Johann Sebastian Bach: B minor Mass - CD, Choir Coach, multimedia | Carus-Verlag

Johann Sebastian Bach B minor Mass

BWV 232 (BWV3 232.4)

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The Mass in B minor by Johann Sebastian Bach is one of the central sacred vocal compositions in the history of music. Hans-Christoph Rademann has now devoted his first CD as director of the Internationale Bachakademie Stuttgart to this outstanding work and, together with the Gächinger Kantorei Stuttgart and the Freiburger Barockorchester as well as renowned soloists in the field of historically informed performance practice, has set new artistic standards.

Although the Mass in B minor is one of Johann Sebastian Bach’s most frequently performed vocal works, it continues to present performers and scientists with new enigmas and problems. This applies not only to the still unanswered question of why Bach composed but never performed this work, but also continues to the core of the musical text. Until his death, Bach himself repeatedly revised his Opus ultimum without ever leaving a final version. Directly after his death, the original manuscript was massively changed by his son Carl Philipp Emanuel; changes which, until today, pose many questions to researchers.

The present new recording rigorously follows – in the Kyrie and Gloria – Bach’s own meticulously configured “Dresdner Stimmen” [Dresden parts] and is thereby based, for the first time, exclusively on the musical text that emanated from Johann Sebastian Bach’s pen. Furthermore, additional movements with marked deviations from today’s familiar version have been made accessible as variants in the bonus material. The recording is based upon the new edition by the renowned Bach and Mozart scholar Ulrich Leisinger in cooperation with the Staatsbibliothek zu Berlin and the Bach-Archiv Leipzig, who also prepared the introduction in the CD booklet.

This Deluxe version contains, in addition to the CDs and a comprehensive booklet, a bonus DVD with additional material:
- Film: Bach’s Secret Legacy. Hans-Christoph Rademann in search of the true B-minor Mass
- Live Concert Recording: „Kyrie eleison I“, live in the Beethovensaal, Liederhalle Stuttgart (31 January 2015)
- Bach’s Manuscript: The “Dresden Parts“ of 1733 in PDF format

 

 Awarded the Preis der deutschen Schallplattenkritik

 

Awarded the Pizzicato Supersonic Award

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  • Purchase the work as a CD or download.
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Gloria in excelsis Deo
  • Et in terra pax
  • Laudamus te
  • Gratias agimus tibi
  • Domine Deus
  • Qui tollis
  • Qui sedes
  • Quoniam tu solus Sanctus
  • Cum Sancto Spiritu
  • Credo in unum Deum
  • Patrem omnipotentem
  • Et in unum Dominum
  • Et incarnatus est
  • Crucifixus
  • Et resurrexit
  • Et in Spiritum Sanctum
  • Confiteor
  • Et exspecto
  • Sanctus / Pleni sunt
  • Osanna
  • Benedictus
  • Osanna
  • Agnus Dei
  • Dona nobis pacem
more
Practise
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie eleison I (Choir Coach, soprano 1)
    • Kyrie eleison I (Choir Coach, soprano 2)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach, soprano 1)
    • Gloria in excelsis Deo (Choir Coach, soprano 2)
    • Et in terra pax (Choir Coach, soprano 1)
    • Et in terra pax (Choir Coach, soprano 2)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach, soprano 1)
    • Cum Sancto Spiritu (Choir Coach, soprano 2)
    • Credo in unum Deum (Choir Coach, soprano 1)
    • Credo in unum Deum (Choir Coach, soprano 2)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach, soprano 1)
    • Et incarnatus est (Choir Coach, soprano 2)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach, soprano 1)
    • Et resurrexit (Choir Coach, soprano 2)
    • Confiteor (Choir Coach, soprano 1)
    • Confiteor (Choir Coach, soprano 2)
    • Et exspecto (Choir Coach, soprano 1)
    • Et exspecto (Choir Coach, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, soprano 2)
    • Osanna (Choir Coach, soprano 1)
    • Osanna (Choir Coach, soprano 2)
    • Dona nobis pacem (Choir Coach)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode, soprano 1)
    • Gloria in excelsis Deo (Choir Coach, Slow mode, soprano 2)
    • Et in terra pax (Choir Coach, Slow mode, soprano 1)
    • Et in terra pax (Choir Coach, Slow mode, soprano 2)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode, soprano 1)
    • Cum Sancto Spiritu (Choir Coach, Slow mode, soprano 2)
    • Credo in unum Deum (Choir Coach, Slow mode, soprano 1)
    • Credo in unum Deum (Choir Coach, Slow mode, soprano 2)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode, soprano 1)
    • Et resurrexit (Choir Coach, Slow mode, soprano 2)
    • Confiteor (Choir Coach, Slow mode, soprano 1)
    • Confiteor (Choir Coach, Slow mode, soprano 2)
    • Et exspecto (Choir Coach, Slow mode, soprano 1)
    • Et exspecto (Choir Coach, Slow mode, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 2)
    • Osanna (Choir Coach, Slow mode, soprano 1)
    • Osanna (Choir Coach, Slow mode, soprano 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Et in terra pax (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Alto 2)
    • Sanctus / Pleni sunt (Choir Coach, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Alto 2)
    • Osanna (Choir Coach, Alto 1)
    • Osanna (Choir Coach, Alto 2)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 2)
    • Osanna (Choir Coach, Slow mode, Alto 1)
    • Osanna (Choir Coach, Slow mode, Alto 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Et in terra pax (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Osanna (Choir Coach, Tenore 1)
    • Osanna (Choir Coach, Tenore 2)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Osanna (Choir Coach, Slow mode, Tenore 1)
    • Osanna (Choir Coach, Slow mode, Tenore 2)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Osanna (Choir Coach, Basso 1)
    • Osanna (Choir Coach, Basso 2)
    • Dona nobis pacem (Choir Coach)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Osanna (Choir Coach, Slow mode, Basso 1)
    • Osanna (Choir Coach, Slow mode, Basso 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
more
Additional material
  • Purchase additional material as a download product.
  • I. Missa

    Kyrie

    1. Coro

    Lord, have mercy on us.

    2. Soprano & Alto

    Christ, have mercy on us.

    3. Coro

    Lord, have mercy on us.

    Gloria

    4a. Coro

    Glory be to God on high.

    4b. Coro

    And on earth peace to men of good will.

    5. Soprano

    We praise thee; we bless thee; we adore thee; we glorify thee.

    6. Coro

    We give thee thanks for thy great glory.

    7a. Soprano & Tenore

    Lord God, heavenly King, God the almighty Father.
    O Lord, the only-begotten Son, Jesus Christ,
    O Lord God, Lamb of God, Son of the Father.

    7b. Coro

    ...
  • I. Missa

    Kyrie

    1. Coro

    Herr, erbarme dich unser.

    2. Soprano & Alto

    Christus, erbarme dich unser.

    3. Coro

    Herr, erbarme dich unser.

    Gloria

    4a. Coro

    Ehre sei Gott in der Höhe.

    4b. Coro

    Und Friede auf Erden den Menschen, die guten Willens sind.

    5. Soprano

    Wir loben dich, wir preisen dich,
    wir beten dich an, wir rühmen dich.

    6. Coro

    Wir danken dir,
    ...
  • I. Missa

    Kyrie

    1. Coro

    Kyrie eleison.

    2. Soprano & Alto

    Christe eleison.

    3. Coro

    Kyrie eleison.

    Gloria

    4a. Coro

    Gloria in excelsis Deo.

    4b. Coro

    Et in terra pax hominibus bonae voluntatis.

    5. Soprano

    Laudamus te, benedicimus te, adoramus te, glorificamus te.

    6. Coro

    Gratias agimus tibi propter magnam gloriam tuam.

    7a. Soprano & Tenore

    Domine Deus, Rex caelestis,
    ...
  • Text from the CD Carus 83.314

    Ulrich Leisinger
    Translation (abridged): J. Bradford Robinson, David Kosviner

    The idea of an autonomous work of art that has governed discussions of art ever since the nineteenth century was alien to Johann Sebastian Bach and his contemporaries. Almost all of Bach’s compositions were written for external occasions, whether in fulfillment of his duties as concert- and chapel-master or to meet the needs of his lessons. Remarkably, however, he returned to some of his works again and again over long periods of time. Some of the alterations he made went far beyond what was necessary for a simple revival, suggesting that he was intent on putting these works into a “definitive”shape.

    The circumstances surrounding the Mass in B minor BWV 232, to use the name we give it today (Carl Philipp Emanuel Bach called it “the great Catholic Mass” to distinguish it from his father’s Kyrie-Gloria Masses, BWV 233–236), are especially complex. Its genesis was spread over a period of more than fifteen years, and the work, though finished at the time of Bach’s death (on 28 July 1750), still awaited a final revision to put it into performable condition. Despite

    ...
  • Booklet-Text der CD Carus 83.314

    Ulrich Leisinger

    Die Idee des autonomen Kunstwerks, die die Diskussion von Kunst seit dem 19. Jahrhundert bestimmt, war Johann Sebastian Bach und seinen Zeitgenossen fremd. Nahezu alle Kompositionen Bachs sind auf äußere Veranlassung hin entstanden, sei es aus seinen Dienstpflichten als Konzert- und Kapellmeister oder aus der Notwendigkeit des Unterrichts heraus. Bemerkenswert ist aber, dass er sich mit einigen seiner Werke über größere Zeiträume immer wieder auseinandergesetzt hat. Die Eingriffe, die er dabei vornahm, gingen zum Teil deutlich über das hinaus, was für eine bloße Wiederaufführung notwendig gewesen wäre, und lassen ein Bemühen erkennen, eine „endgültige“ Werkgestalt zu schaffen.

    Besonders komplex sind die Verhältnisse bei der h-Moll-Messe BWV 232, wie wir sie heute nennen (Carl Philipp Emanuel Bach nannte sie in Abgrenzung von den Kyrie-Gloria-Messen BWV 233–236 „die große catholische Messe“), denn ihre Entstehungsgeschichte erstreckt sich über einen Zeitraum von mehr als 15 Jahren, und das Werk war zum Zeitpunkt des Todes von Johann Sebastian Bach am 28. Juli 1750 zwar

    ...
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Purchase
Compact Disc, 2CDS+DVD Carus 83.315/00, EAN 4009350833159 DVD
available
34,90 € / copy
  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

    Bach vocal

    Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
  • The Freiburger Barockorchester (Freiburg Baroque Orchestra, FBO) can look back on a success story lasting over 25 years: From student beginnings, within a few years an internationally-recognized orchestra developed which now performs regularly at leading concert halls and opera houses. Since May 2012 the “Freiburger”, together with their colleagues from ensemble recherche, have been able to enjoy an internationally unique home: the Ensemblehaus Freiburg, a music workshop and think tank for two top ensembles in the early and contemporary music scene under one roof. The FBO continuously collaborates with important artists such as René Jacobs, Andreas Staier, Jean-Guihen Queyras, Isabelle Faust, Kristian Bezuidenhout, Christian Gerhaher, and Pablo Heras-Casado. The artistic success of these musical partnerships is manifested in numerous CD productions and the receipt of prominent awards, such as the ECHO Classical German Music Prize 2011, 2012, 2013, and 2014, the Edison Classical Music Award 2012 and 2013, the Gramophone Award 2011 and 2012, as well as the Jahrespreis der Deutschen Schallplattenkritik 2009. Under the artistic directorship of its two concert-masters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents itself with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a selfadministrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world. Personal details
  • Since August 2013, the Gächinger Kantorei Stuttgart has been under the artistic direction of Hans-Christoph Rademann, the director of the Internationale Bachakademie Stuttgart. Under the patronage of the Bachakademie, the choir plays a decisive role in a wide range of concerts, guest performances and recordings for both radio and CD. The center of the choir’s activities consists, in addition to its manifold activities in the MUSI KFEST UTT GART , of a large concert series with oratorio programs ranging from Schütz to commissioned contemporary works. The interpretation of vocal works by Johann Sebastian Bach has always been a special focus of the choir. The Gächinger Kantorei Stuttgart, which is named after a small village in the Swabian Alb and was founded by Helmuth Rilling in 1954, has ranked as one of the outstanding concert choirs of the world for decades. In addition to regular performances with its partner ensemble, the Bach-Collegium Stuttgart, the choir frequently works together with orchestras such as the Vienna Philharmonic, the New York Philharmonic and the Israel Philharmonic. It also has a particularly close relationship with the Stuttgart Radio Symphony Orchestra of the SWR. The choir is regularly conducted by guest conductors such as Masaaki Suzuki, Krzysztof Penderecki, Alexander Liebreich and Sir Roger Norrington. Guest performances have led the ensemble to, among others, China and Latin America, as well as to the large festivals Salzburg, Lucerne, Prague, New York, Paris, London, Vienna and Seoul. The choir has recorded hundreds of CDs which include Bach’s complete vocal works, diverse 18th century oratorios as well as several world premieres including works by Penderecki, Pärt and Rihm. Personal details
  • Conductor 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
  • Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes all over the world. In addition to engagements with, among others, the English National Opera, the Glyndebourne Festival, the Boston Early Music Festival, the Opéra de Paris, the Opéra de Lille, the Opéra de Montpellier as well as the Opéra National du Rhin, she has sung concerts, among others at the BBC Proms. In Europe her many appearances have included concerts with the Royal Concertgebouw Orchestra, The English Concert, Freiburg Baroque Orchestra, Symphony Orchestra of the Bayerischer Rundfunk, WDR Symphony Orchestra, Vienna Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and the Leipzig Gewandhaus Orchestra. In the US Carolyn Sampson has featured as soloist with San Francisco Symphony, Detroit Symphony Orchestra, St Paul Chamber Orchestra and Philadelphia Orchestra. Her many recordings include a highly-acclaimed CD of Stravinsky’s Les Noces and Mass. Her recording of Purcell songs was selected as Editor’s Choice in the December 2007 issue of Gramophone Magazine, as was her first recital CD, Fleurs, in May 2015. Personal details
  • Anke Vondung was born in Speyer and studied with Professor Rudolf Piernay at the Mannheim University of Music and Performing Arts. She was an ensemble member at the Tiroler Landestheater in Innsbruck from the 1999/2000 season until the end of the 2001/02 season where she sang the central roles of her voice type. This was followed by guest appearances, among others, at the Théâtre du Châtelet Paris, the Bayerische Staatsoper Munich, the Salzburg Festival and the Mozart Week Salzburg, the Opéra Bastille Paris, the Grand Théâtre de Genève, the Glyndebourne Festival, the Nederlandse Opera Amsterdam, the Staatsoper Berlin, the San Diego Opera, the Munich Opera Festival, the Flanders Festival as well as the Hamburg State Opera. She gave her debut at the Metropolitan Opera New York in October 2007 singing Cherubino in Le nozze di Figaro, where she later also sang in Mozart’s La clemenza di Tito. She was an ensemble member of the Saxon State Opera Dresden for the seasons from 2003/04 to 2005/06, and has remained closely connected with the opera house as a guest artist. As a concert and lied singer, Anke Vondung has performed with renowned orchestras under conductors such as James Conlon, Helmuth Rilling, Sir Roger Norrington, Philippe Herreweghe, Edo de Waart, Kent Nagano, Peter Schreier, Dietrich Fischer-Dieskau, James Levine, Marek Janowski, Alexander Shelley, Enoch zu Guttenberg, Hans-Christoph Rademann and Jeffrey Tate. Personal details
  • The Austrian tenor Daniel Johannsen is one of the most sought-after Evangelists and Bach interpreters of his generation. After studying church music, he studied singing with Margit Klaushofer and Robert Holl in Vienna; he participated in master classes with Dietrich Fischer-Dieskau, Nicolai Gedda as well as Christa Ludwig, and he has been awarded prizes in the Bach, Schumann, Mozart, Hilde Zadek und Wigmore Hall competitions. Since his debut in 1998, he has performed as a concert, lied and opera singer – with works from all periods – in the large music centers of Europe, North America, Japan and the Middle East. Daniel Johannsen has performed at numerous festivals (Styriarte Graz, Salzburger Festspiele, Israel Festival, La Folle Journée, Bachfest Leipzig); he has performed under the direction of notable conductors such as Sir Neville Marriner, Trevor Pinnock, Bertrand de Billy and Enoch zu Guttenberg. Lied recitals form the main focus of his activity, and he has collaborated with pianists such as Graham Johnson, Charles Spencer und Helmut Deutsch. Numerous CDs, some of which have been awarded prizes, as well radio and television recordings attest to his artistic activities. Personal details
  • Tobias Berndt began his musical education in the Dresden Kreuzchor. He studied with Christian Polster in Leipzig and continued his training with Rudolf Piernay in Mannheim. He also studied with Dietrich Fischer-Dieskau and Thomas Quasthoff. He was a laureate in numerous renowned singing competitions, winning – among others – the International Das Lied Competition in Berlin, the International Brahms Competition and the Cantilena Singing Competition. Tobias Berndt has also established himself abroad as an opera and concert singer. He has collaborated with conductors such as Philippe Herreweghe, Helmuth Rilling, Frieder Bernius, Teodor Currentzis, Marcus Creed, Hans-Christoph Rademann, Andrea Marcon, Marek Janowski and Sir Roger Norrington and has performed at the Berliner Philharmonie, the Tonhalle in Zurich, the Concertgebouw Amsterdam, the Leipzig Gewandhaus, the Tchaikovsky Concert Hall in Moscow, the Teatro Colon in Buenos Aires and at Lincoln Center in New York. He has also performed at important festivals such as the Prague Spring, the Rheingau Musik Festival, the Händel Festivals in Göttingen und Halle, the Bachfest Leipzig, the Oregon Bach Festival and the International Music Festival in Peking. An extensive discography attests to his versatile artistic activities. Personal details

Reviews

Bach, Messe h-Moll

Mind you, that quartet (Carolyn Sampson, Anke Vondung, Daniel Johannsen, Tobias Berndt) is first-class.
Howard Dyck, The Music Times, Juli/August 2017

Het is een boeiende en hoogst muzikale vertoling geworden die op deze cd's en dvd is vastgelegd.
Es ist eine packende und höchst musikalische Aufnahme geworden, die auf diesen CDs und der DVD festgehalten wird.
Maarten Seijbel, Januar 2017

[U]ne lecture sereine, refusant la virtuosité et parfois l'expression au profit des lignes et des équilibres.
Eine ausgeglichene Lesart, die die Virtuosität und gelegentlich den Ausdruck zugunsten der Bögen und der Ausgeglichenheit zurückstellt.
Jean-Charles Hoffelé, Clic Musique !, Oktober 2016

The performance sparkles across the two CDs due to well-chosen tempi, soloists who achieve expressivity within virtuosity, and clear attention to detail.
John C. Hughes Ripon, CHORAL JOURNAL, September 2016

Die Audio-Doppel-CD der Kassette mit der Gächinger Kantorei, erstklassigen Solostimmen und dem Freiburger Barockorchester beschreibt die derzeitige Entwicklung der Bachakademie Stuttgart.
Württembergische Blätter für Kirchenmusik, 3/2016

Ans Spirituelle gemahnen diese Temperamentschübe durch die schlackenlose, vital konturierte, himmlisch balancierte Vielstimmigkeit der Jubilationen: Das dröhnt nicht, sondern schwebt, auch im wahrhaft seraphischen Sanctus.
Martin Mezger, Esslinger Zeitung, Ostern 2016

Der Grund, diese Aufnahme anzuhören, ist [...] die exquisite Interpretation, die durch ungewöhnlich dichten Klang ebenso besticht wie durch die wunderbare Balance der Tempi.
Klemens Hippel, Concerti, März 2015

Die Gächinger Kantorei lockert >Gratias< beziehungsweise >Dona nobis pacem< durch zügiges Tempo auf, auch bei großer Lautstärke hat der Klang noch Wärme. [...] Die [...] Gesangssolisten überzeugen durchweg.
Christine Lanz, Concerto März/April 2016

Das Freiburger Barockorchester ist Impulsgeber und Farbenspender. Und verbindet sich mit der Gächinger Kantorei zu einem vielschichtigen Klangkörper, der Bachs musikalischen Reichtum...zum Klingen bringt.
Georg Rudiger, klassikinfo.de, 01/2016

Die Musiker des Freiburger Barockorchesters sind ideale Partner für Rademanns... vitalen, sensiblen Ansatz...Die grandiose Darbietung lässt Bachs kunstvolle Polyphonie in ihrem ganzen Klangreichtum aufblühen.
Werner M. Grimmel, Schwäbische Zeitung, 28.12.2015

... Doch hat diese Einspielung mehr als nur großen musikhistorischen Reiz, was am zügigen Dirigat Rademanns liegt, an der Durchsichtigkeit und Detailgenauigkeit seines Zugriffs wie auch an der klanglichen und rhythmisch-tänzerischen Feinarbeit, die er mit seinem Chor und mit dem Freiburger Barockorchester leistet ...
Susanne Benda, aus der Begründung der Jury des Preises der deutschen Schallplattenkritik, Bestenliste 4-2015

Die CD ... dokumentiert, wie das Außergewöhnliche zur Norm erhoben, das Schwere leicht wird. Wunderbar!
Johannes Adam, Badische Zeitung, 14.11.2015

Hans Christoph Rademann ... setzt zusammen mit der Gächinger Kantorei Stuttgart, dem Freiburger Barockorchester sowie renommierten Solisten ... in künstlerischer Hinsicht neue Maßstäbe.
Bernhard Blattmann, CLASS:aktuell, 03/2015

Sehr fein singt das Solistenquartett ..., Chor und Orchester sind profund geschult, um die hohen Anforderungen des Werkes umzusetzen ...
Gustav Danzinger, CHOR aktuell, 09.2015

El presente disco es una joya musical de incalculable valor. Si buscan ustedes la versión referencial de la Misa en Si menor de Bach, no le den más vueltas: aquí la tienen.
"Dieses Album ist ein musikalisches Juwel von unschätzbarem Wert. Wenn Sie die Referenzaufnahme der h-Moll Messe von Bach suchen, müssen Sie nicht weitersuchen: Hier ist sie."
Eduardo Torrico, elartedelafuga.com, 12.08.2015

Der Dirigent verpasst der nach lateinischem Ritus verfassten Messe reformatorische Schlichtheit. Er setzt auf einen dezenten, schlanken Klang, auf die innere Spannung der Musik, die in keinem Moment nachlässt. Chor, Solisten und Orchester musizieren in beispielhafter Klarheit, mit Noblesse und viel Einfühlungsvermögen. Die Feierlichkeit dieser h-Moll-Messe erhält ihren strahlenden Glanz allein durch die wahrhafte Verinnerlichung des musikalischen Vortrages.
Guy Engels, pizzicato.lu, 17.08.2015

 

... Rademanns Bach ist weder überspannt noch romantisch überrhetorisch gestaltet, sondern vereint unterschiedliche Haltungen zu einem konzisen Ganzen - eine zeitgemässe Balance.
Neue Zürcher Zeitung, 07.08.2015

 

... I think anyone acquiring this new Carus set will find it both enjoyable and rewarding; it's also very thorough in its approach. The performance is very fine and has been well recorded. ...
John Quinn, www.musicweb-international.com

Zum Beginn das Schwerste: Mit Bachs h-Moll-Messe setzt Hans-Christoph Rademann, Nachfolger Helmuth Rillings bei der Gächinger Kantorei, ein mächtiges Zeichen. ... Hörenswert.
Oberbayerisches Volksblatt, 05.08.2015

 

Weil aber Rademann ein strenges Originalklang-Dogma vermeidet, weitet er die Perspektive, was sich gerade in der Wahl der Tempi äußert – mal straffer, dann wieder gedehnter.
Marco Frei, Fono Forum, 07.2015

 

... er [Rademann] hüllt die neuen Noten in ein neues klingendes Gewand. Das aber ist mitnichten akademisch, sondern drängend, schwingend, mitunter sogar explosiv.
Wolfram Goertz, Rheinpfalz, 08.07.2015

 

... eine Interpretation mit vielen packenden Überraschungen und eine mit extrem beredter und differenzierter Phrasierung. Sie gewinnt dem bekannten Werk neue Dimensionen ab.
Karl Georg Berg, Ludwigshafener Rundschau, 11.07.2015

Als neuer Leiter der Bach-Akademie Stuttgart ist Hans-Christoph Rademann mit dieser Einspielung der h-Moll-Messe ein grandioser Einstand gelungen.
Bernhard Schrammek, rbb kulturradio, 29.06.2015

Geht es besser? Vom Chor? Vom Orchester? Von den Solisten? Schwer! Bachs Messe in h-Moll liegt hier in einer exzellenten Aufnahme vor ...
Mannheimer Morgen, 29.06.2015


 

 

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