New CDs

Die Bach-Söhne II:
Carl Philipp Emanuel Bach (1714–1788)
Concerti

Cellokonzert B-Dur Wq 171
Oboenkonzert B-Dur Wq 164
Doppelkonzert für Cembalo, Hammerklavier und Orchester Wq 47
Sinfonie e-Moll Wq 177

Freiburger Barockorchester; Kristin von der Goltz, Violoncello; Ann-Kathrin Brüggemann, Oboe; Michael Behringer, harpsichord; Christine Schornsheim, hammerklavier

Carus 83.305

Carus continues its series of CDs with works of the Sons of J. S. Bach with a recording of instrumental music by Carl Philipp Emanuel Bach. The concerti of Bach's second-oldest son are extended over a period of more than 50 years and they range from compositions written in Leipzi 1733 under the tutelage of his father, when is was 19, to the Double Concerto for harpsichord and pianoforte Wq 47. The numerous copies of his concerti which have survived attest to how highly he was regarded, especially in the noble circles, among the middle class in Berlin and later throughout all of Germany.

In the first fifteen years during his residence in Berlin the composer created a basic model through his further development of the Italian ritornello form of the concerto movement. As late as 1800 this form was still praised as being exemplary. The well-known Double Concerto for harpsichord and hammerklavier Wq 47 from 1788 is especially attractive. The autograph of this work belongs to the holdings of the Sing-Akademie of Berlin. In this concerto Carl Philipp Emanuel Bach allows the cembalo and hammerklavier to engage in dialogue with each other. His compositions and the public performance of them played an essential role in the gradual replacement of the cembalo by the hammerklavier. Although the composer was plagued with the complaints of old age, the concerto shines with cheerfulness and beauty.

Gottfried August Homilius (1714–1785)
Cantatas for the Dresden Frauenkirche I

Gott fähret auf mit Jauchzen
Selig seid ihr, wenn ihr geschmähet werdet
Der Herr ist Gott, der uns erleuchtet
Heilig ist unser Gott

Vasiljka Jezovsek, Soprano; Anne Buter, Alt
Hubert Nettinger, Tenore; Christian Hilz, Basso
Dresdner Kreuzchor; Dresdner Barockorchester
Kreuzkantor Roderich Kreile, direction

Carus 83.183

The rebuilding of the Dresden Frauenkirche has gained widespread public attention throughout Europe and in the USA. Recently the bells were dedicated in a formal ceremony and the church was crowned with its ornamental tower. The present CD is dedicated to discovering the ?traces of sound? through the music which was composed for this church. When the Kreuzkirche, the main church of the city, was destroyed in July 1760, the Frauenkirche moved into the forefront as the first parish church in the old town of Dresden. Gottfried August Homilius is considered the most significant and compositionally productive Kreuzkantor. His work also found a a widespread acceptance outside the capital of Saxony. Although he was music director of the Kreuz Kirche, due to its he spent three quarters of his tenure working in the Frauenkirche, where previously he had been the organist for 13 years. Most of his works – including the approximately 200 cantatas which have survived – were written directly for this church. The present CD features four festive cantatas for the feast of Whitsun in interpretations by the internationally renowned Dresdner Kreuzchor under their conductor, Roderich Kreile. The Kreuzchor is accompanied by the Dresdner Barockorchester.

Charles Gounod: Musica sacra

Messe brève no. 7
Messe brève no. 5
Noël
Béthléem
Les sept paroles du Christ sur la croix
An evening service: Magnificat, Nunc dimittis, Pater noster

Kammerchor "I Vocalisti"; Tobias Götting, Organ; Hans-Joachim Lustig

Carus 83.161

Unjustly, Charles Gounod (1818?1893) is known today almost exclusively as a composer of operas. However, sacred works form the center of his creative output. He was able to put his ideal of a simple, understandable choral music into practice through the composition of accessible works with an inner, natural expression that enjoyed a great popularity during his lifetime. The present Carus CD aims to contribute to insuring that the Musica sacra of Gounod once again achieves its rightful place among outstanding choral music. The Kammerchor "I Vocalisti" from Lübeck, conducted by Hans-Joachim Lustig, is a renowned vocal ensemble which Carus had the good fortune to engage for this recording. It contains sensitive interpretations of selected works for choir with organ accompaniment by this French composer, including a few world premiere recordings, which convincingly will bring his church music closer to the listener of today.

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