Utrechter Te Deum & Jubilate
The Gaechinger Cantorey, conducted by Hans-Christoph Rademann, performed the Te Deum & Jubilate at the brilliant closing concert of the Musikfest Stuttgart 2018. Christina Landshamer, Anja Scherg, Reginald Mobley, Benedikt Kristjánsson and Andreas Wolf delighted the audience as soloists. The recording begins with an orchestral suite from Handel's opera Il pastor fido, which premiered in November 1712. The Ode for the Birthday of Queen Anne from February 1713, also known as "Ode of peace", points to the impending peace of Utrecht with the demand "United nations shall combine" in its final chorus.
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- Suite, Ouverture
- Suite, III Allegro
- Suite, IV Menuett
- Suite, I Adagio
- Suite, VI Allegro
- Eternal source of light divine
- The day that gave great Anna birth
- Let all the winged race with joy
- The day that gave great Anna birth
- Let flocks and herds their fear forget
- The day that gave great Anna birth
- Let rolling streams their gladness show
- The day that gave great Anna birth
- Kind health descends on downy wings
- The day that gave great Anna birth
- Let envy then conceal her head
- The day that gave great Anna birth
- United nations shall combine
- The day that gave great Anna birth
- We praise thee, O God
- To thee all angels cry aloud
- To thee Cherubin and Seraphin
- The glorious Company
- When thou tookest upon thee
- We believe that thou shalt come
- Day by day we magnify thee
- And we worship thy name
- Vouchsafe, O Lord
- O Lord, in thee have I trusted
- O be joyful in the Lord, all ye lands
- Serve the Lord with gladness
- Be ye sure that the Lord he is God
- O go your way into his gates
- For the Lord is gracious
- Glory be to the father
- As it was in the beginning
Additional material
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1. Soli SAT, Chorus
We praise Thee, O God;
we acknowledge Thee to be the Lord.
All the earth doth worship Thee:
the Father everlasting.2. Soli A I & II, Chorus
To Thee all angels cry aloud,
the heav’ns and all the pow’rs therein.3. Soli S I & II, Chorus
To Thee Cherubin and Seraphin
continually do cry.
Holy, holy, holy: Lord God of Sabaoth!
Heav’n and earth are full
of the majesty of Thy glory.4. Soli SSATB, Chorus
The glorious company of the Apostles:
praise Thee.
The goodly fellowship of the Prophets:
praise Thee.
The noble army of Martyrs: praise Thee.
The holy church throughout all the world:
doth acknowledge Thee.
The Father of an infinite Majesty;
Thine honourable, true and only Son;
Also the Holy Ghost: the comforter.
Thou art the King of Glory: O Christ.
Thou art the everlasting Son: of the Father.5. Soli SATB, Chorus
When Thou tookest upon Thee to deliver man,
thou didst not abhor the Virgin’s womb.
When Thou hadst overcome
the sharpness of death:
Thou did’st open the kingdom of heav’n
to all believers.
Thou sittest at the... -
text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Abridged foreword of the Edition Carus 55.278
Felix Loy
Translation: Gudrun and David KosvinerThe signing of the peace treaty in Utrecht on 11 April 1713 marked the end of the “War of the Spanish Succession,” which had lasted since 1701. More than 1.25 million people in Europe lost their lives in the course of the hostilities in what is trivially referred to as a “cabinet war.” From an English point of view, the main success of this treaty was probably the prevention of an impending supremacy of the House of Habsburg. In addition, the island empire was one of the main beneficiaries in terms of territorial gains (Gibraltar became English, among other things). England thus had every reason to celebrate this event suitably. And none other than the most famous composer in London at the time, George Frideric Handel, provided the appropriate music.
Handel had arrived in England for the first time in late fall 1710 for a stay of more than one year, although he was still (since June 1710 and with generous leave arrangements) Kapellmeister of the Elector Georg Ludwig of Hanover. He quickly made contact with patrons and influential circles and was able to achieve his first great success with the opera Rinaldo,
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Gekürztes Vorwort der Ausgabe Carus 55.278
Felix LoyMit der Unterzeichnung des Friedensvertrags in Utrecht am 11. April 1713 endete der „Spanische Erbfolgekrieg“, der seit 1701 angedauert hatte. Im Zuge der Kampfhandlungen dieses verharmlosend so bezeichneten „Kabinettskrieges“ verloren mehr als 1,25 Millionen Menschen in Europa ihr Leben. Aus englischer Sicht war wohl die Abwendung einer drohenden Vorherrschaft des Hauses Habsburg der Haupterfolg dieser Einigung. Zudem war das Inselreich einer der Hauptprofiteure, was Gebietsgewinne betrifft (unter anderem wurde Gibraltar englisch). England hatte also allen Grund, dieses Ereignis gebührend zu feiern. Und kein Geringerer als der bereits damals in London berühmteste Komponist, Georg Friedrich Händel, lieferte dazu die passende Musik.
Händel war im Spätherbst des Jahres 1710 erstmals für einen mehr als einjährigen Aufenthalt in England angekommen, während er (seit Juni 1710 und mit großzügigen Urlaubsregelungen) Kapellmeister des Kurfürsten Georg Ludwig von Hannover war. Rasch fand er Kontakt zu Gönnern und einflussreichen Kreisen und konnte mit der im Februar 1711 uraufgeführten Oper Rinaldo einen ersten
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
1. Soli SAT, Chorus
Wir preisen dich, o Gott;
wir bekennen dich als unsern Herrn.
Alle Welt verehret dich,
den Vater ewig mächtig.2. Soli A I & II, Chorus
Dir singt der Engel lauter Chor,
der Himmel und sein mächtig Heer.3. Soli S I & II, Chorus
Vor dir, vor dir Cherubim und Seraphim
in Ewigkeit lobsingen sie vor dir:
Heilig, heilig, heilig, Herr Gott Zebaoth!
Voll sind Erd und Himmel
der Herrlichkeit deines Ruhmes.4. Soli SSATB, Chorus
Der hochgelobte heilige Chor der Apostel
preist dich.
Die hochgepries’ne Schar der Propheten
preist dich.
Die große Heerschar der Märtyrer preist dich. Die heil’ge Kirche durch die ganze Welt,
sie bekennet dich.
Den Vater unermesslicher Herrlichkeit,
und deinen hehren wahren einz’gen Sohn,
wie auch den heil’gen Geist, den Tröster.
Du bist der Herr der Ehren, o Christ.
Du bist in Ewigkeit der Sohn des Allvaters.5. Soli SATB, Chorus
Als auf dich du nahmest die Erlösung der Welt, hast du nicht verschmäht der Menschheit Los.
Als du siegreich zerbrachst
den Stachel des Todes,
tatst du...
Contents
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Composer
Georg Friedrich Händel
| 1685-1759George Frideric Handel put his exceptionally versatile compositional abilities to the test at an early age. After moving to London in 1712, where he was appointed Composer of Musick for His Majesty’s Chapel Royal in 1723, he wrote numerous masterpieces for the royal court as well as his major opere serie. For many years he enjoyed triumphant successes with his operas, which were sung by outstanding performers, with serenades, and later also with oratorios such as Saul and Israel in Egypt. Over the years Handel’s reputation grew far beyond the city where he worked; some of his choral works, particularly Messiah, have enjoyed a performance tradition which remains unbroken to this day, and are sung by choirs throughout the world. Personal details
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Ensemble
Gaechinger Cantorey
The Gaechinger Cantorey is the ensemble of the International Bach Academy Stuttgart. It combines a Baroque orchestra and a hand-picked choir to form a finely tuned early music ensemble. Under the baton of academy director Hans-Christoph Rademann, this ensemble is dedicated to the international dissemination of a “Stuttgart Bach style.” Since its re-establishment as the Gaechinger Cantorey in 2016, the ensemble of the International Bach Academy has gained renown with numerous performances in Germany, such as at the Musikfest Stuttgart, the Bachwoche Ansbach, the Bachfest Leipzig, the Rheingau Music Festival, the Festspielhaus Baden-Baden, the Dresden Kulturpalast, and the Hamburg Elbphilharmonie, as well as abroad at the Théâtre des Champs-Élysées in Paris, in the USA (Fort Lauderdale, Chapel Hill, Norfolk, Princeton, Los Angeles, Irvine, Williamsburg), in Canada (Montréal), and in South America (São Paulo, Rio de Janeiro, Buenos Aires, Lima, Santiago de Chile, Bogotá). In addition, the Gaechinger Cantorey with its director Hans-Christoph Rademann pursues a busy recording schedule. On the Stuttgart label Carus and on accentus music, the ensemble has recorded the Christmas Oratorio, cantatas and the two Passions by J.S. Bach, Handel’s Messiah, Haydn’s Creation and other works. Digital podcasts and concert streams with the Gaechinger Cantorey are also available in the Bach Academy’s media library. From May 2023 to June 2024, the Gaechinger Cantorey, under the direction of Hans-Christoph Rademann, will perform all J.S. Bach’s cantatas from his first year as Kantor at St. Thomas’s Church in Leipzig – exactly 300 years after the historic event in 1723/1724. CD recordings of all the concerts in churches and concert halls in Stuttgart and the surrounding area will be released by Hänssler Classic. The Gaechinger Cantorey regularly and enthusiastically participates in the various music education formats of the International Bach Academy under the motto “BachBewegt!,” in which children and young people are actively invited to sing, dance and experience music on stage or as listeners in the concert hall. These include family concerts, joint performances and danced interpretations of important masterpieces of the oratorio literature. Personal details
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Conductor
Hans-Christoph Rademann
| 1965Conductor 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
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Soloist - soprano
Anja Scherg
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Soloist - soprano
Christina Landshamer
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Soloist - alto
Reginald Mobley
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Soloist - tenor
Benedikt Kristjánsson
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Soloist - bass
Andreas Wolf
The German bass baritone Andreas Wolf received his first musical education at the Landesgymnasium for music in Wernigerode, Germany, and was also a member of the renowned youth choir Rundfunk-Jugendchor Wernigerode. In 2002 he received a scholarship at the University of Music in Detmold and started his music studies. Andreas Wolf sang the role of Guglielmo in Così fan Tutte at Teatro Real in Madrid, Falke in Die Fledermaus and Jupiter in Platée both at the Staatstheater Stuttgart, Elviro in Handel’s Serse at the Theater an der Wien and Zoroastre in Handel’s Orlando at Scottish Opera. With Les Arts Florissants he performed the role of Aeneas in Dido and Aeneas in New York and Moscow and at the festival in Aix-en-Provence he appeared as Nanni in Haydn’s L’Infedeltà delusa. He has already had the pleasure of working with conductors like William Christie, Andreas Spering, Jérémie Rhorer, Alessandro De Marchi, René Jacobs, Jean-Christophe Spinosi, Paul Goodwin and Marcus Creed. Personal details
Reviews
... Rademann elicits from the ensemble that brings the music to life as I only imagined it. ... Highly recommended.
J. F. Weber, Fanfare Magazine, Mar/Apr 2020
... Mit prächtigem Chor- und Orchesterklang warten die Mitglieder der Gaechinger Cantorey unter Hans-Christoph Rademann auf.
Gustav Danzinger, CHOR aktuell 3 2019
... Capte en public à la Liederhalle de Stuttgart, cet enregistrement vaut surtout pour la coherence du programme ... et la direction magistrate de Hans-Christoph Rademann.
CLASSICA, 11/2019
... nahrávka nabízí mnoho pozitivního a poskytuje též možnost vyslechnout si na jednom míste duležitou cást tvorby G. F Hándela, která mu otevrela dvere do anglických dejin.
Lukáš M. Vytlacil, Hudební rozhledy, Sep 2019
Den delikate måten Gaerchinger Cantorey spelar slutten på, er til å mista pusten av: Etter at koret og songsolistane har sagt sitt, andar satsen mest lydlaust ut med éin einskild fløytetone.
Sjur Haga Bringeland, Dag og Tid, 23.08.2019
Adapté à chaque effet musical, le Gaechinger Cantorey défend une interprétation vivante, portée par la qualité de ces instrumentistes solistes.
Charlotte Saulneron, Res Musica, 22.08.2019
Die Gaechinger Cantorey unter Leitung von Hans-Christoph Rademann ist in dieser klanggewaltigen Aufnahme zu hören, auch die Solisten ... tragen zum makellosen Bild bei.
Karin Zehetleitner, Austria Presse Agentur, 14.06.2019
Mit viel Präzisionsarbeit, aber ohne spürbaren Druck gestaltet Rademann den farbigen harmonischen Verlauf, spinnt er weite, elegante Melodiebögen und führt seine Sänger zu viel Prägnanz in Tonformung und Textaussprache.
Susanne Benda, STN und STZ, 31.05.2019
Met veel plezier heb ik u op deze bijzondere uitgave mogen wijzen en beveel deze cd dan ook van harte in de belangstelling van onze koorliefhebbers an.
Maarten Seijbel, Veluwse Kerkbode, Mai 2019
... Oratorienmusik vom Feinsten, aufgeführt von Mitgliedern der Gaechinger Cantorey, zusammen mit internationalen jugendfrischen Solisten von nah und fern, nach allen derzeitigen Regeln der historisch orientierten Aufführungspraxis.
Württembergische Blätter für Kirchenmusik, 04/2021
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