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Arias for soprano and oboe from cantatas by J.S. Bach

Nienke & Pauline Oostenrijk

Arias for soprano and oboe from cantatas by J.S. Bach

Format: CD
Label: Challenge Classics
UPC: 0608917203424
Catnr: CC 72034
Release date: 01 January 1998
1 CD
 
Label
Challenge Classics
UPC
0608917203424
Catalogue number
CC 72034
Release date
01 January 1998
Album
Artist(s)
Composer(s)
EN
NL

About the album

Dialogue

PAULINE: This is a selection from the many arias from Bach's cantatas. We studied these arias for ages and listened to several recordings in order to select the best pieces for our combination of soprano and oboe. NIENKE: We listened to some arias that we didn't like at first - to the point where we even tried them out in another tempo, when they sounded fantastic. Very strange. PAULINE: Yes, then we realised we'd been listening to an interpretation that didn't work so well. NIENKE: I think these are the most expressive and heartfelt arias. They really touch me. PAULINE: We feel that in these works of Bach the soprano and the oboe are perfectly attuned to each other. The music is splendid. Not only Nienke, but my oboe is also allowed to sing. This is obvious from looking at Bach's scores. There are so many beautiful phrases, but there are frequent places to breathe in a natural manner. NIENKE: The words are difficult to place in context nowadays, but the feelings and emotions conveyed are for all time. If an aria sets out to convey happiness, this is what I feel when I am singing it. Bach is also superbly good at depicting intense sadness. PAULINE: I had to learn to listen more to the text, I'm so focused on the music. But in the aria "Liebster Jesu, mein Verlangen," I'm immediately touched by that depiction of longing. Not religious longing, but something I can feel within myself. NIENKE: In "Ich bin vergnügt mit meinem Glücke" I have in my mind's eye the picture of an intensely happy child. Bach's music sounds exactly like a cavorting child. But it is never pure happiness, there is always some melancholy. Unanswered longing is a feeling he can convey as no one else can. PAULINE: When I was a child there was always music in our house. Our parents were amateur musicians. Father played the flute, mother the piano; she also sang and later played the cello. NIENKE: I well remember how she often used to sing Schubert lieder while cooking. At the kitchen table she was already preparing for the next singing lesson.
PAULINE: I remember lying in bed listening to my father playing the flute downstairs, and drifting off into a delightful sleep. Even now, if I can't sleep, I try to recall that sound. NIENKE: Pauline wanted to make music from her childhood, but with me that came later. She was always armed with instruments: first recorder and piano, then oboe. When I was a teenager I was still busy with ponies and pop music. PAULINE (laughing): Didn't you listen to Abba? NIENKE: Yes, but I was completely sold on the Carpenters. I still think Karen Carpenter is a great singer. PAULINE: The first time that we officially appeared as a duo was during the Christmas Night service in the Kloosterkerk in The Hague. It was immediately apparent that we were musically compatible. It is all very natural, we don't have to have long discussions about it. NIENKE: I like to colour the sound, to approach the timbre of the instrument as closely as possible when I'm singing. I can do this best with woodwind instruments: flute, clarinet or oboe, it doesn't matter. PAULINE: We both strive for a light, bright sound. You never know, it could be a matter of chromosomes. People say that we do not resemble each other outwardly. But we do have a similar voice and mouth cavity in common. And it's the area round the jaw that you most use to colour the sound, whether as a woodwind player or singer. NIENKE (laughing): I even dreamt once that you were a singer and were winning prizes in competitions. It was confusing. PAULINE: I used to sing in children's choirs, but became fascinated with virtuoso passage-work, so I chose the oboe. But this choice is close to Nienke's instrument, since the oboe is almost a singing voice. At least, that is what I strove for. Now I only sing if I'm sure no one's listening. Something as intimate as the voice, I can't share it with an audience. I feel safer singing through the oboe. NIENKE: I've never had difficulty laying myself open - as long as it's artistically justified. Just showing emotion makes no sense. If as a singer you don't rise above emotions, then it doesn't work with the public. You must make your meaning clear to the audience. Strange to say, I am more vulnerable as a person in company than as a singer. On the concert platform I feel safer than I do in a crowd. My voice as an instrument gives me an incredible sense of security. PAULINE: I see Nienke first and foremost as a musician: the fact that we are sisters who appear in concerts together means little to me. I can certainly understand if the public think it sweet or endearing if two sisters appear together in public, but that feeling doesn't affect us. But when performing with Nienke I often feel as though we're one person. We become interchangeable. NIENKE: If I put on Pauline's Schumann CD, I recognise her breathing straightaway. I hear her even before the music starts. I'd never be able to do that with others. At that moment she's no longer my colleague, but quite clearly my sister. PAULINE: It's the musical bond that's the reason why we work together, not one of us saying: "Why don't I invite my sister along?" If I had the opportunity to record this repertoire with a world-famous singer, I would still do it with Nienke. There are enough singers who I think sing splendidly, but I have also seen that we are an ideal combination for these Bach arias. NIENKE: I enjoyed the recordings so intensely, I felt terrible when it was all over. I experienced it as a few really marvellous days of my life. Being able to sing only Bach for three days in a church, working with fantastic musicians - it was a great privilege. PAULINE: Also the prospect that something will come out of all the work you've put into it for so long. If you're happy with the result, you've achieved something. With earlier CDs I have made, I always listened very critically to the montages that recording companies sent me. This time I did that as well, but only in the second instance. At the beginning I forgot to pay attention, because I leant back and thought: what beautiful music. I could enjoy it straightaway.

© 1998 Tonko Dop
Translation: James Chater

De zusjes Oostenrijk brengen expressieve en innige aria's van Bach
Dit album bewijst dat muziek in de familie zit. Het bevat een selectie van de vele aria’s uit de cantates van Bach, uitgevoerd door sopraan Nienke Oostenrijk onder begeleiding van hoboïste Pauline Oostenrijk. Voor deze opname hebben de zussen vele aria's uit de Bach-cantates uitgebreid bestudeerd en beluisterd. Uiteindelijk kozen ze voor de stukken, die het beste bij hun bezetting van sopraan en hobo passen.

Zoals de zussen zelf zeggen in gesprek met Tonko Dop: Nienke "ik vind deze aria's het meest expressief en innig. Ze raken mij echt." En Pauline vertelt dat Bach de combinatie van sopraan en hobo in deze werken perfect op elkaar heeft afgestemd. "Schitterende muziek is het. Hij laat niet alleen Nienke, maar ook mijn hobo zingen."

Sopraan Nienke Oostenrijk studeerde eerst geschiedenis, voordat zij startte met de zangopleiding aan het Sweelinck Conservatorium in Amsterdam. In de jaren na haar zangstudie volgde ze vele masterclasses. Nienke verschijnt door heel Europa op het concertpodium. Naast haar status als operazangeres, is ze ook een veelgevraagd concertsoliste. Ze trad op met dirigenten als Jaap van Zweden en Jan Willem de Vriend. Het opera-repertoire van Nienke Oostenrijk omvat meerdere rollen uit het stemvak voor hoge sopraan.

Ook Pauline Oostenrijk studeerde aan het Sweelinck Conservatorium in Amsterdam. Zij rondde daar haar studies hobo en piano af. Pauline is een internationaal geprezen hoboïste en solo-hoboïste van het Residentie Orkest in Den Haag. Ze won in 1999 de Muziekprijs van Nederland, de hoogste prijs voor klassieke musici in Nederland. Pauline maakt niet alleen muziek, maar is ook actief als schrijfster van columns en korte verhalen.

Artist(s)

Pauline Oostenrijk

In 1999, Pauline Oostenrijk received the Music Prize of the Netherlands, the highest State Award in classical music. Before that, she had already won a number of national and international prizes, among which the first prize in the Gillet oboe competition in Baltimore, resulting in a recital in Carnegie Hall, New York. She studied oboe (with Koen van Slogteren and Jan Spronk) and piano (with Willem Brons) at the Conservatory of Amsterdam, and had lessons with Thomas Indermühle and Han de Vries. Her activities as a soloist and chamber musician have been recorded on a considerable number of highly acclaimed cd’s. Various composers wrote pieces for her, a.o. Louis Andriessen (To Pauline O for oboe solo). Pauline performs often with her sister,...
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In 1999, Pauline Oostenrijk received the Music Prize of the Netherlands, the highest State Award in classical music. Before that, she had already won a number of national and international prizes, among which the first prize in the Gillet oboe competition in Baltimore, resulting in a recital in Carnegie Hall, New York.
She studied oboe (with Koen van Slogteren and Jan Spronk) and piano (with Willem Brons) at the Conservatory of Amsterdam, and had lessons with Thomas Indermühle and Han de Vries.
Her activities as a soloist and chamber musician have been recorded on a considerable number of highly acclaimed cd’s. Various composers wrote pieces for her, a.o. Louis Andriessen (To Pauline O for oboe solo). Pauline performs often with her sister, the soprano Nienke Oostenrijk. For many years she was a teacher at the conservatories of Amsterdam and The Hague, until she decided to create more time for performing and... writing. Her first book, with short stories about music, was published in 2006.
Pauline Oostenrijk is solo-oboist of the Residentie Orchestra of The Hague.

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Lucia Swarts

Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985. In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians. Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello,...
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Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985.
In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians.
Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello, cello piccolo and basse de Violon.
From 1983 on she played in the Schoenberg Ensemble (later Asko/Schoenberg) and worked with composers as György Ligety, Sofia Gubaidulina , György Kurtag, Reinbert de Leeuw, Oliver Knussen, John Adams, Steve Reich, Louis Andriessen, Martijn Padding and Mayke Nas Composer Mayke Nas (Componist des vaderlands 2016-2018) wrote a piece for her. In June 1996 Lucia was one of the solo players in the Asko/Schoenberg Ensemble in the Opera `A King Riding ` by Klaas de Vries.
Since 1983 , Lucia has been principal cellist in the baroque orchestra of the Netherlands Bach society and she also plays in the Residentie Bach Ensemble.
She worked with baroque specialists as Gustav Leonhardt, Frans Brüggen, Sigiswald Kuijken, René Jacobs, Peter Dijkstra, Jos van Veldhoven , Jos Vermunt and Ton Koopman.
While early music and contemporary music has a special place in her affection and where she was performing in many CD`s she also performs romantic music.In 1997 she recorded a CD with Leo van Doeselaar (piano ) with music of Saint -Saëns, Busoni, Moscheles and Gounod. CD .
She is always looking for new repertoire ( for herself and also for her students) ,which needs to become out of the shadow.
Lucia issued 7 solo CDs.
Six Cello Sonatas by Vivaldi (CC72051), Cello Sonatas by Boccherini (CC 72065), Italian Cello Concertos (CC 72021), Bach after Bach .Vol. 1(with Leo van Doeselaar (CC72066) , Italian Concertos & Sonatas (CC 72516).The Italian Origins (seven mouintain records) and Cello Solo Suites by J.S.Bach ( CC 72784) She is a professor in `modern ` and historical cello at the Royal Conservatoire of The Hague since 1988 , where she works with Elena Malinova. Elena is also already for many years the correpetitor of her cellostudents.
Lucia is also visiting professor at the Conservatoire Superior de Salamanca and Sevilla (Spain).

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Rémy Baudet

Rémy Baudet studied history at the University of Groningen and the violin at the Sweelinck Conservatorium in Amsterdam (under Mark Lubotski), where he was awarded the Prix d’Excellence. He is the concert master of the Orchestra of the Eighteenth Century, the Gelders Orkest and of Musica Amphion with whom he has recorded many CDs over the past  few years. In addition he founded the Le Zéphyre and is a member of the Van Swieten Society. Baudet has played with – and soloed with – many leading orchestras in the Netherlands and abroad. He has also written a thesis about the development of violin playing between 1780 and 1880, taught at various conservatoires and been a history of art teacher for a number of...
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Rémy Baudet studied history at the University of Groningen and the violin at the Sweelinck Conservatorium in Amsterdam (under Mark Lubotski), where he was awarded the Prix d’Excellence. He is the concert master of the Orchestra of the Eighteenth Century, the Gelders Orkest and of Musica Amphion with whom he has recorded many CDs over the past few years. In addition he founded the Le Zéphyre and is a member of the Van Swieten Society. Baudet has played with – and soloed with – many leading orchestras in the Netherlands and abroad. He has also written a thesis about the development of violin playing between 1780 and 1880, taught at various conservatoires and been a history of art teacher for a number of years.
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Nienke Oostenrijk

The Dutch soprano, Nienke Oostenrijk, studied at the Sweelinck School of Music in Amsterdam. She already passed her doctoral examination in Conservatory in Amsterdam. It was there that she gained the ‘Uitvoerend Musicus’ (performer’s) diploma in 1993 with Margaret Honig. Since then she has been pursuing her studies with Cora Canne Meijer. She took part in master-classes with Arleen Augér, Elly Ameling, Robert Holl and others. Nienke Oostenrijk appears in opera roles as well as on the concert platform, and has sung throughout Europe but has spent most of her time in The Netherlands and a good deal of time in Germany. Her opera repertoire includes several roles that belong to the repertoire of high sopranos. With several companies she had...
more
The Dutch soprano, Nienke Oostenrijk, studied at the Sweelinck School of Music in Amsterdam. She already passed her doctoral examination in Conservatory in Amsterdam. It was there that she gained the ‘Uitvoerend Musicus’ (performer’s) diploma in 1993 with Margaret Honig. Since then she has been pursuing her studies with Cora Canne Meijer. She took part in master-classes with Arleen Augér, Elly Ameling, Robert Holl and others.
Nienke Oostenrijk appears in opera roles as well as on the concert platform, and has sung throughout Europe but has spent most of her time in The Netherlands and a good deal of time in Germany. Her opera repertoire includes several roles that belong to the repertoire of high sopranos. With several companies she had sung the role of Konstanze in Mozart’s Die Entführung aus dem Serail. Other roles include Pamina in Mozart ‘s Die Zauberflöte, Sophie in Strauss’ Der Rosenkavalier and Tebaldo in Verde’s Don Carlos, with the conductors like Kees Bakels, Marc Soustrot, Friedrich Haider and Carlo Rizzi.
Apart from being an opera singer Nienke Oostenrijk is a much sought-after Lieder singer and concert soloists. Bach’s St Matthew Passion (BWV 244) brought her to Berlin Konzerthaus. A series of performances throughout the Netherlands of Mozart’s Requiem with Jaap van Zweden conducting was followed by Giovanni Battista Pergolesi’s Stabat Mater in the Berlin Konzerthaus, conducted by Jac van Steen. Increasingly she is also active in the field of 20th–century classical music, performing in the works of composers like Arnold Schoenberg (Second String Quartet), Jeff Hamburg and Igor Markevitch.

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Paul Leenhouts (conductor)

Composer(s)

Press

Play album Play album
01.
BWV 84 Ich bin vergnügt mit meinem Glücke: Ich bin vergnügt mit meinem Glücke
05:24
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
02.
BWV 84 Ich bin vergnügt mit meinem Glücke: Ich esse mit Freuden mein weniges Brot
04:18
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
03.
BWV 32 Liebster Jesu, mein Verlangen: Liebster Jesu, mein Verlangen
05:01
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
04.
BWV 248, IV Weihnachts Oratorium: Flößt, mein Heiland
05:18
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra, Margriet Stok
05.
BWV 1 Wie schön leuchtet der Morgenstern: Erfüllet, ihr himmlischen, göttlichen Flammen
03:44
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
06.
BWV 21 Ich hatte viel Bekümmernis: Seufzer, Tränen, Kummer, Not
04:15
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
07.
BWV 75 Die Elenden sollen essen: Ich nehme mein Leiden mit Freuden auf mich
04:35
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
08.
BWV 93 Wer nur den lieben Gott läßt walten: Ich will auf den Herren schaun
02:07
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
09.
BWV 144 Nimm, was dein ist, und gehe hin: Genügsamkeit ist ein Schatz in diesem Leben
02:45
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
10.
BWV 74 Wer mich liebet, der wird mein Wort halten: Komm, komm, Mein Herze steht dir offen
02:37
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
11.
BWV 127 Herr Jesu Christ, wahr‘ Mensch und Gott: Die Seele ruht in Jesu Händen
06:13
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra, Paul Leenhouts, Karel van Steenhoven
12.
BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht: Wie zittern und wanken
05:34
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
13.
BWV 31 Der Himmel lacht, die Erde jubiliert: Letzte Stunde, brich herein
03:53
(Johann Sebastian Bach ) Nienke Oostenrijk, Pauline Oostenrijk, Rémy Baudet, Franc Polman, Wim ten Have, Lucia Swarts, Robert Franenberg, Siebe Henstra
show all tracks

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