Johann Sebastian Bach; Johann Adolf Scheibe - Bach vs. Scheibe (Marie-Sophie Pollak)

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Composer: Johann Sebastian Bach; Johann Adolf Scheibe

1. Bach - Jauchzet Gott in allen Landen, BWV 51: I. Aria. Jauchzet Gott in allen Landen
2. Scheibe - Wer sich rühmen will, SchW B2:204: V. Aria. Edle Unschuld, gib die Gründe
3. Bach - Concerto, BWV 981 (After B. Marcello's Concerto in E Minor, Op. 1 No. 2): I. Adagio
4. Bach - Ich hatte viel Bekümmernis, BWV 21: I. Sinfonia
5. Scheibe - Concerto. In Festo Michaelis (Der Engel des Herrn lagert sich), SchW B2:205: III. Aria. Sehr geschwinde gleich dem Winde
6. Bach - Geschwinde, ihr wirbelnden Winde, BWV 201: III. Aria. Patron, das macht der Wind
7. Scheibe - Der Tempel des Ruhmes, Sinfonia in D Major: I. Allegro assai
8. Scheibe - Der Tempel des Ruhmes, Sinfonia in D Major: II. Larghetto
9. Scheibe - Der Tempel des Ruhmes, Sinfonia in D Major: III. Presto
10. Bach - Himmelskönig, sei willkommen, BWV 182: I. Sonata
11. Scheibe - Sinfonia from Den døende Jesus, SchW B2:302
12. Bach - Lobet Gott in seinen Reichen, BWV 11: X. Aria. Jesu, deine Gnadenblicke
13. Scheibe - Die Auferstehung und Himmelfahrt Jesu, SchW B2:301: XIII. Aria. Willkommen, Heiland
14. Bach - Süsser Trost, mein Jesus kömmt, BWV 151: I. Aria. Süsser Trost, mein Jesus kömmt
15. Bach - Sinfonia in D Major, BWV 1045

Marie-Sophie Pollak, soprano

Concerto Köln

Max Volbers, conductor

Date: 2025

Label: Berlin Classics

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In 1737, composer and critic Johann Adolph Scheibe attacked Johann Sebastian Bach’s music in Der Critische Musicus, calling it “confused” and “bombastic.” Bach’s friend Johann Abraham Birnbaum quickly defended him, sparking a long-running theoretical dispute. This controversy inspires a new Berlin Classics album in which soprano Marie-Sophie Pollak, recorder player and conductor Max Volbers, and Concerto Köln place works by Bach and Scheibe side by side, including four world premiere recordings. The program turns polemic into dialogue, showcasing Pollak’s stylistic finesse and expressive nuance, while Concerto Köln demonstrates remarkable versatility, shifting from intimate chamber textures to full orchestral brilliance.

Marie-Sophie Pollak (b. 1988) is a German soprano celebrated for her refined artistry in early and classical repertoire. A graduate of Munich University of Music and Theatre, she debuted at the Innsbruck Festival of Early Music and has since collaborated with leading ensembles such as Akademie für Alte Musik Berlin, Freiburg Baroque Orchestra, Orchestre Symphonique de Montréal, and Les Violons du Roy under conductors including Kent Nagano, Ivor Bolton, Thomas Hengelbrock, and Bernard Labadie. She maintains a close partnership with Hamburg Ballet and John Neumeier, appearing in staged productions of Gluck and Bach. Her extensive concert career spans Bach, Haydn, Mendelssohn, Telemann, and Schumann, with appearances at major venues across Europe and North America. Her discography includes award-winning Bach and Handel recordings, as well as rare rediscoveries like Ariosti’s La Profezia d’Elisio.

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