Bach: Cantatas Nos 35 & 169
Iestyn Davies (countertenor), Carolyn Sampson (soprano), John Mark Ainsley (tenor), Neal Davies (bass), Arcangelo, Jonathan Cohen
Awards:
-
Record Review, 5th February 2022, Record of the Week
-
International Classical Music Awards, 2023, Nominated - Baroque Vocal
they’re the perfect vehicles for the crack team of Iestyn Davies’s extraordinary vocal control and Arcangelo’s nimble-footedness.
Bach: Cantatas Nos 35 & 169
Iestyn Davies (countertenor), Carolyn Sampson (soprano), John Mark Ainsley (tenor), Neal Davies (bass), Arcangelo, Jonathan Cohen
Purchase product
Awards:
-
Record Review, 5th February 2022, Record of the Week
-
International Classical Music Awards, 2023, Nominated - Baroque Vocal
they’re the perfect vehicles for the crack team of Iestyn Davies’s extraordinary vocal control and Arcangelo’s nimble-footedness.
About
Both of these cantatas may have been written for an outstandingly gifted boy alto in Bach’s Leipzig, but—listening to these peerless accounts—it’s impossible to believe he could have approached Iestyn Davies’s flawless technique and profound interpretative insight.
Contents and tracklist
Awards and reviews
-
Record Review5th February 2022Record of the Week
-
International Classical Music Awards2023Nominated - Baroque Vocal
March 2022
they’re the perfect vehicles for the crack team of Iestyn Davies’s extraordinary vocal control and Arcangelo’s nimble-footedness.
February 2022
an altogether wonderful album entirely deserving of your time and money.
27th February 2022
The relative flamboyance of Bach’s works — Foster shining in the organ solo part, which the composer borrowed from one of his harpsichord concertos — are thrown into relief by the relative austerity of his forebears.
