Beethoven: Messe in C-Dur (Bernius) - CD, Choir Coach, multimedia | Carus-Verlag

Beethoven: Messe in C-Dur (Bernius)

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The Kammerchor Stuttgart, under the direction of Frieder Bernius is one of the finest choirs worldwide. Their many prizewinning recordings have set a standard. Now Frieder Bernius presents Beethoven's "Missa in C major" (op. 86). With its tonal language of subjective avowal, the first of Beethoven's two masses opens up new worlds of expression which are expressly modern and point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development of settings of the Mass in the 19th century. The world premiere recording of Luigi Cherubini's "Sciant gentes" (1829) rounds out this CD.
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  • Kyrie
  • Gloria
  • Credo
  • Sanctus
  • Benedictus
  • Agnus Dei
  • Sciant gentes
  • Deus meus
  • Commovisti
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  • 1. Sciant gentes (Soli STB, Coro SATB)

    That men may know that thou, whose name alone is Jehovah,
    art the most high over all the earth.
    Psalms 82 (83):19

    2. Deus meus (Solo B)

    O my God, make them like a wheel;
    as the stubble before the wind.
    Psalms 82 (83):14

    3. Commovisti (Soli SATB, Coro)

    Thou hast made the earth to tremble;
    thou hast broken it:
    heal the breaches thereof;
    for it shaketh.
    O my God, make them …
    So that they may flee from their enemies
    and be delivered, they whom you have chosen.
    Psalms 59 (60):4.6

    ...
  • 1. Sciant gentes (Soli STB, Coro SATB)

    So werden sie erkennen, dass du mit deinem Namen heißest Herr allein
    und der Höchste in aller Welt.
    Psalm 82 (83),19

    2. Deus meus (Solo B)

    Gott, mache sie wie einen Wirbel,
    wie Stoppeln vor dem Winde.
    Psalm 82 (83),14

    3. Commovisti (Soli SATB, Coro)

    Der du die Erde bewegt
    und zerrissen hast,
    heile ihre Brüche,
    die so zerschellt ist.
    Gott, mache sie …
    Damit sie fliehen können vor dem Bogen
    und die gerettet werden, die du erwählt hast.
    Psalm 59 (60),4.6

    ...
  • 1. Sciant gentes (Soli STB, Coro SATB)

    Sciant gentes quoniam nomen tibi Deus:
    tu solus Altissimus super omnem terram.
    Psalm 82 (83),19

    2. Deus meus (Solo B)

    Deus meus, pone illos ut rotam,
    et sicut stipulam ante faciem venti.
    Psalm 82 (83),14

    3. Commovisti (Soli SATB, Coro)

    Commovisti Domine terram,
    et conturbasti eam.
    Sana contritiones eius,
    quia mota est.
    Deus meus, pone illos …
    Ut fugiant a facie arcus,
    ut liberentur electi tui.
    Psalm 59 (60),4.6

    ...
  • Kyrie

    Lord, have mercy on us.
    Christ, have mercy on us.
    Lord, have mercy on us.

    Gloria

    Glory be to God on high
    and on earth peace to men of good will.
    We praise Thee; we bless Thee; we adore Thee; we glorify Thee.
    We give Thee thanks for Thy great glory.
    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.
    Thou who takest away the sins of the world,
    have mercy upon us.

    Thou who takest away the sins of the world,
    receive our prayer.
    Thou that sittest at the right hand of God the Father,
    have mercy upon us.

    ...
  • Kyrie

    Herr, erbarme dich unser.
    Christus, erbarme dich unser.
    Herr, erbarme dich unser.

    Gloria

    Ehre sei Gott in der Höhe
    und Friede auf Erden den Menschen,
    die guten Willens sind.
    Wir loben Dich, wir preisen Dich, wir beten Dich an, wir rühmen Dich.
    Wir danken Dir, denn groß ist Deine Herrlichkeit.
    Herr und Gott, König des Himmels,
    Gott, allmächtiger Vater.
    Herr Jesus Christus, eingeborener Sohn,
    Herr und Gott, Lamm Gottes, Sohn des Vaters.

    Du nimmst hinweg die Sünden der Welt,
    erbarme Dich unser;
    Du nimmst hinweg die Sünden der Welt,
    nimm an unser Gebet.
    Du sitzest zur Rechten des Vaters:

    ...
  • Kyrie

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.
    Laudamus te, benedicimus te, adoramus te, glorificamus te.
    Gratias agimus tibi propter magnam gloriam tuam.
    Domine Deus, Rex coelestis,
    Deus Pater omnipotens.
    Domine Fili unigenite, Jesu Christe.
    Domine Deus, Agnus Dei, Filius Patris.

    Qui tollis peccata mundi, miserere nobis.
    Qui tollis peccata mundi, suscipe deprecationem nostram.
    Qui sedes ad dexteram Patris, miserere nobis.

    Quoniam tu solus Sanctus,
    tu solus Dominus, tu solus Altissimus, Jesu Christe.
    Cum Sancto Spiritu, in gloria Dei Patris.
    Amen.

    ...
  • Text from the CD Carus 83.295

    Ernst Herttrich
    Translation (abridged): Elizabeth Robinson

    In the picture of Beethoven we have today, the composer’s religiosity does not necessarily come to the fore. Compared with his predecessors Haydn and Mozart, he wrote only very few sacred works. However, we should not forget that a whole series of Beethoven’s instrumental works – such as the String Quartet Op. 132 with its Dankgesang eines Genesenen an die Gottheit (Song of thanksgiving of a convalescent to God) and the 9th Symphony with its choral finale – also display religious dimensions. Beethoven was a deeply religious person who addressed religious themes intellectually as well as seeking and finding an emotional compensation in religion for what fate had dealt him.

    Although the two masses he composed were both commissions, for Beethoven they represented at the same time a personal matter and an artistic

    ...
  • Booklet-Text der CD Carus 83.295

    Ernst Herttrich

    Beethovens Religiosität ist im Bild, das man sich heute von diesem Komponisten macht, nicht unbedingt einer der Hauptaspekte. Verglichen mit seinen Vorgängern Haydn und Mozart hinterließ er nur recht wenige geistliche Werke – neben den beiden Messen nur noch das Oratorium Christus am Ölberge und die Gellert-Lieder. Man darf jedoch nicht vergessen, dass auch eine ganze Reihe von Beethovens Instrumentalwerken – etwa das Streichquartett Op. 132 mit seinem Dankgesang eines Genesenen an die Gottheit oder die 9. Symphonie mit ihrem Chorfinale – religiöse Dimensionen aufweist. Beethoven war ein religiös durchdrungener Mensch, der sich sowohl intellektuell mit religiösen Themen auseinandersetzte als auch emotional in der Religion einen Ausgleich für sein schweres Schicksal suchte und fand.

    Die beiden Messen sind zwar als Auftragswerke entstanden, waren jedoch für Beethoven gleich zeitig

    ...
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Compact Disc Carus 83.295/00, EAN 4009350832954 CD, digipac
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  • 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 Hofkapelle Stuttgart, founded in 2006 by Frieder Bernius to complement the Barockorchester Stuttgart, concentrates on repertoire from the 19th century performed on authentic instruments. One of its main focusses is the rediscovery of music-historical treasures, particularly works from the south-west German region (by composers such as Kalliwoda, Knecht and Holzbauer). The Hofkapelle and Barockorchester Stuttgart regularly perform at international festivals (Rome, Salzburg, Göttingen, Dresden, etc.). CDs made by both groups have received many awards: the Missa Dei Patris by Jan Dismas Zelenka was nominated for the Cannes Classical Award, and the Incidental Music to Shakespeare’s Ein Sommernachtstraum [A Midsummer Night’s Dream] by Felix Mendelssohn Bartholdy was featured by Rondo magazine and awarded the Star of the Month prize by Fono Forum magazine. Mozart’s Requiem received the Diapason d’or de l’année 2003, Johann Gottlieb Naumann’s opera Aci e Galatea was named opera recording of the year in Opernwelt magazine and Bach’s Easter Oratorio included in the Quarterly Critics’ Choice of the German Record Critics’ Award. The group’s recording of Bach’s B Minor Mass was Editor’s Choice in Gramophone magazine. 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
  • Maria Keohane is a Swedish soprano whose repertoire spans a wide spectrum of music styles from baroque to contemporary, including chamber music, opera and oratorios. She has performed in Claudio Monteverdi’s Il Ritorno d’Ulisse in Patria with Gothenburg Theatre, Peri’s Euridice with Drottningholm Court Theatre, and in Verdi’s Don Carlos with The Royal Danish Theatre in Copenhagen. She has sung Brahms’ Requiem at the Gothenburg Concert hall, Bach’s Wedding Cantata with Philharmonia Baroque Orchestra in San Francisco and Handel’s Il Trionfo del Tempo e del Disinganno with Concerto Copenhagen at Wiener Konzerthaus. Maria Keohane is frequently engaged as an oratorio soloist and has appeared as a soloist at arenas including Tanglewood, Concertgebouw in Amsterdam, Halle Handel Festspiele and Edinburgh Festival with conductors such as Jerome Correas, Eric Ericson, Martin Gester, Gustav Leonhardt, Andrew Manze, Nicholas McGegan, Lars Ulrik Mortensen, Andrew Parrott, Stephen Stubbs, Jos van Veldhoven, and Christopher Warren-Green. Personal details
  • Margot Oitzinger was born in Graz and studied singing at the University of Music and Performing Arts in her hometown. She also participated in sever - al master classes with Emma Kirkby and Peter Kooij. She was a prizewinner at the International Johann- Sebastian-Bach competition in Leipzig 2008 and at the International baroque singing competition in Chimay (Belgium) 2006. Her repertoire ranges from the works of Bach and Handel, with an emphasis on oraatrios, via Mozart and Haydn, up to music of the romantic and modern eras. As a soloist she has performed with ensembles such as the Collegium Vocale Gent, the Bach Collegium Japan, Concerto Copenhagen, L’Orfeo Barockorchester, the Wiener Akademie, the Bach Consort, Le Concert Lorrain, Sette voci, the Dunedin Consort, and many others. Apart from numerous chanson and Lieder recitals, and at the Festival Crete Senesi, she has also performed many operatic roles – especially from the Ba - roque era – at the Kammeroper Graz, Kammeroper Vienna, at the Donaufestwochen in Greinburg Castle and at the Styriarte. Margot Oitzinger performs at many international festivals and can be heard on numerous CD recordings. Personal details
  • In the course of his short career, the young English tenor Thomas Hobbs has already earned consider - able esteem. Still as a student, he was was awarded numerous prizes and scholarships. In addition to developing his solo career, Hobbs has sung in some of England’s leading vocal ensembles, such as The Cardinall’s Musick, The Tallis Scholars, I Fagiolini, and The Sixteen. In the genre of opera, he has performed Acis and other roles in Handel’s Acis and Galathea, Ferrando in Cosi fan tutte and, most recently, the title role in Britten’s Albert Herring at the Royal Academy Opera. During the 2010/11 season he made his debut at the English National Opera in Monteverdi’s Il ritorno d'Ulisse. Thomas Hobbs regularly gives Lieder recitals; his repertoire in cludes Vaughan- Williams’s On Wenlock Edge as well as Schubert’s Die schöne Müllerin and Schumann’s Liederkreis. He is also much in demand as a concert soloist. In 2009, he participated in the Academy of the Festival Aix-en-Provence and performed with the Camerata Salzburg under Louis Langrée. Personal details
  • The baritone Sebastian Noack was born in Berlin and studied singing with Dietmar Hackel, Ingrid Figur and Dietrich Fischer-Dieskau. He became known after being awarded 1st prize at the Bundeswettbewerb Gesang; other prizes followed. Since then he has made a name for himself, particularly as a concert singer, performing under renowned conductors such as Frieder Bernius, Marcus Creed, Christoph Eschenbach, and Roy Goodman. His repertoire includes all of the significant oratorios from the Renaissance to the present time. On numerous tours he has travelled through all of Europe, the USA and Southeast Asia. He is a welcome guest at international festivals. Noack sings with the large broadcasting networks and well-known Baroque orchestras as well as with chamber music ensembles, e.g., the Sharoun Ensemble or Sabine Meyer’s Trio di Clarone. He has participated in CD productions under Philippe Herreweghe and Andreas Spering. Noack is particularly interested in lieder. Together with the pianist Manuel Lange, he founded the new concert series “Meisterlied im Musikinstrumenten-Museum”, for which – in addition to his own recitals – he has already been able to engage renowned guests. After having previ - ously performed concertante or semi-scenic operas, Noack made his stage debut in Donizetti’s Viva la Mamma at the Berlin State Opera in June 2009. He is a visit ing professor at the Hochschule für Musik Hanns Eisler in Berlin. Personal details

Reviews

In der Durchsichtigkeit, der Phrasierung und der dynamischen Schattierung lässt der Kammerchor Stuttgart ... keine Wünsche offen. Die Solisten fügen sich auf ideale Weise ins Gesamtbild ein.
Johan van Veen, Toccata 96/2018

[…] eine[.] auch akustisch fulminante[.] Einspielung, bei der einfach alles stimmt: das in sich geschlossene Solistenquartett, die zu keinem Zeitpunkt unnötig forcierte Realisierung, die Intonation des Chores, das schlanke und doch durchsetzungsfähige Orchester wie auch die klangliche Disposition insgesamt. Ein großer Wurf.
Michael Kube, Fono Forum, Dezember 2013

Das Kammerchor-Stuttgart-Ergebnis braucht in Sachen Gesangsensemblekultur und Intonationsreinheit keinen Vergleich zu scheuen. Die kontrollierte Interpretation betont die musikhistorischen Wurzeln des Werks.
Kieler Nachrichten, 19. Juni 2013

The playing across the orchestra is excellent, and the chorus is very much among the best in the world.
Brian Clark, Early Music Review, April 2013

Diese Messe liegt nun in einer ganz ausgezeichneten neuen Aufnahme durch Frieder Bernius und sein bewährtes Team aus Stuttgart vor. Flüssige Tempi, klare Artikulation und ein helles, durchsichtiges Klangbild machen das Hören dieses Werkes zum erbaulichen Vergnügen. Die Ergänzung durch eine kleine Psalmkantate des von Beethoven hoch geschätzten Luigi Cherubini ist zudem eine lohnende Weltersteinspielung.
Gustav Danzinger, Ö1 bis zwei, Ö1 - ORF, 2. Mai 2013

Das junge Solistenquartett nutzt seine Chance: Sopranistin Maria Keohane, Altistin Margot Oitzinger, Tenor Thomas Hobbs und Bariton Sebastian Noack wirken hochkonzentriert, setzen ihre schlanken Stimmen sachdienlich ein. Tugenden wie Intonationsreinheit und Homogenität verdienen Beifall. Und auch wenn diese C-Dur-Messe bisher schon rund zehnmal eingespielt wurde, von Karl Richter bis John Eliot Gardiner: Die Aufnahme aus dem Schwarzwald ist auf den Medaillenrängen einzuordnen.
Volkmar Fischer, br-Klassik, 2. April 2013

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