Heinrich Schütz: St. Luke Passion & The Seven Last Words - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz St. Luke Passion & The Seven Last Words

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A seventeenth century Passion “Radio Drama,” the sixth installment of the recording of Schütz’s complete works by the Dresdner Kammerchor and Hans-Christoph Rademann presents three powerful works for Passion. The St. Luke Passion SWV 480 unfolds a panorama inviting us to experience an intense, inward-looking pictorial reflection on Jesus’s Passion. The words of Luke the Evangelist are sung without accompaniment, the musical means skillfully reduced to a minimum. This narrative is interrupted by the choruses, creating dynamic emotional scenarios, clamoring, pleading, querying and raging: in this way, Schütz creates a form of Passion, a “radio drama” with a deeply moving intensification of events. The well-known “Sieben Worte Jesu am Kreuz” (The Seven Last Words of Jesus on the Cross) SWV 478 is the first contribution of the viola da gamba player Hille Perl and her ensemble "The Sirius Viols" to the complete Schütz recording. The sophisticated structure of the work, the intense sensuality of the individual sections and the beauty of the musical message make the “Seven Last Words” a masterpiece. The third work on this CD, “Erbarm dich mein, o Herre Gott” (Have Mercy on me, O Lord God) SWV 447 for solo soprano accompanied by a consort of viols – a composition for the Good Friday service – represents a charming and appropriate complement to the “Seven Last Words”.


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Listen (21)
  • Introitus
  • Sinfonia
  • Die sieben Worte Jesu
  • Sinfonia (aus Vol. 6: Lukas-Passion & Die Sieben Worte)
  • Conclusio
  • Have mercy, o Lord
  • Introitus
  • Verrat des Judas
  • Das heilige Abendmahl
  • Gespräche mit den Jüngern
  • Jesus in Gethsemane
  • Jesu Gefangennahme
  • Verleugnung des Petrus
  • Jesus vor dem Hohen Rat (aus Vol. 6: Lukas-Passion & Die Sieben Worte)
  • Jesus vor Pilatus
  • Jesus und Herodes
  • Jesu Verurteilung
  • Auf dem Weg nach Golgatha
  • Kreuzigung und Tod
  • Jesu Grablegung
  • Conclusio
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Additional material
  • Introitus

    Das Leiden unsers Herren Jesu Christi, wie uns das beschreibet der heilige Evangeliste Lukas.

    Verrat des Judas

    Evangelist:
    Es war aber nahe das Fest der süßen Brot, das da Ostern heißet. Und die Hohenpriester und Schriftgelehrten trachteten, wie sie ihn töteten; und furchten sich vor dem Volk. Es war aber der Satanas gefahren in den Judas, genannt Ischarioth, der da war aus der Zahl der Zwölfen. Und er ging hin und redet’ mit den Hohenpriestern und mit den Hauptleuten, wie er ihn wollte ihnen überantworten. Und sie wurden froh und gelobten, ihm Geld zu geben. Und er versprach sich und suchte Gelegenheit, dass er ihn überantwortet’ ohne Ruhr.

    Das heilige Abendmahl

    Evangelist:
    Es kam nun der Tag der süßen Brot, auf
    ...
  • Text from the CD Carus 83.253

    Oliver Geisler
    Translation: David Kosviner

    Between 1663 and 1666 Heinrich Schütz composed his three Passions – after Luke, John and Matthew – around the time of his 80th birthday. This fact alone invites interpretations, not only of certain musical developments, but also of a biographical nature. It is a perfectly plausible assumption that towards the end of his life, the deeply devout man Schütz explored this central biblical narrative in its various versions in a particular manner in order to prepare himself for dying: a preparation whose definitive purpose is the joyful anticipation of eternal life. Concerning the last years in reclusion in his domicile in Weißenfels, the obituary of 1672 relates “…his powers and in particular his hearing had deteriorated significantly some years previously, so that he could not go out often and for the most part had to stay at home. There, however, he

    ...
  • Booklet-Text der CD Carus 83.253

    Oliver Geisler

    Zwischen 1663 und 1666, also rund um seinen 80. Geburtstag, verfasste Heinrich Schütz seine drei Passionen nach Lukas, Johannes und Matthäus. Diese bloße Tatsache lädt – neben dem Blick auf bestimmte musikalische Entwicklungen – auch zur biografischen Interpretation ein. Es ist eine durchaus plausible Vermutung, dass der tief religiöse Mensch Schütz an seinem Lebensabend in Weißenfels in besonderer Weise diese zentrale biblische Erzählung in den verschiedenen Überlieferungen erkundete, um darin eine Einübung in das Sterben zu vollziehen. Eine Einübung, deren maßgeblicher Zweck die Vorfreude auf das ewige Leben ist.

    Über die letzten Jahre in der Zurückgezogenheit seiner Weißenfelser Wohnstätte heißt es im Nachruf von 1672, es haben „die Kräfte und besonders das Gehör schon vor etlichen Jahren sehr abgenommen, so dass er nur noch wenig ausgehen konnte,

    ...
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Compact Disc Carus 83.253/00, EAN 4009350832534 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
  • 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
  • Since 2003 a group comprising mainly gamba players has come together under the name The Sirius Viols, and depending on the project and repertoire, they are joined by other instrumentalists and sing - ers to try out various musical ideas or approaches under the non-direction of Hille Perl. The participants are either current or former students of Hille Perl, together with the colleagues she most admires from related disciplines. The ensemble’s repertoire is restricted to music which is suited to gambas and their specific aura, or under certain circumstances in combination with other instruments or singers; that is to say, virtually all of the gamba repertoire. After the first extremely successful CD was issued, entitled In darkness let me dwell, with music by John Dowland, Sirius Viols released a CD of Christmas music in November 2011 – a search for peace and calm in these hectic times: Verleih uns Frieden gnädiglich. 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
  • Ulrike Hofbauer studied singing and vocal pedagogy in Würzburg and Salzburg and at the Schola Cantorum Basiliensis. She has collaborated as a soloist with numerous renowned ensembles and conductors. Her interest in acting finds its outlet on the opera stage, among others in/at the theaters in Basle, Berne and Magdeburg. With her own prize-winning ensemble savadi, Hofbauer combines historical authenticity with modern esprit and emotionality; projects with larger forces are realized with her ensemble &cetera. Since 2014 she has taught Baroque singing at the Mozarteum University in Salzburg. Her repertoire embraces all epochs and styles – her intensive preoccupation with musical rhetoric, ornamentation and the “recitar cantando” style thereby form the main emphases of her artistic work. 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
  • Ratio, Emotio, Physis – reason, emotion and physics – to be able to bring these three human aspects together in singing, that is the great challenge and the profound joy in Felix Schwandtke’s life. Being the son of a mathematician and an engineer, he has been shaped by analytical thinking; music provided a way for him to relate this to emotion, and to explore, with joy, the developing interaction. In the process, early music became an important catalyst, and his creative work lead him to renowned ensembles all across Europe, bringing with it many new musical encounters. Among these, the ones who have made the most impact are Hans-Christph Rademann, Ludger Rémy and Lars Ulrik Mortensen, as well as the director and Baroque dancer Milo Pablo Momm. Personal details
  • Lyric baritone Felix Rumpf was born in 1984 in Halle an der Saale. He began his vocal studies with Susanne Stahl in Dresden in 2004. There he took part in various school productions, singing roles including Agamemnon (La Belle Hélène), Papageno (Die Zauberflöte) and in Schumann’s Scenes from Goethe’s Faust. A member of Olaf Bär’s lieder class since 2007, he has presented song recitals in the “Lied in Dresden” and “Lied-gut” series. After his diploma in 2009, postgraduate studies in opera and concert followed, which he completed with distinction in 2011. Felix Rumpf has attended master classes with Dietrich Fischer-Dieskau, Julia Varady, Peter Schreier, Ruth Ziesak, and Gerold Huber. Personal details
  • Hille Perl, gamba-player, has played music as long as she can remember. For her, music is the foremost means of communication between human beings, more precise and intense and unmistakable than language, of greater emotional significance than any other experience besides love. She travels the world, playing concerts and recording CDs with different groups or performing as a soloist, mostly in the field of 17th and 18th century music but also letting the music take her to places she never even dreamed of. With passion she teaches her students at the Hochschule der Kunste in Bremen, Germany, everything she knows about music, playing the gamba, and how not to be jealous if someone plays better than you. People of the world: relax… Personal details
  • The harpsichordist/pianist and conductor Ludger Rémy († June 2017) felt an obligation to meet the challenge set by the theorist Mattheson to combine theory and practice. He studied school music and harpsichord in Freiburg, followed by private studies with Kenneth Gilbert in Paris. In 1998 he was appointed to a professorship for early music in Dresden. Around 70 CD productions – several have been awarded prestigious prizes – both as instrumentalist and conductor, as well as numerous concerts at home and abroad (at festivals incl. Utrecht, Brügge, Paris, Saintes, Bachfest Leipzig, Händel­festspiele Göttingen, Musikfestspiele Dres­den) made him one of the leading musicians active in the rediscovery and revival of early German music. Personal details

Reviews

[…] Heinrich Schütz vom Feinsten - absolute Referenzaufnahme[.] - ein Genuss von Anfang bis Ende. […] Für Liebhaber Schützscher Musik ist die Anschaffung dieser CD[.] ein absolutes Muss!
Württembergische Blätter für Kirchenmusik 6/2014

Der karge, alles vermeintlich überflüssige aussparende Stil der Lukaspassion eignet sich bestens als klingendes Gegenstück zur ausklingenden Fastenzeit. […] Insofern sind die musikalischen Predigten von Schütz/Rademann eine willkommene Gelegenheit, uns in Gelassenheit und Geduld zu üben und wieder zuhören zu lernen.
Mátyás Kiss, nmz online, 14. April 2014

 [Rademann] beweist mit der Aufnahme, wie der Spagat zwischen der schlichten, fast archaischen Struktur und fesselnder Interpretation mühelos gelingt. […] Hier […] erkennt man dank Rademanns klug gewählten Tempi und seiner eher reflektierenden Musizierhaltung, dass es Schütz weniger um äußerliche Dramatik als vielmehr um das innere Erleben und Nachvollziehen des Hörers ging. Diesen Anspruch, den Hörer auf sich selbst zurückzuwerfen, realisieren Rademann und sein vorzüglicher Kammerchor perfekt.
Markus Dippold, Stuttgarter Zeitung, 2. April 2013

Die jüngste CD überzeugt mit denselben Eigenschaften ihrer Vorgängerinnen: einem ausgezeichnet artikulierenden und gut balancierten Chor, angenehm agierenden Soliloquenten und einem Konzept, das dem Verkündigungscharakter und der vom Wort gezeugten Musik Schütz' in idealer Weise gerecht wird. […] eine audiophile Rarität.
Glaube + Heimat, 17. März 2013

Hans-Christoph Rademann ist Schütz‘ sprachgezeugter Musik mit seinem Ansatz inzwischen auf fast ideale Weise nah, solistisch wie chorisch gleichermaßen niveauvoll. Rademann lässt sich ganz auf die schlichte Diktion der Schützschen Passionsmusiken ein. Schütz verliert nicht, er gewinnt an Größe, wenn man seinem Alterswerk den nötigen Raum gibt und interpretatorisch konzentriert ist. Das Ergebnis ist ein Vortrag ohne Schwachstellen, der den anderen Veröffentlichungen zu diesem Repertoire […] deutlich vorzuziehen ist. Die Produktion ist einer Gesamteinspielung absolut würdig.
Dr. Matthias Lange, klassik.com, 13. März 2013

[…] c'est un excellent CD qui nous présente un répertoire recueilli qui livre une vision plus humble, moins spectaculaire de la souffrance et de la mort du Christ.
pizzicato, Pizzicato Supersonic Award, 3/2013

[…] Schütz, wie man ihn liebt.
Mannheimer Morgen, 17. Januar 2013

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