Heinrich Schütz: Becker-Psalter. Complete recording, Vol. 15 (Rademann) - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Becker-Psalter. Complete recording, Vol. 15 (Rademann)

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Heinrich Schütz is generally regarded as a master of the art of setting text to music, particularly the text of the Bible in its unaltered form which was of substantial significance to Lutheran doctrine. On the other hand, there are only few examples of settings of rhymed texts in Schütz's oeuvre. One of these is the so-called "Becker-Psalter," a collection of psalm translations by the Leipzig theologian Cornelius Becker. Shortly after the death of his wife, Schütz concentrated on this collection and set numerous verses to music. In the 15th volume of the Schütz Complete Recording, Hans-Christoph Rademann and his Dresdner Kammerchor present a colorful interpretation of a selection of these unusually unadorned, transparent, folk-like compositions. The cross-section of the CD is based on the selection of psalms that Schutz composed for his Psalms of David (Carus 83.255), thereby creating a sibling CD for these magnificent, multi-choral works.
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  • Der Herr sprach zu meim Herren
  • Was haben doch die Leut im Sinn
  • Ach Herr, mein Gott, straf mich doch nicht
  • Aus tiefer Not schrei ich zu dir
  • Es ist ein Freud dem Herzen mein
  • Mit Dank wir sollen loben
  • Wer nicht sitzt im Gottlosen Rat
  • Wie sehr lieblich und schöne
  • Wohl dem, der in Gottesfurcht steht
  • Ich heb mein Augen sehnlich auf
  • Danket dem Herren, gebt ihm Ehr
  • Der Herr ist mein getreuer Hirt
  • Ich will von Herzen danken Gott dem Herren
  • Singet dem Herrn ein neues Lied
  • Jauchzet dem Herren, alle Welt
  • An Wasserflüssen Babylon
  • Nun lob, mein Seel, den Herren
  • Wenn Gott einmal erlösen wird
  • Nicht uns, nicht uns, Herr, lieber Gott
  • Lobt Gott in seinem Heiligtum
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Compact Disc Carus 83.276/00, EAN 4009350832763 CD in jewel case
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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
  • Klaus-Martin Bresgott was born 1967 in Greifswald and initially studied Protestant theology, later German language and literature and art history (M. A.), parallel thereto choral conducting. Contracts as an ensemble singer led him to the most notable concert venues in Europe under conductors such as René Jacobs, Marcus Creed, Daniel Reuss, Hans-Christoph Rademann and Fabio Luisi, and directors such as Sasha Waltz, Luc Perceval, Barrie Kosky and others. His main focus is on ensemble work that spans epochs and interdisciplinary contexts. This has led to a regular co-operation with composers and poets of our time such as Thomas Jennefelt and Frank Schwemmer as well as Christa Wolf (†) and Christian Lehnert. As well as works on art history, including Ernst Barlach, he has edited several books of choral music, including Frau Musica spricht. Chorbuch Reformation (2011) and Chorbuch Leonhard Lechner (2014, Carus 4.022), Vier Weihnachtsmotetten (2015, Carus 7.389) and Hugo Distler’s Die Weihnachtsgeschichte op. 10 (2015, Carus 10.011). He was awarded the “Preis der Deutschen Schallplattenkritik” in 2008 for the first complete recording of the Geistliche Chormusik op. 12 by Hugo Distler, 2019 the french "Choc de Classica" for Samuel Scheidt: Cantiones Sacrae. 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
  • 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
  • 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
  • The baritone Martin Schicketanz began studying voice at the Hochschule für Musik Dresden in 2008. He continued his vocal training in the concert classes of Christiane Junghanns and Olaf Bär. On the opera stage he has already performed such roles as "Zangezi" in a joint project of the same name produced together by the Semperoper, Dresden and the composition class of Manos Tsangaris. Schicketanz has a special affinity for works in the area of concert music and already he performs regularly in oratorios and cantatas at various festivals, including the Gstaad Menuhin Festival (CH), the Musikfest Stuttgart (Germany), the BOZAR Festival (Belgium) and the Musikfest Erzgebirge (Germany). Musically and professionally he received vital stimulus through his participation in master classes given by Britta Schwarz, Dorothee Mields and Ingeborg Danz. He also sings in various ensembles, including the Dresdner Kammerchor, Collegium 1704, and the Collegium Vocale Gent. Personal details
  • Stefan Maass studied classical guitar and lute, specializing in music of the 17th and 18th centuries, both as a soloist and as a continuo player. He is Lord of Batzdorf Castle near Meißen and co-founder of the Batzdorf Hofkapelle. He regularly performs in the opera houses of Halle and Karlsruhe, the Semper Opera Dresden and the Gran Teatre del Liceu in Barcelona. His numerous CD productions include collaborations with the Dresdner Kammerchor conducted by Hans-Christoph Rademann and the Capella Sagittariana, the Dresdner Staatskapelle, Thomas Quasthoff, Daniel Hope and the contralto Britta Schwarz, as well as with the actors Corinna Harfouch and Michael Quast. Stefan Maass was awarded the prestigious Arras Prize for Art and Culture in Dresden in March 2000. Personal details
  • Margret Baumgartl studied violin in Dresden with Günter Friedrich and in Munich with Urs Stiehler. During her time as a student she specialized in authentic performance practice on historic instruments, working with conductors such as René Jacobs, Frieder Bernius, Jos van Immerseel, and Hans-Christoph Rademann. Her most important teacher and chamber music partner in the area of early music was Reinhard Goebel. She was a member of Musica Antiqua Köln from 2002 to 2006, performing in concerts throughout Europe, the USA and Canada, and appearing in a TV film on Bach’s The Art of Fugue. Margret Baumgartl became the concertmaster of the Dresdner Barockorchester in 2004. Personal details
  • Matthias Müller works as a freelance musician in Freiburg im Breisgau. Since completing his studies he has pursued a busy international concert career, including performing on numerous CDs. The range of instruments he plays encompasses all of the gamba family, including various types of violone, and the lyra da gamba. Since 2000 he has been a permanent member of the ensemble Cantus Cölln, and also works together with various other leading ensembles and conductors. Personal details

Reviews

... Unbedingte Hörempfehlung für interessierte Chorleiterinnen und auch deren Sängerinnen!

Monika Fahrnberger, singende Kirche, 4/2019



... Hans-Christoph Rademann's interpretation is spot-on. The Dresdner Kammerchor sings with unaffected simplicity, letting the inherent beauty of these settings shine through.
Ralph Graves, University of Virginia, WTJU 91.1FM, 04.06.2018



...sung with sensitivity by the Dresdner Kammerchord (with excellent soloists from the choir) and continuo. The congregational simplicity of these 20 metrical psalms in German, a mourning tribute to the composer's second wife, make for plain and wholesome liturgical fair, offered up with admirable sincerity.

Choir and Organ, Januar/Februar 2018



... Assigning various soloists and chorus to alternating stanzas, he [Rademann] shows how inventive a simple hymn can sound.
Loewen, American Record Guide, November/Dezember 2017

... They [the singers] deliver excellent performances; the text is always in the centre and clearly intelligible.
Johan van Veen, MusicWeb International, 28.11.2017



... soloists and the choir are on excellent form. They have a beautiful tone, which makes me want to hear more recordings in this wonderful series ...
Stuart Sillitoe, Musicweb-International, Juni 2017




... Hans-Christoph Rademanns Dresdner Kammerchor zeigt exemplarisch, wie diese Verse zu lebendiger Musik werden können. ... Rademanns Schütz-Einspielung setzt weiter Maßstäbe.
Karsten Blüthgen, Chorzeit, Mai 2017



... Diese [20 Psalmlieder] werden auf der vorliegenden CD zudem möglichst abwechslungsreich präsentiert: vokal nur mit Continuo-Begleitung oder auch mit colla-parte spielenden Instrumenten ...
Michael Wersin, Rondomagazin, 06.05.2017



... Die CD bringt die schlichte, klare Komposition zur Geltung, wozu auch die hervorragenden Solisten ihren Teil beitragen.
Tiroler Tageszeitung, Mai 2017

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