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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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, as the title might suggest; other topics (such as the Christ child) appear, but all the pieces have a calm, worshipful flavor. Pluhar's focus is the music between Schütz and Bach, with both of those composers added at the end to sum up the territory that has been covered. A major presence is French countertenor Philippe Jaroussky, who certainly can attract bigger clients; his participation is a clue to the music's worth. Some of the composers have direct connections with one or the...
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