Felix Mendelssohn Bartholdy: Magnificat. Kirchenwerke VIII (Bernius) - CD, Choir Coach, multimedia | Carus-Verlag

Felix Mendelssohn Bartholdy Magnificat. Kirchenwerke VIII (Bernius)

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The continuation of the Carus Mendelssohn series: The Magnificat and Gloria, written in 1822, are Mendelssohn’s first large-scale works which he composed for reasons other than study purposes. The influence of the intense cultivation of Bach by his teacher, Carl Friedrich Zelter, and the Berlin Sing-Akademie are clearly evident, as in the later chorale cantatas. The masterful 19-voice motet, Tu es Petrus, which Mendelssohn gave his sister as a birthday present, he had planned to publish as his very first sacred work. Frieder Bernius and the Kammerchor Stuttgart present a further addition to their model, prizewinning CD series of Mendelssohn’s complete sacred works.
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  • We all believe in one true God
  • Magnificat
  • Quia respexit
  • Et misericordia
  • Fecit potentiam, Aria
  • Deposuit potentes
  • Gloria Patri
  • Sicut erat, Fuga
  • Jesu, thou my pleasure
  • Tu es Petrus
  • Wir glauben auch an Jesum Christ
  • Wir glauben an den Heilgen Geist
  • Gloria
  • Laudamus te
  • Gratias agimus tibi
  • Domine Deus
  • Qui tollis
  • Quoniam
more
Additional material
  • 1. Wir glauben all an einen Gott

    Wir glauben all an einen Gott,
    Schöpfer Himmels und der Erden,
    der sich zum Vater geben hat,
    dass wir seine Kinder werden.
    Er will uns allzeit ernähren,
    Leib und Seel auch wohl bewahren;
    allem Unfall will er wehren,
    kein Leid soll uns widerfahren;
    er sorget für uns, hüt‘ und wacht,
    es steht alles in seiner Macht.

    2. Wir glauben auch an Jesum Christ

    Wir glauben auch an Jesum Christ,
    seinen Sohn und unsern Herren,
    der ewig bei dem Vater ist,
    gleicher Gott von Macht und Ehren;
    von Maria, der Jungfrauen,
    ist ein wahrer Mensch geboren
    durch den Heilgen Geist im Glauben;
    für uns, die wir warn verloren,

    ...
  • 1. We all believe in one true God

    We all believe in one true God,
    maker of the earth and heaven,
    who is our Father and our Lord,
    that we may be called his children.
    He will at all times sustain us.
    Soul and body’s watchful guardian
    from all evil will defend us,
    that sorrow have no dominion;
    and keep us in his love and care,
    for all creatures are in his power.

    2. And we believe in Jesus Christ

    And we believe in Jesus Christ,
    his own son and our Redeemer,
    who dwells with God the Father blest,
    like to him in power and honor,
    who of Mary, virgin lowly,
    as true man was born among us
    by god’s spririt, hope most holy,
    redemption from sin to bring us,

    ...
  • Texte du livret du CD Carus 83.216

    Thomas Schmidt-Beste
    Traduction (abrégée) : Sylvie Coquillat

    À partir de 1820, Félix Mendelssohn Bartholdy, alors âgé de onze ans, suit les cours de composition de Carl Friedrich Zelter, chef de la Singakademie de Berlin. La méthode d’enseignement favorite est dès le début l’étude et l'imitation créative de compositeurs et d’œuvres considérés comme exemplaires ; un parti pris naturellement logique pour la musique sacrée, étant donné que les genres correspondants étaient de toute manière plus étroitement liés à la tradition que les genres « modernes » comme le quatuor à cordes ou la symphonie. Rappelons que Mozart avait déjà étudié Haendel et Bach, et que le début du 19ème siècle est en général une époque de retour historique à la musique sacrée « ancienne ». Le contrepoint rigoureux était resté quoi qu’il en soit un élément indispensable de la polyphonie vocale. Rien d’étonnant donc au fait de trouver aussi des

    ...
  • Text from the CD Carus 83.216

    Thomas Schmidt-Beste
    Translation (abridged): Elizabeth Robinson

    Beginning in 1820, when he was eleven years old, Felix Mendelssohn Bartholdy received composition lessons from the director of the Berlin Singakademie, Carl Friedrich Zelter. From the beginning, the preferred method of teaching was the study and creative imitation of composers and works considered exemplary; for sacred music, the links to the relevant forms of the tradition were much closer than with the “modern” genres such as the string quartet or symphony. After all, Mozart had immersed himself in the works of Handel and Bach, and the early 19th century is generally regarded as the period of historical reassessment of “early” church music. And it goes without saying that strict counterpoint had always remained an essential component of vocal polyphony. So it is not surprising that sacred works were amongst the earliest independent

    ...
  • Booklet-Text der CD Carus 83.216

    Thomas Schmidt-Beste

    Seit 1820 erhielt der zu diesem Zeitpunkt elfjährige Felix Mendelssohn Bartholdy Kompositionsunterricht bei dem Leiter der Berliner Singakademie, Carl Friedrich Zelter. Die bevorzugte Lehrmethode war von Anfang an das Studium und die kreative Nachahmung von als vorbildhaft verstandenen Komponisten und Werken; für die geistliche Musik lag dies natürlich besonders nahe, da die entsprechenden Gattungen der Tradition ohnehin weit enger verbunden waren als die ‚modernen’ Genres, etwa Streichquartett oder Sinfonie. Immerhin hatte sich schon Mozart mit Händel und Bach befasst, und das frühe 19. Jahrhundert ist generell die Zeit der historistischen Rückbesinnung auf ‚alte’ Kirchenmusik – nicht nur die Händels und Bachs, sondern auch die noch weiter zurückliegender Epochen, bis hin zu Giovanni Pierlugi da Palestrina und Tomás Luis de Victoria. Und der strenge Kontrapunkt war

    ...
  • 1. Coro

    Glory be to God on high and on earth peace to men of good will.

    2. Soli SAT, Coro

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

    3. Soli SSATB

    We give thee thanks for thy great glory.

    4. Soli AT, Coro

    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.

    5. Coro

    Thou who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of

    ...
  • 1. Coro

    Ehre sei Gott in der Höhe und Friede auf Erden den Menschen, die guten Willens sind.

    2. Soli SAT, Coro

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

    3. Soli SSATB

    Wir danken, dir, denn groß ist deine Herrlichkeit.

    4. Soli AT, Coro

    Herr und Gott, König des Himmels, Gott und Vater, Herrscher über das All, Herr, eingeborener Sohn, Jesus Christus. Herr und Gott, Lamm Gottes, Sohn des Vaters,

    5. Coro

    Du nimmst hinweg die Sünden der Welt, erbarme dich unser, du nimmst hinweg die Sünden

    ...
  • 1. Gloria (Coro)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.

    2. Laudamus te (Soli SAT, Coro)

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

    3. Gratias agimus tibi (Soli SSATB)

    Gratias agimus tibi propter magnam gloriam tuam.

    4. Domine (Soli AT, Coro)

    Domine Deus, Rex caelestis,
    Deus Pater omnipotens.
    Domine Fili unigenite, Jesu Christe.
    Domine Deus, Agnus Dei, Filius Patris.

    5. Qui tollis (Coro)

    Qui tollis peccata mundi, miserere nobis.

    ...
  • 1. Coro

    All my spirit exalts the Lord,
    and I sing joyously to my God,
    my own Saviour.

    2. Solo S, Coro SSA

    For he hath regarded
    the humility of his handmaid:
    for behold from henceforth all generations
    shall call me blessed.
    Because he that is mighty
    hath done great things to me,
    and holy is his name.

    3. Coro

    And his mercy is from
    generations unto generations,
    to them that fear him.

    4. Aria (Solo B)

    He hath shewed might in his arm
    and he hath scattered the proud
    in the conceit of their heart.

    ...
  • 1. Coro

    Meine Seele erhebt den Herrn,
    und mein Geist freuet sich Gottes,
    meines Heilandes.

    2. Solo S, Coro SSA

    Denn er hat die Niedrigkeit
    seiner Magd angesehen.
    Siehe von nun an werden mich selig preisen
    alle Kindeskinder.
    Denn er hat große Dinge an mir getan,
    der da mächtig
    und des Name heilig ist.

    3. Coro

    Und seine Barmherzigkeit
    währet immer für und für
    bei denen, die ihn fürchten.

    4. Aria (Solo B)

    Er übet Gewalt mit seinem Arm
    und zerstreut, die hoffärtig sind
    in ihres Herzens Sinn.

    ...
  • 1. Coro

    Magnificat anima mea Dominum.
    Et exsultavit spiritus meus
    in Deo salutari meo.

    2. Solo S, Coro SSA

    Quia respexit
    humilitatem ancillae suae.
    Ecce enim ex hoc beatam
    me dicent omnes generationes.
    Quia fecit mihi magna
    qui potens est:
    et sanctum nomen eius.

    3. Coro

    Et misericordia eius
    a progenie in progenies
    timentibus eum.

    4. Aria (Solo B)

    Fecit potentiam in brachio suo:
    dispersit superbos
    mente cordis sui.

    ...
more
Purchase
Compact Disc, SACD Carus 83.216/00, EAN 4009350832169 CD, digipac
available
19,90 € / copy
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Deutsche Kammerphilharmonie Bremen is one of the world's leading orchestras, captivating audiences everywhere with its unique style of music-making. The Estonian conductor Paavo Järvi has been the orchestra's Artistic Director since 2004.


    One of the many highlights of the collaboration with Paavo Järvi has been their Beethoven Project, on which conductor and orchestra concentrated for six years. Their Beethoven interpretations have been acclaimed worldwide by audiences and critics alike as benchmark performances. Following the Beethoven Project The Deutsche Kammerphilharmonie Bremen and Paavo Järvi focused on Robert Schumann's symphonic works with equal success.
    The latest project of the orchestra and its conductor is the German composer Johannes Brahms. The first CD (Sony/RCA) of the project – Symphony No. 2, Tragic Ouverture and the Academic Festi-val Ouverture – was released in autumn 2017 and received the Opus Klassik in October 2018. The second CD, including Symphony No. 1 and the Haydn-Variations, followed in autumn 2018. With the third and fourth Symphony, released in March 2019, the symphony cycle has come to completion.
    Highlight of the project was the internationally acclaimed performance of ›A German Requiem‹ on the 10th of April 2018 at Bremen Cathedral, 150 years after the first performance. The recording has now been released on DVD and Blu-ray by C-Major. In October 2019, ›The Brahms Code‹ – an excit-ing TV/DVD documentary about the Brahms Project produced by Deutsche Welle/Unitel – was re-leased and is the current German Record Critics' Award winner in the category music film (listed 1/20).


    The Deutsche Kammerphilharmonie Bremen has been honoured with countless prizes such as Echo, Opus and Diapason d'Or for its recordings and the unique education project with the Gesamtschule Bremen-Ost in Osterholz-Tenever, the Zukunftslabor. For years, the orchestra has cultivated close musical friendships with international soloists such as Christian Tetzlaff, Maria João Pires, Janine Jansen, Igor Levit, Hilary Hahn and Martin Grubinger.


    The Deutsche Kammerphilharmonie Bremen is permanent guest orchestra at the Elbphilharmonie Hamburg and Festival Orchestra of Kissinger Sommer. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Whether Baroque or contemporary music, Lieder or opera, the soprano Andrea Lauren Brown is equally convincing through the brilliant lightness of her interpretations. She made her operatic debut at the age of seventeen in Libby Larsen’s A Wrinkle in Time. This was followed by studies at West Chester University, Pennsylvania, Westminster Choir College in Princeton, New Jersey and at the Mozarteum in Salzburg. Winner of numerous prizes, in Europe she has given guest performances at the Theater an der Wien, the Festspielhaus Baden-Baden, at the Schwetzingen and Ludwigsburg Festivals, Spoleto Festival and Schumann Festival in Düsseldorf. Personal details
  • Werner Güra studied at the Salzburg Mozarteum. He continued his vocal training with Kurt Widmer in Basle and Margreet Honig in Amsterdam. He has appeared as a guest singer in operas in Frankfurt, Basle, Dresden, Paris and Brussels, and has sung regularly at the Staatsoper in Berlin since 1999. As a concert and oratorio singer he frequently appears with leading orchestras and renowned conductors. He has made a number of tours to Japan. Werner Güra also has a reputation as a Lied interpreter, which is reflected in concerts for international promoters and in his numerous recordings, which have won prestigious awards like the “Diapason d’Or.” Personal details

Reviews

... Dank der perfekten Ausgeglichenheit der Chor- und Solostimmen erleben wir die Chorsätze 'Magnificat', 'Jesu meine Freude', 'Tu es Petrus', 'Wir glauben all an einen Gott' und 'Gloria' in einer wunderbaren, kammermusikalischen Geschlossenheit.
pizzicato, 1/2009

 

 

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