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Bach Magnificat

Live at Chapelle Royale, Château de Versailles

Marie Perbost, Hana Blažíková (sopranos), Eva Zaïcik (alto), Thomas Hobbs (tenor), Stephan MacLeod (bass)

La Chapelle Harmonique, Valentin Tournet

If you want to have BWV 243a as an alternative to your recordings of the more familiar version, this is a spectacular disc.

Bach Magnificat

Live at Chapelle Royale, Château de Versailles

Marie Perbost, Hana Blažíková (sopranos), Eva Zaïcik (alto), Thomas Hobbs (tenor), Stephan MacLeod (bass)

La Chapelle Harmonique, Valentin Tournet

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This release includes a digital booklet

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If you want to have BWV 243a as an alternative to your recordings of the more familiar version, this is a spectacular disc.

About

Contents and tracklist

I. Christen, ätzet diesen Tag
Track length4:35
II. O selger tag o ungemeines heute
Track length2:39
III. Gott du hast es wohl gefuget
Track length6:55
IV. So kehret sich nun heut das bange leid
Track length0:56
V. Ruft und fleht den himmel an
Track length3:32
VI. Verdoppelt euch demnach, ihr heissen andachtsflammen
Track length0:59
VII. Hochster schau in gnaden an
Track length6:33
I. Magnificat
Track length2:39
II. Et exultavit spiritus meus
Track length2:11
III. Vom himmel hoch
Track length1:53
IV. Quia respexit
Track length2:23
V. Omnes generationes
Track length1:12
VI. Quia fecit mihi magna
Track length2:01
VII. Freut euch und jubiliert
Track length1:17
VIII. Et misericordia
Track length3:14
IX. Fecit potentiam in bracchio suo
Track length1:40
X. Gloria
Track length1:03
XI. Deposuit potentes
Track length1:41
XII. Esurientes implevit bonis
Track length2:48
XIII. Virga jesse floruit
Track length3:24
XIV. Suscepit Israel
Track length1:45
XV. Sicut locutus
Track length1:33
XVI. Gloria patri
Track length2:04

Awards and reviews

May/June 2020

If you want to have BWV 243a as an alternative to your recordings of the more familiar version, this is a spectacular disc.

March 2020

The balance between voices and instruments is about as ideal as you could imagine. Yet what is most striking about this recording is how Tournet presents an identity for his ensemble: controlled – but not controlling – tempos lay the ground for unmannered shaping, poised and elongated vocal lines, and all assisted greatly by an ‘orchestral’ sound that is confidently full but never forced.
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