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Cantiones Sacrae
Contents
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Composer
Samuel Scheidt
| 1587-1654
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Preface writer
Klaus-Martin Bresgott
| 1967Klaus-Martin Bresgott was born 1967 in Greifswald and initially studied Protestant theology, later German language and literature and art history (M. A.), parallel thereto choral conducting. Contracts as an ensemble singer led him to the most notable concert venues in Europe under conductors such as René Jacobs, Marcus Creed, Daniel Reuss, Hans-Christoph Rademann and Fabio Luisi, and directors such as Sasha Waltz, Luc Perceval, Barrie Kosky and others. His main focus is on ensemble work that spans epochs and interdisciplinary contexts. This has led to a regular co-operation with composers and poets of our time such as Thomas Jennefelt and Frank Schwemmer as well as Christa Wolf (†) and Christian Lehnert. As well as works on art history, including Ernst Barlach, he has edited several books of choral music, including Frau Musica spricht. Chorbuch Reformation (2011) and Chorbuch Leonhard Lechner (2014, Carus 4.022), Vier Weihnachtsmotetten (2015, Carus 7.389) and Hugo Distler’s Die Weihnachtsgeschichte op. 10 (2015, Carus 10.011). He was awarded the “Preis der Deutschen Schallplattenkritik” in 2008 for the first complete recording of the Geistliche Chormusik op. 12 by Hugo Distler, 2019 the french "Choc de Classica" for Samuel Scheidt: Cantiones Sacrae. Personal details
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Choir
Athesinus Consort Berlin
The Athesinus Consort Berlin, named after the composer Leonhard Lechner Athesinus (ca. 1553–1606), was founded by Klaus-Martin Bresgott in 1992. He has been the conductor of the ensemble since then. The ensemble, which usually performs as a double quartet and – when enlarged – as a soloistic chamber choir, rehearses and performs both a cappella and continuo literature of the late Renaissance and Baroque as well as modern and contemporary works, which regularly result in world premieres. The ensemble members, all experienced concert singers who are also active in the Collegium Vocale Gent, the Chor des Bayerischen Rundfunks, the SWR Vokalensemble and the RIAS-Kammerchor, as well as on the stage of the Deutsches Theater Berlin, with Sasha Waltz & Guests and others, are united in their delight sounding out the verbal images of speech and suggestive arts. All of the ensemble members are active as soloists in addition to their activities in larger ensembles. The spectrum here ranges from Johann Sebastian Bach’s oratorios to experimental music of the 21st century. The latest successes of the ensemble include, among others, the world premiere of the music theatre piece Paulus. Das ängstliche Harren der Kreatur by Thomas Jennefelt in 2011, the world premiere of the tryptich Du bist mein Schlaf by Frank Schwemmer in 2012, the world premiere of Drei Gedichte von Rainer Maria Rilke by Jonathan Brell (*1987) in 2013, as well as the world premiere of Turbulent Days – fünf Spruchmotetten nach Martin Luther King und Martin Luther für 8–12-stimmiges Vokalensemble, Saxophon und Schlagwerk by Frank Schwemmer and Anyone can let you down – no one will let you down by Thomas Jennefelt in 2014. In addition to specific compositional focuses, the Athesinus Consort Berlin has committed itself to selected topics in which the texts are of definitive significance. One emphasis is on the innumerable forgotten strophes of the cornucopia of German folk song. Classical concert principles recede into the background and make way for a more individual form of expression. Exemplary thereof are the collaborations with songwriters, jazz musicians, drummers and percussionists as well as dancers and pantomimes. Since 2010 the Athesinus Consort Berlin has regularly released CDs, including O Heiland, reiß die Himmel auf … vergessene Strophen der Weihnacht (2010), Signale ( 2011) w ith w orks by Michael Praetorius and Thomas Jennefelt or Boten ( 2012) w ith w orks b y J ohann A dam Hiller, Max Bruch, Hugo Distler and others. In 2013 Leonhard Lechner: Mein süße Freud auf Erden. Sacred Choral Music was released (Carus 83.384; a tribute from the ensemble to the man who gave it its name – the works on this CD are also available complete as a music edition, Carus 4.022), followed by Frank Schwemmer: Perlmuttfalter. Contemporary Choral Music (Carus 83.464) in 2014. Personal details
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Conductor
Klaus-Martin Bresgott
| 1967Klaus-Martin Bresgott was born 1967 in Greifswald and initially studied Protestant theology, later German language and literature and art history (M. A.), parallel thereto choral conducting. Contracts as an ensemble singer led him to the most notable concert venues in Europe under conductors such as René Jacobs, Marcus Creed, Daniel Reuss, Hans-Christoph Rademann and Fabio Luisi, and directors such as Sasha Waltz, Luc Perceval, Barrie Kosky and others. His main focus is on ensemble work that spans epochs and interdisciplinary contexts. This has led to a regular co-operation with composers and poets of our time such as Thomas Jennefelt and Frank Schwemmer as well as Christa Wolf (†) and Christian Lehnert. As well as works on art history, including Ernst Barlach, he has edited several books of choral music, including Frau Musica spricht. Chorbuch Reformation (2011) and Chorbuch Leonhard Lechner (2014, Carus 4.022), Vier Weihnachtsmotetten (2015, Carus 7.389) and Hugo Distler’s Die Weihnachtsgeschichte op. 10 (2015, Carus 10.011). He was awarded the “Preis der Deutschen Schallplattenkritik” in 2008 for the first complete recording of the Geistliche Chormusik op. 12 by Hugo Distler, 2019 the french "Choc de Classica" for Samuel Scheidt: Cantiones Sacrae. Personal details
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Conductor
Klaus-Martin Bresgott
| 1967Klaus-Martin Bresgott was born 1967 in Greifswald and initially studied Protestant theology, later German language and literature and art history (M. A.), parallel thereto choral conducting. Contracts as an ensemble singer led him to the most notable concert venues in Europe under conductors such as René Jacobs, Marcus Creed, Daniel Reuss, Hans-Christoph Rademann and Fabio Luisi, and directors such as Sasha Waltz, Luc Perceval, Barrie Kosky and others. His main focus is on ensemble work that spans epochs and interdisciplinary contexts. This has led to a regular co-operation with composers and poets of our time such as Thomas Jennefelt and Frank Schwemmer as well as Christa Wolf (†) and Christian Lehnert. As well as works on art history, including Ernst Barlach, he has edited several books of choral music, including Frau Musica spricht. Chorbuch Reformation (2011) and Chorbuch Leonhard Lechner (2014, Carus 4.022), Vier Weihnachtsmotetten (2015, Carus 7.389) and Hugo Distler’s Die Weihnachtsgeschichte op. 10 (2015, Carus 10.011). He was awarded the “Preis der Deutschen Schallplattenkritik” in 2008 for the first complete recording of the Geistliche Chormusik op. 12 by Hugo Distler, 2019 the french "Choc de Classica" for Samuel Scheidt: Cantiones Sacrae. Personal details
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Soloist - organ
Arno Schneider
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Soloist - violoncello
Lea Rahel Bader
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Soloist - violoncello
Alexander Nicholls
Reviews
Samuel Scheidt: Cantiones Sacrae
... Die Qualität und Klangschönheit des Ensembles und die Sorgfalt seines Leiters Klaus-Martin Bresgott verdienen ... die Bestnote. Eine voll und ganz empfehlenswerte Einspielung.
Markus Eberhardt, DIE BESPRECHUNG, 03/2020
... Die acht Vokalisten überzeugen sowohl mit hervorragender Textverständlichkeit und ›sprechender‹ Artikulation als auch mit präzis entwickeltem schwungvollen Gestus sowie einem homogenen, durchscheinenden Klang.
DIE TONKUNST, Oktober 2018
... Das Athesinus Consort wird der kleingliedrigen Sprachvertonung ebenso gerecht wie dem großen Wohlklang der Chor-Blöcke.
Christine Lanz, Concerto, September/Oktober 2018
... We komen hier in aanraking met boeiende ... uitgevoerd op hoog niveau door een voortrefflijk musicerend ensemble. Hier wordt kerkmuziek van de bovenste plank ten gehore gebracht ...
Maarten Seijbel, de Waarheidsvriend, 18.09.2018
... Gesungen und musiziert wird hier ganz außerordentlich fein, mit klarem Text und viel Sinn für die Bildhaftigkeit der interpretierten Motetten.
Gustav Danzinger, CHOR aktuell, 3/2018
... The Athesinus Consort of Berlin is brilliant, carefully shaping these phrases of music.
American Record Guide, September/Oktober 2018
... Die Verbindung zwischen Text und Musik kommt hier auch optimal zum Tragen.... Die Motetten sind perfekt durchhörbar eingesungen, hier wird Homogenität Ereignis und Erlebnis zugleich.
Toccata 96/2018
... The Athesinus Consort of Berlin is brilliant, carefully shaping these phrases of music.
American Record Guide, September/October 2018
... Die Aufnahme besticht durch den homogenen und schlanken Ensembleklang. Die Stimmen sind fein austariert, die hohen Stimmen sehr hell und klar, die tiefen Lagen nicht zu voluminös.
Chantal Nastasi, Chorzeit, Mai 2018
... Das Athesinus Consort Berlin entfaltet in seiner aktuellen Aufnahme eine tiefgründig intensive Klangschönheit, die mit reizvoller Sprachbetonung und lustvoll entfalteter wie gezähmter Dynamik gepaart ist...
Reinhard Mawick, ZeitZeichen, Mai 2018
... Das von Klaus-Martin Bresgott dirigierte, zehnköpfige Vokalensemble ist topbesetzt: Die Motetten sind perfekt durchhörbar eingesungen, hier wird Homogenität Ereignis und Erlebnis zugleich.
Jan-Geerte Wolf, pizzicato, 27.04.2018
... Die Intonation ist makellos, wird linear von allen Beteiligten mit solistischer Qualität getragen und mitgeprägt. Die Textverständlichkeit ist hervorragend, ...in allen Stimmen gleichermaßen.
Matthias Lange, klassik.com, 17.04.2018
... Die Aufnahme des Athesinus Consort Berlin ... beweist in ihrer durchsichtig-klaren Gestaltung, dass Scheidt zu Unrecht kaum gespielt wird.
Austria Presse Agentur, 16.04.2018
... Es ist eine sehr überzeugende CD geworden - bitte mehr davon!
Astrid Belschner, kulturradio, 10.04.2018
... Die Interpretation durch das Athesinus Consort ist nicht nur wegen der Ersteinspielung unvergleichlich (schön).
ChorPfalz März/April 2018