of outstanding quality (…) (…) Sopranos Johannette Zomer and Anne Grimm being paticularly impressive in their solo roles. Both display a keen awareness of text, word-painting key text with a true dramatic intensity that never lapses into mannerism. The Monteverdi and Carissimi can be accounted among the most succesful performances I’ve heard. The juxtaposed instrumental works for harpsichord, chittarone, and organ (Michelangelo Rossi’s famously eccentric Settima Toccata) are also extremely capably played by members of the continuo team. (…) (…) Exceptionally intelligently planned, and beautifully executed and engineered, this cd is urgently recommended to all with any interest in 17th-century music. Fanfare

This release includes some of the most gorgeous vocal and keyboard music of the early Italian Baroque. Excellent performances!! American Record Guide

Johanette Zomer is impressive in Alessandro Della Ciaia’s description of the Virgin’s lament over the body of Jesus, a splendid piece, strongly constructed (…) (…) a revealing disc (…) BBC Music Magazine

(…) superieur gezonden en gespeeld Apeldoornse Courant

Muzikale dialogen zijn het speciale werkterrein van Cappella Figuralis. Logisch, want zulke hoorspelen-in-concertvorm zijn het solistenensemble van de Nederlanse Bachvereniging op het lijf geschreven. (…) (…) Hoogtepunt is een Lamento Virginis van de componerende edelman Allessandro della Cacia, met Johannette Zomer als treurende Maria. Maar ook Jeptha van Carissimi, het afsluitende, 25 minuten tellende minidrama is wonderschoon, vooral het laatste gedeelte met zijn aandoenlijke echo-imitaties. (…) Volkskrant

(…) het ensemble overtreft zichzelf in expressieve zang en levendig, subtiel en virtuoos samenspel. (…) (…) Een opname vol prettige verrassingen in de vorm van zelden of nooit uitgevoerde, maar verrukkelijke muziek (…) (…) Ontroerend gezongen Lamento Virginis van Alessandro Della Caia door Johannette Zomer, dramatische momenten van grote schoonheid die nog lang blijven nazinderen. (…) Luister

(…) intelligent afwisselende bloemlezingen van lange en kortere stukken die vooral gemeen hebben dat ze zo mooi zijn. (…) (…) bloedstollend Lamento delle Ninfa van Monteverdi, ook dankzij Johanette Zomer, die zich met duizelingwekkende snelheid ontpopt tot een zangeres van het allerhoogste niveau. (…) (…) muziek van de bovenste plank, die de solisten - en dus ook de luisteraar - stevig bezighoudt. Tijdschrift voor Oude Muziek

(…) It’s gorgeous!! Johannette Zomers’ solo is as ravishingly moving as the angels are sympathetic (…) (…) The performances by the singers and four continuo players (organ, harpsichord, violone, theorbo and cello) are perfect in every way. This dutch group, led by Jos van Veldhoven, has managed to enter the Italian emotional sensibility as no English consort can touch. The acoustic is both intimate and rich. WOW!! Classics Today

(…) this splendidly mounted (and sounding) disc will have great appeal, especially sincs it fills out the period with some new masterworks. Audiophile audition (…) a superb disc that should have whide appeal (…) (…) intelligently conceived, and magnificently sung and played, and it’s very well recorded. (…) (…) The blend of the multiple singers, as when three men accompany the soprano nymph in the Monteverdi work, is marvelous. (…) (…) a splendid recital becomes truly alive. Fanfare

(…) Mit lust an der Dissonanz versammelt die Niederländische Bach Society einige Beispiele solcher Lamenti. Dem Chor gelingt die Affektdarstellung mit ungewöhnliche großer dynamischer Differentziering, unter den Solisten glänzt Johannette Zomers Solosopran. Stereo

(…) The recording captures vocal and instrumental timbres with astonishing warmth and naturalness. Bravo to everyone involved. Mark Jordan The Absolute Sound October-November Issue 2003 The best in New-Format Software AV Guide.com 5 stars in Sunday Star Times New Zealand.

(…) The soprano solos are sung with great expressive style by Johannette Zomer (…) (…) This is music as immediate, vital and moving as any you will hear. Great sad music 5 stars in Sunday Star Times New Zealand.