Heinrich Schütz: Geistliche Chor-Music 1648. Complete recording (Rademann) - CD, Choir Coach, multimedia | Carus-Verlag

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

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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.
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  • The haevens are telling the Father's glory
  • Lord, in thee I shall trust
  • Das ist je gewisslich wahr
  • O Lord, now grant us thy peace in grace
  • Who in sorrow plant seed
  • For God so loved this sinful world
  • The royal staff of the ruler
  • He shall tread out his cloak in wine
  • Now there appeareth the grace of the Lord
  • Grant to our people
  • None among us lives for his own sake
  • Many shall go there from eastward and from westward
  • Go, pull up all the weeds first
  • Now I go forth
  • O thou most gracious Lord, waken us now
  • O my people, take heart
  • See, I am the voice of one crying
  • A child is born unto us
  • The word was man
  • Tender love have I for thee, Lord
  • I am the only true vine
  • We are citizens of heaven
  • Blest are the departed
  • What my god wills, let that be done
  • I know that my redeemer lives
  • Look upon the sprouting
  • The angel said, said to the shepherds
  • Auf dem Gebirge
  • False servant
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Compact Disc, 2 CDs Carus 83.232/00, EAN 4009350832329 CD in jewel case
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Contents

  • 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
  • In the 1970s there arose out of the Dresden Staatskapelle of Saxony an early-music ensemble which called itself the Cappella Sagittariana Dresden. Its moving spirits were the musicians Bernd Haubold (viola da gamba and violone), Wolfram Just (violin and viola d’amore) and Wolfram Steude (organ continuo). The group developed into one of the leading ensembles of its kind in what was then Germany’s Eastern bloc. In the years that followed, it undertook numerous concert tours to such places as St. Petersburg, West Germany, and other European countries. Active collaboration with well-known musicians like the tenor Peter Schreier and the early-music specialist Frieder Bernius brought further recognition. In September 2006 the ensemble formed the new “Cappella Sagittariana Dresden” by merging with the “Alte Musik Dresden,” a group established in 1993 by members of the Dresden Philharmonie which had devoted itself mainly to the rediscovery of the Central German and Saxon musical heritage. The merger took place at a very symbolic location, namely the chapel of the Dresden court palace (Residenzschloss): an indication that the musicians would continue to feel a special commitment to the works of Heinrich Schütz (Henricus Sagittarius). 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

Reviews

… 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)

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