Heinrich Schütz: Geistliche Chor-Music 1648. Complete recording (Rademann)


When it comes to paying tribute to Heinrich Schütz’s compositional achievement, in his art his treatment of the text and language must be mentioned first. The Geistliche Chor-Music, one of his most important works from the year 1648, is characterized by the carefully-thought-out musical realization of the meaning of the text. In his detailed foreword to the collection of 29 motets for five to seven voices the composer presented these as models for composition without a basso continuo – it was his conviction that every young composer should obtain “the proper foundation for a good counterpoint.” In spite of the strict counterpoint, stylistically speaking from an earlier era, the “Musicus poeticus” instilled his works with a strongly expressive character. The individual motets are structured differently and they differ, according to content, in their length and character. Short, rather straightforward pieces stand alongside long, worked-out pieces with greater expressive intensity, and cheerful, optimistic works are juxtaposed with plaintive ones.

Vol. 1 of the award-winning Heinrich-Schütz complete recording with the Dresdner Kammerchor (Dresden Chamber Choir) under the direction of Hans-Christoph Rademann. A coproduction with MDR Figaro. Awarded the Pizzicato Supersonic Award.


Compact Disc, 2 Ex.

12,5 x 14 cm, CD in jewel case
EUR29,90 / copies

Product information


29 Works Show


Hans-Christoph Rademann Personal details


Cappella Sagittariana Dresden Personal details


Dresdner Kammerchor Personal details



… The balance within voices and with the instruments is beautifully managed, and the conviction of the performances is both subtle and palpable. Schütz's musical language here is refined, sparin and understated: qualities that can be applied just as well to Rademann's splendid performances.
(Nigel Simeone, International Record Review, September 2011)

Here is a new and delightfully satisfying recording of the complete series of 29 motets. The featured choir and small band of instrumentalists are utterly committed to conveying not only the music's considerable beauty and profundity, but also its place in such stylistic developments. They are aware of the exact relationship between text and melody/texture. Their enunciation of the German is clarity itself. [...] Like Bach, Schütz saw the music as supporting the religious intention of the texts. This requires a careful balance; and that's a balance and sets of nuances of which director, Hans-Christoph Rademann, is very much in control. [...] The acoustic and recording are sympathetic to Schütz's idiom; and are first rate … effective, supporting and enhancing with just the right touch of resonance.
(Mark Sealy, musicweb-international.com, Mai 2011)

Das Dresdner Ensemble agiert [...] mit allerfeinster Gesangskultur: das klingt wunderbar kultiviert, absolut sauber und zu jedem Zeitpunkt transparent. Und es macht unglaublich Lust auf die nächsten CDs dieser Gesamteinspielung.
(Frank Pommer, Die Rheinpfalz, 19.03.2011)

Um als Hörer tief in diese Musik vordringen zu können, sind sinnlich betörende, flexibel den Klang modellierende Aufführungen nötig. Solche liefert unangestrengt vollendet der Dirigent Hans-Christoph Rademann und sein Dresdner Kammerchor, den er ein paar Jahre vor der Wende gegründet hat. Jetzt haben sie mit der „Geistlichen Chor-Musik“ und den „Italienischen Madrigalen“ bei Carus eine Schütz-Gesamteinspielung begonnen – ein betörendes Unternehmen, das Farbigkeit, Agilität, Wärme über strukturelle Strenge stellt.
(Reinhard Brembeck, Süddeutsche Zeitung, 02.03.2011)

Endlich Frieden - das war im Druckjahr dieser Motettensammlung die Stimmung in Mitteleuropa. So sehr Schütz über den Tag hinaus dachte, immer wieder scheint ein Aufatmen durch die kunstvolle Einfachheit der biblischen Stücke zu gehen. Vorbildlich tonschön zelebriert der Dresdner Kammerchor unter Hans-Christoph Rademann barocke Glaubensinnigkeit.
(Johannes Saltzwedel, Spiegel, Nov. 2007)