Bach & Telemann: Sacred Cantatas Philippe Jaroussky

• Johann Sebastian Bach (1685-1750): Cantata No. 170, Vergnügte Ruh, beliebte Seelenlust, BWV 170
• 1I. Vergnügte Ruh, beliebte Seelenlust06:14
• 2II. Die Welt, das Sündenhaus01:24
• 3III. Wie jammern mich doch die verkehrten Herzen08:00
• 4IV. Wer sollte sich demnach01:08
• 5V. Mir ekelt mehr zu leben05:36
• Georg Philipp Telemann (1681-1767): Cantata, Der am Ölberg zagende Jesus, TWV 1, 364
• 6I. Die stille Nacht umschloss den Kreis der Erden02:57
• 7II. Ich bin betrübt bis in den Tod03:00
• 8III. Er rung die heil'gen Hände00:38
• 9IV. Mein Vater! Wenn dir's wohlgefällt03:27
• 10V. Allein, die Angst nahm jeden Nu00:33
• 11VI. Kommet her, ihr Menschenkinder03:49
• Bach: Cantata No. 82, Ich habe genug, BWV 82
• 12I. Ich habe genug07:27
• 13II. Ich habe genug01:06
• 14III. Schlummert ein, ihr matten Augen10:39
• 15IV. Mein Gott! wann kommt das schöne - Nun!00:49
• 16V. Ich freue mich auf meinen Tod03:40
• Telemann: Cantata, Jesus liegt in letzten Zügen, TWV 1, 983
• 17I. Jesus liegt in letzten Zügen05:19
• 18II. Erbarmenswürd'ger Blick!01:12
• 19III. Mein liebster Heiland04:56
• 20IV. Jedoch, da dir's gefällt00:45
• 21V. Darauf freuet sich mein Geist02:18
• Total Runtime01:14:57

Info for Bach & Telemann: Sacred Cantatas

For his first album devoted entirely to works sung in German, star countertenor Philippe Jaroussky has chosen four religious cantatas: two by J.S. Bach (including the much-loved ‘Ich habe genug’) and two by Georg Philipp Telemann. Jaroussky is accompanied by the Freiburger Barockorchester, which also joined him for live performances at Berlin in 2015 as part of the singer’s season as artist-in-residence at the city’s historic Konzerthaus.

In late 2015 Jaroussky performed these works before a capacity audience at Berlin’s historic Konzerthaus, where he was artist-in-residence in the 2015-16 season; this concert marked the first time he had sung in German to a German audience. “The voice of an angel” were the words of the Berliner Tagesspiegel, which also made clear that Jaroussky had the vocal means to express the drama of Telemann’s ‘Mount of Olives’ cantata.The Berliner Morgenpost, meanwhile, highlighted the singer’s readiness to venture into new areas of repertoire, describing him as “perhaps the most adventurous of today’s countertenors”. The writer also praised Jaroussky’s “exquisitely fine legato” and evoked the way his “plaintive descant glowed over the inky-black accompaniment” in the Telemann. The instrumental ensemble in Berlin, as on this recording, was the Freiburger Barockorchester, which gave its first concert nearly 30 years ago and is established as one of the finest ensembles in the field of historically informed performance.

Philippe Jaroussky, countertenor
Ann-Kathrin Brüggemann, oboe
Juan de la Rubia, organ
Freiburger Barockorchester
Petra Müllejans, violin & direction

Philippe Jaroussky
born in 1978 has established himself as the most admired countertenor of his generation, as confirmed by the French 'Victoires de la Musique' awards (‘Revelation Artiste Lyrique’ in 2004, ‘Artiste lyrique de l'année’ in 2007 and in 2010, CD of the Year 2009 ) and the Echo Klassik Awards in Germany in 2008.

Jaroussky's technique allows him the most audacious nuances and impressive pyrotechnics. He has explored a vast Baroque repertoire, from the refinement of the Italian Seicento with Monteverdi, Sances and Rossi, to the staggering brilliance of Handel and Vivaldi arias (singing more music by the latter composer than any other over the last few years). He has worked with renowned period-instrument orchestras such as L'Arpeggiata, Les Arts florissants, Ensemble Matheus, Les Musiciens du Louvre, Le Concert d'Astrée, Le Cercle de l'Harmonie and Europa Galante with conductors including Christina Pluhar, William Christie, Jean-Christophe Spinosi, Marc Minkowski, René Jacobs, Jérémie Rhorer, Emmanuelle Haïm, Jean-Claude Malgoire and Fabio Biondi. With pianist Jerôme Ducros, he has looked beyond the Baroque – to fin-de-siècle French song (the album Opium), as well as premiering contemporary vocal music composed for him by Marc-André Dalbavie (Sonnets de Louise Labé, which Jaroussky sang most recently at the 2014 Salzburg Festival).

He has been praised for performances in all the most prestigious concert halls in France (Théâtre des Champs-Elysées, Théâtre du Châtelet, Salle Pleyel, Salle Gaveau, Opéra de Lyon, Opéra de Montpellier, Opéra de Nancy, Arsenal de Metz, Théâtre de Caen) and abroad (The Barbican Centre and Southbank Cente in London, the Palais des Beaux Arts in Brussels, Grand Théâtre du Luxembourg, the Konzerthaus in Vienna, the Staatsoper and Philharmonie in Berlin, Teatro Real in Madrid, Carnegie Hall and the Lincoln Center in New York).

Philippe Jaroussky is signed exclusively to Erato and has received numerous awards for his recordings with the label. With Heroes (Vivaldi opera arias) and La Dolce Fiamma he achieved Gold disc status; his tribute to Carestini (with le Concert d'Astrée and Emmanuelle Haim) won CD of the year at the Victoires de la Musique and the Midem Classical Awards in 2009; his Stabat Mater with soprano Julia Lezhneva and I Barocchisti picked up the 2014 International Classical Music Awards for best Baroque Vocal Album and Best Opera Album. Of the 2013 release Farinelli: Porpora Arias, Gramophone wrote: “Jaroussky's rapid passagework in quick heroic arias is precise...but the outstanding moments are slow arias that could have been tailor-made for Jaroussky's sweetly graceful melodic singing”.

In recent years he has collaborated with singers including Cecilia Bartoli and Nathalie Stutzmann. With Ensemble Artaserse, which he founded in 2002, he gave the spectacular modern revival of Vinci’s opera Artaserse, as one of five exceptional countertenors in the cast.

Booklet for Bach & Telemann: Sacred Cantatas