Æmilian Rosengart: Te Deum laudamus - CD, Choir Coach, multimedia | Carus-Verlag

Æmilian Rosengart Te Deum laudamus

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The recently discovered works of Father Æmilian Rosengart are true treasures! As a contemporary of Haydn and Mozart, Rosengart displayed great stylistic variety in his works. Thus several of the sacred arias recorded here were originally from operas and oratorios which have since been lost, to which he added new texts for liturgical use. The fact that the present recording was made in the church of the monastery at Ochsenhausen – that is, in the setting for which the compositions were originally conceived – enhanced the goal of achieving an historical performance practice in an authentic context.
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  • Veni Sancte Spiritus
  • Tristes erant apostoli
  • Magnificat V
  • Veni Creator Spiritus
  • Ave Maria
  • Hostis Herodes
  • Rorate coeli
  • Iste confessor Domini
  • Christe redemptor omnium
  • Cantate Domino
  • Tenebrae factae sunt
  • Lauda Sion
  • Qua vocat me
  • Ave maris stella
  • Te Deum laudamus
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Compact Disc Carus 83.427/00, EAN 4009350834279 CD in jewel case
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  • Rosengart, who worked at the Benedictine Abbey at Ochsenhausen, was one of the foremost composers of monastic music of the South-German late-baroque period. That music was overshadowed by the Viennese classics, and it has therefore been largely forgotten. The 90 or so surviving compositions by Rosengart serve liturgical purposes, and are therefore still today best suited for use at religious services. Personal details
  • The Orpheus Vokalensemble was founded in 2005 as the professional chamber choir of the Landesmusikakademie Baden-Württemberg. This is an international ensemble which places the highest vocal demands on its members. Internationally recognized choral conductors are engaged for each assignment, and they exercise lasting influence on the artistic quality of the ensemble. Its model is the legendary Orpheus Chamber Orchestra (New York), whose name it shares. Its artistic aims, in the preparation and performance of works, are to bring the fundamentals of chamber music – personal commitment and mutual respect – to bear on the work of a vocal ensemble. Its members have the right to participate in the choice of repertoire, soloists, conductors and concert programs. Several composers have already written works for the Orpheus Vokalensemble, including Bo Hansson, Knut Nystedt, Gregor Hübner and Jürgen Essl. In 2006 the ensemble was invited to the International Lake Constance Festival. Other invitations to important festivals have followed. Personal details
  • After its foundation in 1989, Ars Antiqua Austria at first devoted itself wholly to the scholarly preparation and musical revival of the works of Austrian Baroque composers. The rich fund of rediscovered works gave rise to a number of successful first recordings. Since 2002 Ars Antiqua Austria has staged a concert cycle of its own in the Vienna Konzerthaus. The ensemble has pioneered a concert series which has extended over several years entitled "The Sound of Cultures – The Culture of Sound," comprising a total of 90 concerts in Vienna, Prague, Budapest, Bratislava, Kraków, Venice, Ljubljana, Mechlin and Lübeck. In the course of its concert tours the ensemble has visited the Spring Arts Festival in Nantes, the Monteverdi Festival in Cremona, the Munich State Opera and the Salzburg Festival. It is also a welcome guest in the USA and Japan. The activities of Ars Antiqua Austria are documented on numerous CDs. A recording of Francesco Conti’s "Cantate con istromenti I–IV" with the mezzo-soprano Bernarda Fink was awarded the "Diapason D’or" only a week after its release. Gunar Letzbor, the leader of the ensemble, received with Ars Antiqua Austria the Cannes Classical Award 2002 for their recording of the "Capricci Armonici" by Giovanni Buonaventura Viviani. Personal details
  • Jürgen Essl received his musical training in Stuttgart, Bordeaux and Vienna, where his teachers included Ludger Lohmann and Michael Radulescu. After completing his studies he was a church musician in Sigmaringen before being appointed professor of organ at the Lübeck Musikhochschule and in 2003 at the Stuttgart Musikhochschule. He received grants from the German academic exchange program and the arts foundation of Baden-Württemberg. He has achieved international recognition as a performer, improviser and composer, and has made guest appearances as a soloist at the Linz Bruckner Festival, the Gmunden Festival and the Kassel New Music Festival, as also in Leyden, Milan, Cracow and Vienna. His repertoire encompasses the entire spectrum of organ literature. The interpretation of early music and the preparation and first performance of the latest works form the cornerstones of his activities. Jürgen Essl is in demand as a lecturer at international organ seminars. Among his partners in improvisation projects are such musicians as Joachim Kühn and the actor Charles Brauer, and he also performed with the late Hanns Dieter Hüsch. His compositional oeuvre includes organ works that have gained world-wide recognition and pieces for choir, ensembles and orchestra. In 2003 he was awarded the composition prize for church music in Baden-Württemberg, and in 2007 he received the cultural award of the city of Passau. His musical career is documented on numerous CDs, including the first recording of the organ works of Jean Françaix, a widely noted improvisation recorded in Brussels Cathedral, and the "Ochsenhauser Orgelbuch." Personal details

Reviews

Eine fast schon sensationelle Entdeckung ist die Aufnahme mit Werken des in Kirchheim geborenen Benediktinerpaters Rosengart.
Ulrich Scheinhammer-Schmid, Ulrichsblatt - Kirchenzeitung für die Diözese Augsburg, 4./5. November 2017

Bei der Weihnachtsgeschichte agieren nicht nur Thomas Volle als Evangelist, sondern auch alle anderen Solisten aus dem Ensemble heraus auf höchstem Niveau.
Tobias Hermanutz, Musica Sacra, März 2016

[...] Der Versuch der Ausführenden, möglichst alle klanglichen Rahmenbedingungen der Entstehungszeit wieder herzustellen, führte zu einem eigenen, quasi authentischen „Ochsenhauser” Klang, der die Aufnahme besonders reizvoll macht.

Herbert Lauermann
Chor aktuell, 3/2009

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