Love & Lament (2002)

Monterverdi, Frescobaldi, Mazzocchi, Kapsberger, Della Ciaia, Rossi, Carissimi

The Netherlands Bach Society

Jos Van Veldhoven

From the beginning of the 17th century, composers in Italy and far beyond its borders discovered the dramatic power of small ensembles, for the most part abandoning the traditional a cappella polyphonic style. The richness of verbal language pointed the way to new modes of expression. Monody played a central role in this development: in essence, it consisted of a single singing voice accompanied by the new style of ‘basso continuo’. The text was supported and followed word by word, making use of the ‘affetti’, a new freedom in the treatment of dissonance as well as sharply contrasting melodic and rhythmic treatments. Of course, any number of new musical forms and genres also developed, one of which was the dialogue - a genre which has repeatedly been given attention by Cappella Figuralis in recent years - and its more expansive version, the oratorio. A dialogue can best be described as a sung conversation, in which each of the persons taking part is represented by a single voice, and a group by a vocal ensemble. In addition, the ‘cast’ sometimes includes a narrator, whose part can be either single-voiced or many-voiced. (…)

(Pieter Dirksen)

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The Netherlands Bach Society

Founded in 1921, The Netherlands Bach Society is the oldest Early Music ensemble in the Netherlands, and possibly in the whole world. Yet along with the musicians, its artistic director Jos van Veldhoven is still continually in search of contemporary ways of presenting this music, whether it be the traditional performances of the St. Matthew Passion in Naarden, other works by Johann Sebastian Bach (1685-1750) or music by his predecessors, successors, contemporaries and fellow spirits.

The programmes are often compiled in an original way and thus give a refreshing view of the various musical styles from Schütz/Monteverdi to Haydn/Mozart, as well as of the central composer Bach himself. The flexibility of the ensemble makes it possible to perform works from the secular and sacred repertoires in a great variety of combinations of musicians. In the concerts, top priority is given to beauty, emotion, quality and authentic experience.

For a long time now, the activities of The Netherlands Bach Society have not been restricted to Naarden or Het Gooi, in the Netherlands. They are attracting growing national and international attention from large concert halls and important music festivals, and the ensemble increasingly plays the honourable role of cultural ambassador.

Besides working with principal conductor Jos van Veldhoven, The Netherlands Bach Society also performs with leading early music specialists from the Netherlands and abroad, such as Rinaldo Alessandrini, Peter Dijkstra, Richard Egarr, Gustav Leonhardt, Paul McCreesh, Lars Ulrik Mortensen and Masaaki Suzuki.

In order to reinforce the authentic experience, the concerts are supported where necessary by fringe programming, including introductions, workshops, exhibitions and book publications. Further emphasis is provided by the educational projects, which have also received several awards (e.g. Euro Media Award and the Classical Music Award from the Dutch Association of Theatres and Concert Halls (VSCD)).

The Netherlands Bach Society and Jos van Veldhoven have recorded several CDs for Channel Classics, including the Great Organ Mass with the organist Leo van Doeselaar and Bach's St. Matthew Passion. Illustrated editions of the Christmas Oratorio, the St. John Passion and the Mass in B minor have been published in collaboration with Museum Catharijneconvent.

Jos Van Veldhoven

Jos van Veldhoven studied musicology at Utrecht University, and choral and orchestral conducting at the Royal Conservatory in TheHague. He has been artistic director of TheNetherlands Bach Society since 1983, in which capacity he regularly directs performances at home and abroad of the major works of JohannSebastian Bach, his predecessors and contemporaries.Van Veldhoven also directs the UtrechtsBarok Consort, which he founded in 1976. With these ensembles he has made a great number of national and international radio, tv and cd The Netherlands Bach Society recordings, and has appeared in festivals in theNetherlands, Europe, the United States and Japan.Jos van Veldhoven is a frequent guest conductor with Dutch and foreign orchestras, including DasOrchester der Beethovenhalle Bonn, The TokyoPhilharmonic Orchestra, the Robert Schumann Philharmonie, the Essener Philharmoniker, theBrabant Orchestra and the Limburg SymphonyOrchestra. Since 2001 he has collaborated with director Dietrich Hilsdorf on a cycle of stage dHandel oratorios at the opera houses of Bonn,Chemnitz and Essen.Jos van Veldhoven has attracted frequent attention with performances of newly discovered repertoire within the realm of early music, including noteworthy performances of oratorios by Telemann and Graun, Vespers by Gastoldi,reconstructions of Bach’s St Mark Passion, theso-called Köthener Trauer-Music and many unknown seventeenth-century dialogues. VanVeldhoven has conducted many contemporary premieres of Baroque operas by composers including Mattheson, Keiser, Andrea, Bononcini,Legrenzi, Conti and Scarlatti.Jos van Veldhoven is professor of choral conducting at the Amsterdam Conservatory and theRoyal Conservatory in The Hague. In 2007 he was appointed Knight of the Order of the NetherlandsLion for his pioneering services to early music.

Johannette Zomer

After several years as a microbiologist, Dutch SopranoJohannette Zomer trained at the Sweelink Conservatorium,Amsterdam with Charles van Tassel. She currently studieswith Diane Forlano.Johannette made her opera debut as Tebaldo in Don Carlowith the Nationale Reisopera and has gone on to sing Belinda– Dido & Aeneas, La Musica & Euridice – L’Orfeo,Gassman’s Opera – Seria, Dalinda – Ariodante, Ilia – Idomeneo,Pamina – Die Zauberflöte and Amanda – Le GrandeMacabre for the company. She has also sung Oberto in Alcinaat the Komische Oper. On the concert platform she has aenviable reputation as a baroque specialist working with manyof the top conductors in the field such as Ton Koopman,Frans Bru?ggen, René Jacobs, Reinhardt Goebel and PaulMcCreesh as well as collaborating for 20th century and contemporaryrepertoire with Kent Nagano, Daniel Harding,Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. Herrecent engagements have included Bach B Minor Mass with the Tonhalle Orchestra/Bru?ggen, and Euridice in Gluck’s Orfeo with the Bamberger Symfoniker/Christian Zacharias.She regularly gives recitals with fortepianist Arthur Schoonderwoerd with whom she has recordedSchubert Songs for Alpha Records and is a member of the early music ensembles Compania Vocale andAntequera with whom she sings Neapolitan and Spanish baroque repertoire and medieval Cantigas.Johannette’s recent and future plans include projects of Handel and Frank Martin with the RiasKammerchor/Daniel Reuss; Bach and Buxtehude with the Amsterdam Baroque Orchestra/Koopman,Handel with Collegium Vocale, Gent and Gluck and Buxtehude with The Netherlands Bach Soc

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Love & Lament (2002)

Monterverdi, Frescobaldi, Mazzocchi, Kapsberger, Della Ciaia, Rossi, Carissimi

The Netherlands Bach Society


Muzikale dialogen zijn het speciale werkterrein van Cappella Figuralis. Logisch, want zulke hoorspelen-in-concertvorm zijn het solistenensemble van de Nederlanse Bachvereniging op het lijf geschreven. (…) (…) Hoogtepunt is een Lamento Virginis van de componerende edelman Allessandro della Cacia, met Johannette Zomer als treurende Maria. Maar ook Jeptha van Carissimi, het afsluitende, 25 minuten tellende minidrama is wonderschoon, vooral het laatste gedeelte met zijn aandoenlijke echo-imitaties. (…)


het ensemble overtreft zichzelf in expressieve zang en levendig, subtiel en virtuoos samenspel. (…) (…) Een opname vol prettige verrassingen in de vorm van zelden of nooit uitgevoerde, maar verrukkelijke muziek (…) (…) Ontroerend gezongen Lamento Virginis van Alessandro Della Caia door Johannette Zomer, dramatische momenten van grote schoonheid die nog lang blijven nazinderen. (…)

    Tijdschrift voor Oude Muziek

intelligent afwisselende bloemlezingen van lange en kortere stukken die vooral gemeen hebben dat ze zo mooi zijn. (…) (…) bloedstollend Lamento delle Ninfa van Monteverdi, ook dankzij Johanette Zomer, die zich met duizelingwekkende snelheid ontpopt tot een zangeres van het allerhoogste niveau. (…) (…) muziek van de bovenste plank, die de solisten - en dus ook de luisteraar - stevig bezighoudt.


Mit lust an der Dissonanz versammelt die Niederländische Bach Society einige Beispiele solcher Lamenti. Dem Chor gelingt die Affektdarstellung mit ungewöhnliche großer dynamischer Differentziering, unter den Solisten glänzt Johannette Zomers Solosopran.

    Sunday Star Times New Zealand. -

The recording captures vocal and instrumental timbres with astonishing warmth and naturalness. Bravo to everyone involved. Mark Jordan The Absolute Sound October-November Issue 2003 The best in New-Format Software AV 5 stars in

    Classics Today

It’s gorgeous!! Johannette Zomers’ solo is as ravishingly moving as the angels are sympathetic (…) (…) The performances by the singers and four continuo players (organ, harpsichord, violone, theorbo and cello) are perfect in every way. This dutch group, led by Jos van Veldhoven, has managed to enter the Italian emotional sensibility as no English consort can touch. The acoustic is both intimate and rich. WOW!!

    BBC Music Magazine

Johanette Zomer is impressive in Alessandro Della Ciaia’s description of the Virgin’s lament over the body of Jesus, a splendid piece, strongly constructed (…) (…) a revealing disc (…)

    American Record Guide

This release includes some of the most gorgeous vocal and keyboard music of the early Italian Baroque. Excellent performances!!


Every work is of outstanding quality (…) (…) Sopranos Johannette Zomer and Anne Grimm being paticularly impressive in their solo roles. Both display a keen awareness of text, word-painting key text with a true dramatic intensity that never lapses into mannerism. The Monteverdi and Carissimi can be accounted among the most succesful performances I’ve heard. The juxtaposed instrumental works for harpsichord, chittarone, and organ (Michelangelo Rossi’s famously eccentric Settima Toccata) are also extremely capably played by members of the continuo team. (…) (…) Exceptionally intelligently planned, and beautifully executed and engineered, this cd is urgently recommended to all with any interest in 17th-century music.

Love & Lament (2002)

Monterverdi, Frescobaldi, Mazzocchi, Kapsberger, Della Ciaia, Rossi, Carissimi

The Netherlands Bach Society

Cables: van den Hul
Digital Converters: DCS DSD AD/DA
Mastering Engineer: jared Sacks
Mastering Equipment: B+W 308 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom made
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording location: Waalse kerk Amsterdam Holland
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64
Speakers: AudioLab Holland

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17002: Love & Lament
01:12:04   Select quality & channels above
Lamento Della Ninfa
00:05:52   N/A
Toccata 2a In F
00:03:45   N/A
Lamento Di David
00:10:44   N/A
Toccata Settima
00:05:34   N/A
Lamentatio Virginis In Dispositione Filii De Cruce
Della Ciaia
00:17:04   N/A
Settima Toccata
00:05:05   N/A
Historia Di Jephte
00:24:00   N/A

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