Bach, J S: Christmas Oratorio, BWV248
Kurt Equiluz, Paul Esswood & Siegmund Nimsgern
Concentus musicus Wien & Wiener Sangerknaben, Nikolaus Harnoncourt
Harnoncourt's more recent recording of the same work is musically better, but this version has endearing qualities. Moments of undisciplined ensemble and occasional plodding tempos don’t disguise...
Bach, J S: Christmas Oratorio, BWV248
Kurt Equiluz, Paul Esswood & Siegmund Nimsgern
Concentus musicus Wien & Wiener Sangerknaben, Nikolaus Harnoncourt
Purchase product
Harnoncourt's more recent recording of the same work is musically better, but this version has endearing qualities. Moments of undisciplined ensemble and occasional plodding tempos don’t disguise...
About
Contents and tracklist
- Kurt Equiluz (tenor), Paul Esswood (countertenor), Siegmund Nimsgern (bass), Soloist of the Wiener Sängerknaben (soprano)
- Chorus Viennensis, Wiener Sängerknaben, Concentus musicus Wien
- Nikolaus Harnoncourt
- Kurt Equiluz (tenor), Soloist of the Wiener Sängerknaben (soprano), Siegmund Nimsgern (bass), Paul Esswood (countertenor)
- Concentus musicus Wien, Chorus Viennensis, Wiener Sängerknaben
- Nikolaus Harnoncourt
- Kurt Equiluz (tenor), Siegmund Nimsgern (bass), Soloist of the Wiener Sängerknaben (soprano), Paul Esswood (countertenor)
- Chorus Viennensis, Wiener Sängerknaben, Concentus musicus Wien
- Nikolaus Harnoncourt
- Kurt Equiluz (tenor), Siegmund Nimsgern (bass), Soloist of the Wiener Sängerknaben (soprano)
- Chorus Viennensis, Wiener Sängerknaben, Concentus musicus Wien
- Nikolaus Harnoncourt
- Kurt Equiluz (tenor), Paul Esswood (countertenor), Siegmund Nimsgern (bass), Soloist of the Wiener Sängerknaben (soprano)
- Chorus Viennensis, Wiener Sängerknaben, Concentus musicus Wien
- Nikolaus Harnoncourt
- Kurt Equiluz (tenor), Siegmund Nimsgern (bass), Soloist of the Wiener Sängerknaben (soprano), Paul Esswood (countertenor)
- Chorus Viennensis, Wiener Sängerknaben, Concentus musicus Wien
- Nikolaus Harnoncourt
Awards and reviews
March 2009
Harnoncourt's more recent recording of the same work is musically better, but this version has endearing qualities. Moments of undisciplined ensemble and occasional plodding tempos don’t disguise an interesting interpretation.
