Anne Sofie von Otter emphasizes that for Bach, the music and its relation to the text are paramount, noting that Bach "really does something with the words" and uses symbolism in vowels and consonants.
Performer Biography
Anne Sofie von Otter's approach to Bach was fundamentally influenced by her experience as a chorister in the Stockholm Bach Choir and by conductor Nikolaus Harnoncourt, who revolutionized Baroque performance.
Interpretation
Anne Sofie von Otter's concept for this recording involved listening to every single Bach cantata to discover new arias, and then breaking up the solo vocal recital with purely instrumental movements.
Composition History
In Leipzig, Bach produced a staggering quantity of work, including some 300 sacred cantatas in five annual cycles for the Lutheran liturgical year, in addition to his great Passions and oratorios.
Performer Biography
Anne Sofie von Otter, the mezzo-soprano on this album, made her very first solo appearances performing alto arias in Bach's St. John Passion in Stockholm.
Composition History
After a period at the court of Anhalt-Cöthen where he wrote secular orchestral works, Bach returned to composing cantatas when he became Kantor at the Thomaskirche in Leipzig in 1723.
Interpretation
The choice of oboe as a prominent accompanying instrument was influenced by Bach's frequent pairing of the alto voice with the oboe, and Anne Sofie von Otter's love for the Baroque oboe's sound.
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