Musikalische Exequien und andere Trauergesänge. Complete recording, Vol. 3 (Rademann)
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- Ich hab mein Sach Gott heimgestellt
- Naked I came forth from my mother's body
- Lord, if I have thee only
- Lord, now dost thou grant thy true sevant
- I am the resurrection and new being
- Grimmige Gruft
- Gutes und Barmherzigkeit
- Das ist je gewisslich wahr
- O meine Seel, warum bist du betrübet
Contents
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Composer
Heinrich Schütz
| 1585-1672Heinrich Schütz is regarded as the first German musician of European stature. As a choirboy from 1599 at the court of Landgrave Moritz of Hessen-Kassel, he received a thorough education. In 1608 he began a law degree in Marburg, but broke this off in 1609 in order, with the support of the Landgrave, to study composition with Giovanni Gabrieli, organist at St Mark’s in Venice. In 1613 Schütz returned to Kassel, but two years later was enticed away by Elector Johann Georg I of Saxony to the Dresden court as “Organist und Director der Musica”, where he held the position of Hofkapellmeister (court Kapellmeister) from 1617 until his death. Schütz’s great cycles of vocal works marked the high point of his reputation in Germany and northern Europe. But these represent only part of Schütz’s output; individual works are represented in printed collections with works by other composers, others only survive in manuscript, and much has been lost. The Stuttgart Schütz Edition makes available Schütz’s complete oeuvre, and all works are also published in practical Urtext editions. Personal details
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Preface writer
Oliver Geisler
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Choir
Dresdner Kammerchor
DRESDNER KAMMERCHOR Radiant, transparent, homogeneous and flexible: the Dresdner Kammerchor is internationally esteemed for its unique culture of sonority. Its artistic director Hans-Christoph Rademann has shaped this distinctive sound since the choir was founded in 1985, leading it to worldwide renown. The choir’s diverse repertoire has its foundation in Baroque music, with a special focus on Saxon court music. As a cultural ambassador for Dresden and Saxony, the choir keeps the musical heritage of its homeland alive and makes it known to an international audience. A prominent example of this is the world’s first complete Heinrich Schütz recording, which was concluded in 2019, published by Carus-Verlag, and has won several awards: among others, the St. John Passion was awarded the Annual Prize of the German Record Critics in 2016, and the last installment of the edition containing “Psalms and Peace Music” was honored with the Opus Klassik 2020. The choir has also rediscovered, performed anew and recorded on CD numerous works by other Central German masters such as Johann Adolf Hasse, Johann David Heinichen and Jan Dismas Zelenka in collaboration with the Dresden Baroque Orchestra and other musical partners. In addition to symphonic choral works from the Classical and Romantic periods, a further repertoire focus is on challenging a cappella works of the 19th and 20th centuries. This includes music by Johannes Brahms, Max Reger, Olivier Messiaen, Francis Poulenc, Arnold Schoenberg and Herman Berlinski. For years, the Dresdner Kammerchor has been intensively dedicated to modern and contemporary music, with world premieres, first performances and its own commissioned works. This commitment is deepened further by diverse music education and youth projects. In 2009, Hans-Christoph Rademann and the Dresdner Kammerchor initiated the Dresden Choral Workshop for New Music, which took place for the 4th time in 2018. For its services to contemporary choral music, the choir was awarded a Sponsorship Prize by the Ernst von Siemens Music Foundation. The Dresdner Kammerchor gives guest performances in centers of music and at festivals throughout Europe. Tours have taken the singers to Israel, India, Taiwan, China, Mexico, South America, South Africa and the USA. Musical partners to date have included René Jacobs, Sir Roger Norrington, Ádám Fischer, Václav Luks, Stefan Parkman, Trevor Pinnock, Christoph Prégardien, Jos van Immerseel, Herbert Blomstedt, Omer Meir Wellber, Christian Thielemann, Riccardo Chailly and Reinhard Goebel, as well as the Sächsische Staatskapelle Dresden, the Gewandhausorchester Leipzig, the BBC Philharmonic Orchestra, Anima Eterna Brugge, the Akademie für Alte Musik Berlin, and the Bamberg Symphony Orchestra. The choir regularly collaborates with the Wroc"naw Baroque Orchestra. By means of a cooperation with the Dresden University of Music, the Dresdner Kammerchor keeps the connection to its roots alive. Personal details
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Conductor
Hans-Christoph Rademann
| 1965Conductor Hans-Christoph Rademann is an immensely versatile artist with a broad repertoire who devotes himself with equal passion and expertise both to the performance and rediscovery of early music and to the first performances and cultivation of Contemporary Music. Born in Dresden and raised in the Erzgebirge mountains, he was influenced at an early age by the great Central German kantorial and musical tradition. He was a student at the traditional Kreuzgymnasium, a member of the famous Kreuzchor, and studied choral and orchestral conducting at the Carl Maria von Weber University of Music in Dresden. During his studies, he founded the Dresdner Kammerchor and formed it into a top international choir which is still under his direction today. Since 2013, Hans-Christoph Rademann has been the academy director of the International Bach Academy Stuttgart. He regularly collaborates with leading choirs and ensembles of the international music scene. From 1999 to 2004 he was chief conductor of the NDR Choir and from 2007 to 2015 chief conductor of the RIAS Chamber Choir. Guest conducting engagements have led and continue to lead him to the Nederlandse Bachvereniging, the Collegium Vocale Gent, the Akademie für Alte Musik, the Freiburger Barockorchester, the Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, the Sinfonieorchester Basel, the Orchestre Philharmonique de Luxembourg, among others. Hans-Christoph Rademann has been awarded prizes and honors for his artistic work, including the Johann Walter Plaque of the Saxon Music Council (2014), the Saxon Constitutional Medal (2008), the Sponsorship Prize as well as the Art Prize of the state capital Dresden (1994 and 2014 respectively). He received the Preis der Deutschen Schallplattenkritik several times for his numerous CD recordings (most recently in 2016), as well as the Grand Prix du Disque (2002), the Diapason d’Or (2006 & 2011), the CHOC de l’année 2011 and the Best Baroque Vocal Award 2014. In 2016 he was awarded the European Church Music Prize of the city of Schwäbisch Gmünd. His exemplary interpretation and recording of the complete works of Heinrich Schütz with the Dresdner Kammerchor in the Stuttgart Carus-Verlag, which was completed in 2019, was awarded the newly endowed Heinrich Schütz Prize as well as the OPUS KLASSIK 2020 in the same year. Hans-Christoph Rademann is professor of choral conducting at the Carl Maria von Weber University of Music in Dresden. He is also artistic director of the Musikfest Erzgebirge, ambassador of the Erzgebirge and patron of the Christian Hospice Service Dresden. Personal details
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Soloist - soprano
Dorothee Mields
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Soloist - soprano
Anja Zügner
Soprano Anja Zügner received her first singing lessons at the age of 17. She completed her vocal studies at the Hochschule für Musik “Carl Maria von Weber” in Dresden in 2010. She has continued her studies, attending master classes with Kammersänger Peter Schreier, Ruth Ziesak, Gerold Huber and Ludger Rémy. As a lieder and oratorio singer, she has performed with Konrad Junghänel, Wolfgang Katschner and Hans-Christoph Rademann. Anja Zügner is a scholarship holder of the German Academic Exchange Service (DAAD), the Forum Tiberius and the Carl Maria von Weber Scholarship. Personal details
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Soloist - countertenor
Alexander Schneider
Alexander Schneider (altus) was a member of the Dresdner Kreuzchor from 1987 until 1996. From 1997 he studied under Peter Herrmann at the Hochschule für Musik “Hanns Eisler” in Berlin, obtaining his singing diploma in 2004. He has sung with numerous renowned conductors and ensembles including the Collegium Vocale of Ghent and the Akademie für Alte Musik Berlin, as well as the Dresdner Kreuzchor. He made a successful opera debut in 1999 at the Neukölln Opera, Berlin, in Johann Adolf Hasse’s Commedia per musica La Sorella amante. His work is documented on many CD and radio recordings. Personal details
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Soloist - tenor
Jan Kobow
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Soloist - tenor
Tobias Mäthger
Tenor Tobias Mäthger studied singing, conducting and school music in Dresden and works as a freelance singer, conductor, teacher and church musician. He has already achieved considerable success with a varied concert career both nationally and internationally. He is a member and soloist with the Dresdner Kammerchor, as well as a member of the soloists’ ensemble of the Musik Podium Stuttgart under Frieder Bernius. In addition, he regularly works with leading artists and ensembles including Marc Minkowski, Rafael Frubeck de Burgos, Dresden Staatskapelle, the Dresden Philharmonic Orchestra, Bremer Kammerphilharmonie, Dresdner Kreuzchor, Rheinische Kantorei and many others, as a soloist or as a conductor’s assistant. Personal details
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Soloist - bass
Matthias Lutze
Bass-baritone Matthias Lutze received his first musical training in the Dresdner Kreuzchor and Windsbacher Knabenchor. He studied singing in Dresden with Christiane Junghanns and Olaf Bär. He has also been considerably influenced by Charlotte Lehmann, Norman Shetler and Peter Kooij. He performs with leading ensembles such as the Collegium Vocale Gent, RIAS Kammerchor, Lauttencompagney Berlin and is a frequent guest at major music festivals including the Handel Festival in Halle, the Festival de Saintes, Dresden Music Festival and Prague Spring Festival. Matthias Lutze sings with conductors such as Philippe Herreweghe, Hans-Christoph Rademann, Daniel Reuss, Marcus Creed, Iván Fischer and Helmuth Rilling, and has performed in highly-acclaimed CD and radio recordings. Personal details
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Soloist - bass
Harry van der Kamp
Harry van der Kamp has sung the entire solo and ensemble repertoires of the 16th to 18th centuries. He has given concerts under the batons of Leonhardt, Harnoncourt, Koopman, Herreweghe and Bruggen, as well as with the Hilliard Ensemble, Les Arts Florrisant, Cantus Colln, among others. Together with his Gesualdo Consort Amsterdam he has performed the entire madrigal oeuvre of the 16th and 17th centuries. Numerous inaugural recordings – including Sweelinck’s entire body of work – were highly praised. Counting Edison, Grammy, Echo, Diapason d’or and Midi prizes among his achievements, he was made a knight of the Order of the Netherlands Lion in 2010. In 2012, he was made an honorary citizen of Amsterdam. He is professor emeritus at the University of the Arts in Bremen, and maintains a demanding schedule as masterclass lecturer and competition judge. Personal details
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Soloist - organ
Ludger Rémy
The harpsichordist/pianist and conductor Ludger Rémy († June 2017) felt an obligation to meet the challenge set by the theorist Mattheson to combine theory and practice. He studied school music and harpsichord in Freiburg, followed by private studies with Kenneth Gilbert in Paris. In 1998 he was appointed to a professorship for early music in Dresden. Around 70 CD productions – several have been awarded prestigious prizes – both as instrumentalist and conductor, as well as numerous concerts at home and abroad (at festivals incl. Utrecht, Brügge, Paris, Saintes, Bachfest Leipzig, Händelfestspiele Göttingen, Musikfestspiele Dresden) made him one of the leading musicians active in the rediscovery and revival of early German music. Personal details
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Soloist - violone
Matthias Müller
Matthias Müller works as a freelance musician in Freiburg im Breisgau. Since completing his studies he has pursued a busy international concert career, including performing on numerous CDs. The range of instruments he plays encompasses all of the gamba family, including various types of violone, and the lyra da gamba. Since 2000 he has been a permanent member of the ensemble Cantus Cölln, and also works together with various other leading ensembles and conductors. Personal details
Reviews
Alles in allem bietet diese CD ein eindrucksvolles Programm, und es könnte sich als eines der interessantesten Folgen dieser Schütz-Edition herausstellen.
Toccata, 1/2013
The performances are impressive: the choir does all the right things. […] well worth buying.
Early Music Review, Juni 2012
[…] throughout the disc, the choir’s expertise with this style is self-evident and the Radeberg church acoustic serves the music like a tailor-made suit. It is expertly captured by the Carus engineers. […] This disc deserves to win more fans for Rademann’s great project, as well as for the composer himself.
Simon Thompson, musicweb-international, Juni 2012
The performance by the Dresdner Kammerchor, under Hans-Christoph Rademann, is superb. Diction and dynamic shading are uniformly excellent. The continuo playing (violone and organ) is subtle and effective. A high point is the choir’s blend, with a beauty, lightness, and clarity of tone well suited to Schütz’s music.
Mark Falk, Choral Journal, Juni/Juli 2012
This much-recorded work receives as fine an interpretation as I can recall. […] By eschewing drama in favour of interiority, Rademann's ensemble also achieves something rather special. […] A very fine continuation to an impressive series.
Fabrice Fitch, Gramophone, May 2012
Dies ist keine CD für die Hintergrundbeschallung. Was der Hörer hier geboten bekommt, ist Musik und Interpretation auf höchstem Niveau.
Musica Sacra, März/April 2012
Hans-Christoph Rademann gehört zu den herausragenden Chormusikern im deutschsprachigen Raum. […] Die Leichtigkeit und Homogenität der Stimmen bringt Schütz' stark vom Text inspirierten Chorsatz schön zum Leuchten. Vier Ersteinspielungen machen die CD zur Referenzaufnahme.
St. Galler Tagblatt, 21. März 2012
[…] Vokalsolisten, der Dresdner Kammerchor und Instrumentalisten unter der Leitung von Hans-Christoph Rademann erweisen sich als intellektuell wie emotional engagierte Interpreten, unübertrefflich in Inspiration, Klangschönheit und Ausgewogenheit, auf das Gleichgewicht von Wort und Musik, von Textklarheit und melodisch-harmonischer Ausdrucksdifferenzierung bedacht.
www.codexflores.ch, 7. März 2012
I was immediately struck by the beautiful vocal sound, subtle shaping and an organist […] who knows exactly how long to hold a note. […] Buy it!
Early Music Review, Februar 2012
Schützens Trauergesänge sind Teil einer Gesamteinspielung mit dem Dresdner Kammerchor sowie ausgezeichneten Gesangssolisten unter Leitung von Hans-Christoph Rademann. Das Ergebnis stimmt alles andere als traurig. Denn die Dresdner machen nach den Kriterien der historischen Aufführungspraxis alles richtig. Besonders beeindruckend die organischen Wechsel zwischen Chor und Gesangssolisten.
Mannheimer Morgen, 1. Dezember 2011
Neben einer auch von den Solisten stimmig getragenen beispielhaften Interpretation der "Musikalischen Exequien" sind es vor allem vier von fünf weiteren Trauergesängen, die die Aufnahme besonder machen, handelt es sich doch um bislang nicht eingespielte Werke. Der Kammerchor brilliert in der Super-Audio-Aufnahme mit reiner Klangschönheit, die Deutung betont Zuversicht.
Dresdner Neue Nachrichten, 12. Dezember 2011
Klanglich bleiben bei dieser hybriden SACD keine Wünsche offen: Exquisit erwärmt, zugleich konturstark und in expliziter Staffelung realisiert, gelingt vor allem eine schöne Balance von Chor und Soli. […] Ein diskographisches Schwergewicht ist die Platte […] allemal – natürlich wegen der Qualität ihrer Interpretation, vor allem aber, weil die Musikalischen Exequien mit teils erstmals eingespielten Kompositionen programmatisch schlüssig gerundet wurden.
Dr. Matthias Lange, klassik.com, 23. November 2011
In der tiefen Interpretation des Ensembles erweist sich Schütz einmal mehr als der Großmeister der Verknüpfung von biblischem Wort und musikalischer Rhetorik. Die dritte CD einer geplanten Gesamteinspielung schließt an die beiden vorangegangenen auf einem Niveau an, das die Reihe wohl zur neuen Referenz-Einspielung machen wird. Eine solche Aufnahme macht neugierig auf mehr.
Michael Klein, Glaube und Heimat - Mitteldeutsche Kirchenzeitung, 13. November 2011
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