Heinrich Schütz: Christmas History. Complete recording, vol. 10 - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Christmas History. Complete recording, vol. 10

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The tenth volume of the recording of Schütz’s complete works presents the Weihnachtshistorie SWV 435 (Christmas History). The well-known Christmas History is supplemented with additional pieces for the Christmas season, including the Magnificat SWV 468. Under the direction of Hans-Christoph Rademann, the Dresdner Kammerchor and the Dresdner Barockorchester perform together with renowned soloists such as Gerlinde Sämann, Marie Luise Werneburg and Georg Poplutz (as Evangelist). A coproduction with MDR Figaro.
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  • Magnificat
  • Hodie Christus natus est (Christ der Herr ist geboren heut)
  • This happy morning was Christ the Lord born
  • Oh Lord, Creator of all thing
  • O bone Jesu, fili Mariae (O mein Herr Jesus)
  • Introduktion
  • Die Geburt Jesu
  • Der Engel zu den Hirten auf dem Felde (aus Vol. 10: Weihnachtshistorie)
  • Die Menge der Engel
  • Die Hirten auf dem Felde
  • Die Anbetung der Hirten
  • Die Weisen aus dem Morgenlande
  • Die Hohenpriester und Schriftgelehrten
  • Herodes
  • Die Anbetung der Weisen aus dem Morgenlande
  • Die Flucht nach Ägypten
  • Die Flucht nach Ägypten II
  • Kindermord des Herodes
  • Rückkehr aus Ägypten (aus Vol. 10: Weihnachtshistorie)
  • Rückkehr aus Ägypten II
  • Conclusio
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  • Introduction (Coro)

    The glad birth, of our Lord and Savior Jesus Christ, in the words of the holy Evangelists’ description, who wrote it down..

    The birth of Jesus

    Evangelist (Tenore)

    And behold, it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world enroll for taxing. (And this taxing was the first; being made at the time when Cyrenius was governor of Syria.) And ev’ryone went that he might be taxed, unto the city of his birth. Among them there went up ­Joseph being of Galilee, and went from Nazareth, to Judaea, to the city of David, which is called Bethlehem; (because he was of the lineage and house of David:) that he might enroll for taxing, and with him Mary, his own espoused wife, being great with child. And, while they yet tarried there, it was time that she should be delivered. And she brought forth her first-born son, and wrapped him round in swaddling, and laid him in a lowly manger, for they could not find a room for them in the inn. And, in the same country where shepherds abiding in the fields, and keeping watch over their flock by night. And lo, the Lord’s own angel came upon them, and the glory of the Lord shone round about them: and they were sore afraid.

    ...
  • Introduction (Coro)

    Die Geburt unseres Herrn Jesu Christi, wie uns die von den heiligen Evangelisten beschrieben wird.

    Jesu Geburt

    Evangelist (Tenore)

    Es begab sich aber zu der selbigen Zeit, dass ein Gebot von dem Kaiser Augusto ausging, dass alle Welt geschätzet würde, und diese Schätzung war die erste und geschah zu der Zeit, da Cyrenius Landpfleger in Syrien war, und jedermann ging, dass er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zu der Stadt Davids, die da heißet Bethlehem, darum dass er von dem Hause und Geschlechte Davids war, auf dass er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, dass sie gebären sollte, und sie gebar ihren ersten Sohn und wickelt’ ihn in Windeln und legte ihn in eine Krippe, denn sie hatten sonst keinen Raum in der Herberge. Und es waren Hirten in derselbigen Gegend auf dem Felde, die hüteten des Nachts ihre Herde, und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet’ um sie und sie furchten sich sehr, und der Engel sprach zu

    ...
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  • Heinrich 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
  • 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
  • One of the distinguishing features of the Dresdner Barockorchester, founded in 1991, is the fact that its membership includes both early music specialists and orchestral musicians drawn from the Dresdner Staatskapelle and the Dresdner Philharmonie. Working together with baroque instruments, with their specific clarity of sound and articulation they achieve a variegated, eloquent music-making in which their different areas of musical experience are combined. The musicians are united in their desire to follow the splendid example set by the Dresden Court Orchestra of Augustus the Strong. The heritage of that era is the music of such conductors and instrumentalists of the Court Orchestra as Hasse, Heinichen, Zelenka, Quantz and Pisendel, whose works have a prominent place in the repertoire of the Dresdner Barockorchester. This repertoire extends from the end of the 17th century through Mozart. The Dresdner Barockorchester works closely with the Dresdner Kammerchor and its conductor Hans- Christoph Rademann. 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
  • Marie Luise Werneburg loves Renaissance and Baroque music. She grew up in a musical rectory in Dresden, and then developed her musical inclination and talent by firstly studying church music in Dresden and then later studying singing in Bremen. She is a sought-after soloist who pursues her passion for early music by singing concerts worldwide with, among others, the Ensemble Weser-Renaissance Bremen, the Lautten Compagney Berlin, the Rheinische Kantorei and Bell’Arte Salzburg. She is especially passionate about J.?S.?Bach’s cantatas and oratorios and H.?Schütz’s oeuvre. But she has also been enchanted by other musical treasures by less well-known composers such as Rosenmüller and Biber. Additionally, Werneburg’s other favorite musical projects include collaborating with the harpsichordist Elina Albach and her ensemble CONTINUUI IM, as well as with Hille Perl and the Sirius Viols. Personal details
  • The blind soprano Gerlinde Sämann studied piano and singing at the Richard Strauss Conservatoire in Munich, working with teachers including Karl- Heinz Jarius, Henriette Meyer-Ravenstein and Selma Aykan. Her repertoire ranges from historic works, via lieder and oratorio, to avant-garde and contemporary music theatre works. Since 1991 Gerlinde Samann has performed as a soloist with a wide range of ensembles, mainly specializing in early music, at leading festivals. These include the Dresdner Kreuzchor, Accentus Chamber Choir, Arsys Bourgogne, Akademie fur Alte Musik Berlin, and La Petite Bande. She also enjoys a busy career in opera and contemporary music theatre, working with directors such as Arila Siegert, Gil Mehmert, Sabine Hasz, Thomas Hoft, Crescentia Dunser, and Otto Kukla. She has made numerous radio recordings and CDs in Germany and abroad. Gerlinde Samann is passionately committed to devising programs of unusual songs and duos, performing these with musicians such as the renowned fortepianist Ronald Brautigam. Personal details
  • The mezzo-soprano Maria Stosiek was born in Gorlitz in 1988. In Dresden she studied voice under Christiane Junghanns and violin with Annette Under and was a stipendiary of the Dresden Talentschmiede. Master classes under, among others, Charlotte Lehmann and Dorothee Mields brought her important musical impulses. Today she sings in the MDR choir (Middle German Radio Choir) as well as in the Dresdner Kammerchor, where she regularly sings solo parts. Moreover, she works as a soloist together with both the Singakademie Dresden and the Vokalensemble Kassel. Concert tours have taken her to other European countries, to Israel and Palestine, as well as to Taiwan and China. In addtion to ensemble singing and concert singing Maria Stosiek has devoted herself increasingly to contemporary music. Personal details
  • 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
  • Ratio, Emotio, Physis – reason, emotion and physics – to be able to bring these three human aspects together in singing, that is the great challenge and the profound joy in Felix Schwandtke’s life. Being the son of a mathematician and an engineer, he has been shaped by analytical thinking; music provided a way for him to relate this to emotion, and to explore, with joy, the developing interaction. In the process, early music became an important catalyst, and his creative work lead him to renowned ensembles all across Europe, bringing with it many new musical encounters. Among these, the ones who have made the most impact are Hans-Christph Rademann, Ludger Rémy and Lars Ulrik Mortensen, as well as the director and Baroque dancer Milo Pablo Momm. Personal details

Reviews

... Sie [die CD] macht uneingeschränkt Freude, schöner geht es für Schütz wohl kaum!
Monika Fahrnberger, singende kirche, 3/2019

... The balance of the soloists’ voices is wonderful; no individual voice overpowers the others, and the tone quality of each singer complements the other soloists.
Jennifer Adam, Bowling Green, CHORAL JOURNAL, Vol. 56, Number 5

... Die verschiedenen Rollen werden von den Solisten [...] sehr schön gestaltet. Diese Interpretation der Weihnachtshistorie gehört zu den besten, die momentan zu haben sind.
Toccata, 06/2015

... Hans-Christoph Rademann trifft stets den passenden Ton, mal feierlich erhaben, mal rein erzählerisch, anderweitig eher intim und zurückgenommen. Seine Schütz-Lektüre bleibt immer kohärent strukturiert und fein ausbalanciert.
Guy Engels, www.pizzicato.lu, 8. Dezember 2014

... Wie schon vorausgegangene Aufnahmen verdient auch die zehnte Folge [der Schütz-Gesamteinspielung] höchstes Lob.
Friedegard Hürter, Chorzeit, Dezember 2014

... Carus has produced an excellent introduction that is sure to cultivate a taste for more.
Stephen Smoliar, www.examiner.com, 15. Dezember 2014

... einfach wohltuend stimmig.
Gustav Danzinger, oe1.orf.at , Ö1 bis zwei, CD des Tages, 12. Dezember 2014

... ein bedeutendes Zeitdokument der Schütz-Auffassung zu Beginn des 21. Jahrhunderts.
Michael Klein, Glaube + Heimat, 30. November 2014

... Das Ensemble hat sich mit seiner ganz von der Sprache herkommenden, vollkommen natürlichen musikalischen Artikulation eine unbestreitbare Expertise erarbeitet. Und so ist eine sehr schöne Weihnachtshistorie zu hören, ein Schlüsselwerk des Schützschen Schaffens. Die immer weiter reifende Expertise der Solisten und Ensembles wird bei diesem sehr verdienstvollen Rademann-Projekt auch hier hörbar.
Dr. Matthias Lange, klassik.com, 17.11.2014

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