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Himmelsmusik - Céline Scheen (soprano); Christina Pluhar (theorbo); Dingle Yandell (bass); Jesús Rodil (tenor); L'Arpeggiata;...
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  1. Nun ich singe! Gott ich knie, for voices, strings & continuo
  2. Ach, daß ich Wassers genug hätte, vocal concerto
  3. Ich suchte des Nachts in meinem Bette, sacred concerto for voice, 2 violins & continuo
  4. Gott hilf mir, denn das Wasser, for soprano, violin, viola da gamba & continuo
  5. O amantissime sponse Jesu, cantata for voice, 5 instruments & continuo
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  1. Nun ich singe! Gott ich knie, for voices, strings & continuo
  2. Ach, daß ich Wassers genug hätte, vocal concerto
  3. Ich suchte des Nachts in meinem Bette, sacred concerto for voice, 2 violins & continuo
  4. Gott hilf mir, denn das Wasser, for soprano, violin, viola da gamba & continuo
  5. O amantissime sponse Jesu, cantata for voice, 5 instruments & continuo
  6. Chiaccona ŕ 4, for 2 violins, viola da gamba & continuo in C major (Partiturbuch Jacob Ludwig, No. 63)
  7. Von Gott will ich nicht lassen, motet for 2 sopranos, bass, 2 violins & continuo, SWV 366 (Op. 10/26)
  8. Kommt, ihr Stunden, macht mich frei, aria for voice, 2 violins & continuo (Harmonische Freude musicalischer Freunde)
  9. Ein kleines Kindelein, sacred aria for voice & 5 strings
  10. Bleib bei uns, denn es will Abend werden, motet for 2 voices, strings & continuo (from Neu-gepflanzte Thüringische Lust-Garten)
  11. Sonata ŕ 6, for 2 violins, 3 violas & continuo in E minor
  12. Erbarm Dich mein, O Herre Gott, for soprano, 4 violes, violone & continuo, SWV 447
  13. Komm, süsser Tod, for voice & continuo, BWV 478 (BC F227) (Schemelli Gesangbuch No. 868)
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Those wondering whether Himmelsmusik falls on the experimental side of the output of Austrian-born ensemble leader and continuo player Christina Pluhar and her ensemble L'Arpeggiata can rest easy: there is nothing here in the vein of Pluhar's aptly titled Handel Gone Wild. Instead, Pluhar, countertenor Philippe Jaroussky, and her musicians play it straight and deliver a lovely album from the generally neglected German mid-Baroque, and from almost unknown music within that classification. Not all the music pertains to heaven ...

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