Pergolesi, Giovanni Battista: Stabat mater, Salve Regina
Kammerorchester C.Ph.E. Bach mit Jochen Kowalski, Dennis Naseband
BERLIN Classics BC 1047-2, 1992
Pergolesi, Giovanni Battista: Stabat mater
Pergolesi, Giovanni Battista: Salve Regina
The way of the Cross has never been more gently depicted than in the opening of this Stabat mater. The measured footsteps tread the road to Calvary with patient suffering, and, as the voices intertwine, grief is eased in the kindliest way possible, by being shared. Any performance worthy of the name will tell that much. This one does and at the same time introduces another factor, not so commonly present, that of energy. Only superficially is this a matter of speeds, and in fact the tempo of the opening movement is quite moderate. It is more a matter of the shaping of phrases and the sharpness of imagination to see the pictorial sense of the music, so that lamentation is a positive action rather than a passive indulgence. There is a tension in this performance. Tension is renewed with stronger accentuation in "O Quam tristis": a sense of the dramatic here, so that the opening phrase is not so much statement as exclamation. In the sprightly rhythm of "Quae moerabat" this performance accepts wholeheartedly (however extraordinary as a treatment of the words) the enthusiasm and spring of the music.
The voices make a special contribution, not that this is the first recording to use a boy soprano, and male alto. Certainly, it works very well here. Dennis Naseband sings with firm, mature tone and a highly developed sensitivity: the long-held notes with crescendo, in "Quis est homo" and "Quando corpus morietur", are particularly well controlled. Jochen Kowalski, as ever, brings life to all he touches. Other singers have greater smoothness, but there is a fervour in Kowalski's singing that suits the energy of the conductor's approach.
Gramophone Mai 1994, Seite 100
...Hartmut Haenchen is stronger, more powerful and affirmative.
The voices make a special contribution, not that this is the first recording to use a boy soprano and male alto. Certainly, it works very well here. Dennis Naseband sings with firm, mature tone and a highly developed sensitivity; the long-held notes with crescendo, in "Quis est homo" and "Quando corpus morietur", are particularly well controlled. Jochen Kowalski, as ever, brings life to all he touches.
For that work, the new recording is well worth having; the sound, clear and natural...
Juli 1994 Seite 92
...but the right feeling (and not just the happy medium) is there in the Haenchen, with Jochen Kowalski as soloist (200"). That recording would still be my recommendation for the Pergolesi. JBS
Februar 1995, Seite 85
....and the Berlin Classics under Hartmut Haenchen leave a stronger impression. King offers a more delicate texture. Haenchen a more imaginative reading. JBS
Gramophone (GB), 01. Mai 1994
Hartmut Haenchens Orchester besticht durch die Sorgfalt der Einstudierung.
FONOFORUM, 01. Juni 1993
Interpretation: 7-10, Klangqualität: 9 (10 ist Höchstwertung)
Stereoplay, 01. Juni 1993
Für den gemeinsamen Nenner sorgt Hartmut Haenchen, der das Kammerorchester C.Ph.E. Bach auch auf modernen Instrumenten zu einem Musizieren führt, das Erkenntnisse historischer Aufführungspraxis ohne dogmatischen Eifer in den Dienst spannungsvoll differentzierten Gestaltens stellt. Zugleich sorgt Haenchen auf diese Weise dafür, daß die äußerlich wenig kontrastreiche Abfolge von Arien und Duetten nicht gleichförmig gerät.
Coburger Tageblatt, 08. Mai 1993