Sir John generally favoured brisk speeds but never once did I feel they were too fast and his familiarity with the scope of the instruments on this very hot Spring evening ensured he chose not to exaggerate the dynamic. In the Frauenkirche with its beautiful interior dome construction decorated in white and gold the performances of four Bach cantatas were quite outstanding being consistently fresh and invigorating together with an elevated level of accomplishment. Bach specialist, English Baroque Soloists and Monteverdi Choir must have been surely both enthralled and buoyed by the spectacular setting of the Frauenkirche, its ornate internal decoration and history as they produced a performance that will linger long in the memory. The performers, Sir John Eliot Gardiner, a renowned J.S.
Reconstructed after destruction by bombing in World War II the Frauenkirche has become a symbol of peace and reconciliation between warring countries. In 1736 Bach had been invited to the Frauenkirche to give the inaugural recital on the recently dedicated Gottfried Silbermann organ. Bach’s home Lutheran church Thomaskirche in Leipzig I can’t imagine a more suitable venue to play Bach cantatas than Dresden’s glorious Frauenkirche. (MC) Sir John Eliot Gardiner (c) Sim Canetty-Clarkeīach Cantatas – Weinen, Klagen, Sorgen, Zagen Wachet! betet! betet! wachet! Jesu, der du meine Seele, BWV 78 Wachet auf, ruft uns die Stimme, BWV 140Īpart from J.S. Bach:English Baroque Soloists, Monteverdi Choir / Sir John Eliot Gardiner (conductor), Frauenkirche, Dresden, Germany. Germany Dresdner Musikfestspiele 2018 – J.S.
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