Wolfgang Amadeus Mozart: C Minor Mass / Missa in c - CD, Choir Coach, multimedia | Carus-Verlag

Wolfgang Amadeus Mozart C Minor Mass / Missa in c

completed and edited by Frieder Bernius & Uwe Wolf KV 427

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There can be no doubt – the Missa in C minor KV 427 by W. A. Mozart is a fascinating work. Simply calling it a “mass” is inaccurate; indeed, there is hardly more than a musical torso full of enigmas and problems – and brimming with magnificent music. What has survived is a fragment, in more ways than one. Mozart left the work unfinished; moreover parts of the autograph have been lost. Carus has now produced a new edition which is not only based upon a profound knowledge of Mozart’s music and the church music practice of that time, but also meets with the current demands of performance practice. Frieder Bernius is the co-editor of the sheet music edition; he and his Stuttgart Chamber Choir recorded this version on CD. The recording impresses not only by the outstanding musical quality, but also by the particularly noble equipment in a hardcover booklet. In addition to the new version of the mass, the CD also contains a bonustrack with the Credo fragment without completed instrumental parts. A true discovery!
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  • Kyrie
  • Gloria
  • Laudamus te
  • Gratias
  • Domine
  • Qui tollis
  • Quoniam
  • Jesu Christe, Cum Sancto Spiritu
  • Credo
  • Et incarnatus est
  • Sanctus, Hosanna
  • Benedictus, Hosanna
  • Credo (Fragment)
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach, soprano 1)
    • Gratias (Choir Coach, soprano 2)
    • Qui tollis (Choir Coach, soprano 1)
    • Qui tollis (Choir Coach, soprano 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach, soprano 1)
    • Credo (Choir Coach, soprano 2)
    • Sanctus, Hosanna (Choir Coach, soprano 1)
    • Sanctus, Hosanna (Choir Coach, soprano 2)
    • Benedictus, Hosanna (Choir Coach, soprano 1)
    • Benedictus, Hosanna (Choir Coach, soprano 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode, soprano 1)
    • Gratias (Choir Coach, Slow mode, soprano 2)
    • Qui tollis (Choir Coach, Slow mode, soprano 1)
    • Qui tollis (Choir Coach, Slow mode, soprano 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode, soprano 1)
    • Credo (Choir Coach, Slow mode, soprano 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Alto 1)
    • Qui tollis (Choir Coach, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Alto 1)
    • Gloria (Choir Coach, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Alto 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Alto 1)
    • Qui tollis (Choir Coach, Slow mode, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Tenore 1)
    • Qui tollis (Choir Coach, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Tenore 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Tenore 1)
    • Qui tollis (Choir Coach, Slow mode, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Basso 1)
    • Qui tollis (Choir Coach, Basso 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Basso 1)
    • Sanctus, Hosanna (Choir Coach, Basso 2)
    • Benedictus, Hosanna (Choir Coach, Basso 1)
    • Benedictus, Hosanna (Choir Coach, Basso 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Basso 1)
    • Qui tollis (Choir Coach, Slow mode, Basso 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basso 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basso 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basso 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basso 2)
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Additional material
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  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

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

    Gloria

    2. Gloria (Coro SATB)

    Glory be to God on high.
    And on earth peace to men of good will.

    3. Laudamus te (Solo S)

    We praise thee; we bless thee; we adore thee; we glorify thee.

    4. Gratias (Coro SSATB)

    We give thee thanks for thy great glory.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

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

    Gloria

    2. Gloria (Coro SATB)

    Ehre sei Gott in der Höhe.
    Und Friede auf Erden den Menschen, die guten Willens sind.

    3. Laudamus te (Solo S)

    Wir loben dich, wir preisen dich, wir beten dich an, wir rühmen dich.

    4. Gratias (Coro SSATB)

    Wir danken dir, denn groß ist deine Herrlichkeit.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    2. Gloria (Coro SATB)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.

    3. Laudamus te (Solo S)

    Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

    4. Gratias (Coro SSATB)

    Gratias agimus tibi propter magnam gloriam tuam.

    ...
  • Text from the CD Carus 83.284

    Uwe Wolf
    Translation: Elizabeth Robinson

    What a story! Mozart makes a vow to compose a mass after the successful birth of his first-born child. The performance is planned on the occasion of his first journey with his wife to Salzburg so he can introduce her to his family – both personally and musically, for Constanze is to sing one of the demanding soprano parts. But the baby, left behind with a wet-nurse in Vienna, then dies, and Mozart stops work on the composition – precisely at the Et incarnatus est, one of the most beautiful and heartfelt movements by Mozart, dealing with the subject of the incarnation, that is, birth. Too much of a coincidence? Probably.

    But there is some truth in this touching, very personal story. A letter from Mozart to his father in January 1783, the only document from the time of the composition of the Mass which refers to the vow, is anything but clear – and consequently any connection between the C Minor Mass and the birth of little Raimund Leopold (17.6.1783–19.8.1783) is frequently questioned. But various later statements by Constanze Mozart (who survived her husband by more than 50 years) regularly repeat this story over a long period of time. It is mentioned in

    ...
  • Booklet-Text der CD Carus 83.284

    Uwe Wolf

    Was für eine Geschichte! Mozart legt das Gelübde ab, nach der glücklich überstandenen Geburt seines Erstgeborenen eine Messe zu komponieren. Die Aufführung ist geplant anlässlich der ersten Reise mit seiner Frau nach Salzburg, um diese seiner Familie vorzustellen – auch musikalisch, denn eine der anspruchsvollen Sopranpartien soll Constanze singen. Doch dann stirbt das bei einer Amme in Wien zurückgelassene Baby und Mozart bricht die Komposition ab – genau im Et incarnatus est, einer der schönsten, innigsten Sätze Mozarts, in dem es auch noch ausgerechnet um die Menschwerdung, also Geburt geht! Zu passend, um wahr zu sein? Wahrscheinlich.

    Doch etwas ist dran an dieser rührenden, ganz persönlichen Geschichte. Ein Brief Mozarts an seinen Vater vom Januar 1783, das einzige Dokument für das Gelöbnis aus der Entstehungszeit der Messe selbst, ist alles andere als eindeutig – und folglich wird jener Zusammenhang zwischen der c-Moll-Messe und der Geburt des kleinen Raimund Leopold (17.6.1783–19.8.1783) regelmäßig in Zweifel gezogen. Doch diverse spätere Äußerungen Constanze Mozarts (die ihren Mann um mehr als 50 Jahre überlebte) wiederholen über einen langen Zeitraum diese

    ...
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Purchase
Compact Disc Carus 83.284/00, EAN 4009350832848 CD in jewel case
available
19,90 € / copy
Digital audio album (download), zip file, mp3 file Carus 83.284/00-110-000
available
8,99 € / copy
  • As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Personal details
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. 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
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. 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
  • 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
  • Canadian born Colin Balzer studied singing with David Meek in Canada and Edith Wiens in Germany. He has participated in master classes given by Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender and Christoph Prégardien. Colin Balzer has won a range of international prizes, and has embarked on a busy international concert schedule with a repertoire ranging from Monteverdi to Penderecki. He has been heard at Festivals in Baden-Baden, Aix-en-Provence and at the Early Music Festivals in Boston and Vancouver, and he regularly performs with various Canadian orchestras. He has also enjoyed considerable success as a lieder singer. He recorded his first CD, Hugo Wolf’s Italienisches Liederbuch, with Hartmut Höll. Personal details

Reviews

 In addition to the choral perfection on this recording, the vocal soloists are to be celebrated with equal aplomb ... It is this reviewer’s hope that Carus-Verlag continues its project of joining respected musicologists with renowned musicians in off ering new perspectives on enigmatic scores and other stalwarts of the choral canon. The present Wolf/Bernius collaboration ... presents Mozart’s significant liturgical work in an engaging edition without losing the stylistic heart of his genius.
C. Michael Porter, CHORAL JOURNAL, August 2018

I do not wish to dismiss Bernius’s performance ... and it is difficult to imagine anyone regretting having it in a music collection.
Richard Kraus, MusicWeb International, Oktober 2017

 

Mais la forme, l’accent, l’élan touchent à la perfection.
Ivan A. Alexandre, Diapason, April 2017

 

Die Mitwirkenden ... agieren sämtlich auf jenem hohen Niveau, das die Aufnahmen unter der Leitung von Frieder Bernius schon gewohntermaßen auszeichnet.
Gustav Danzinger, Chor aktuell, Juni 2017

 

Insgesamt überzeugt die Aufnahme durch warmen Klang und ruhigen Atem, die grossartige, nie steife Präzision und Klangbalance des Stuttgarter Kammerchors.
St. Galler Tagblatt, 15.03.2017

 

Mozarts Komposition ist meisterhaft - meisterhaft ist auch die Interpretation durch Frieder Bernius mit dem Kammerchor Stuttgart.
KNV

 

...die Interpretation ist, wie immer bei Bernius, unbestechlich: nah dran an einem Originalklang-Ideal, jedoch so, dass sich die Musik entwickeln, dass sie atmen kann.
Die Rheinpfalz, 25.02.2017

Unter der Leitung von Frieder Bernius musizieren Kammerchor und Hofkapelle Stuttgart in gewohnt hervorragender Qualität: mit moderaten, weder zu breiten noch forcierten Tempi, mit klarer Phrasierung sowie einem transparenten und zugleich warmen Klang. Ein Klangbild, in das sich das Solistenquartett organisch einfügt. Sowohl im Hinblick auf die Art der Vervollständigung als auch auf die Interpretation setzt diese c-Moll-Messe neue Maßstäbe.
Friedegard Hürter, Chorzeit, März 2017

 

Der Kammerchor Stuttgart singt mit vollendeter Perfektion, aber auch mit großer Wärme und mit Textbezug. Die Hofkapelle Stuttgart begleitet auf dem Instrumentarium der Mozart-Zeit ebenso präzise.
Bernhard Schrammek, RBB24, 23.01.2017

Darüber hinaus überzeugt die Aufnahme auch als Ganzes, legt sie doch die existenzielle Dringlichkeit dieser Musik frei, ohne sie ins Opernhafte zu steigern.
Augsburger Allgemeine, 27.01.2017

Mit seinen wie immer herausragenden guten Ensembles, dem Kammerchor und der Hofkapelle Stuttgart, gelingt Frieder Bernius eine flüssig musizierte, reliefreiche und pulsierende Interpretation.
Remy Franck, Pizzicato, 07.01.2017

Diese Balance zeichnet ... die Aufnahme aus, die Frieder Bernius mit Kammerchor und Hofkapelle Stuttgart ... eingespielt hat. Diese c-Moll-Messe setzt einen neuen Standard.
Detlef Krenge, BR Klassik, 25.01.2017

Bernius‘ flüssige und schlanke Interpretation ... überzeugt auf ganzer Linie und entfaltet sehr suggestiv das hohe dramatische Potenzial und die melodische Schönheit eines ... Meisterwerks...
Attila Csampai, Crescendo, Februar/März 2017

Neben der makellosen musikalischen Qualität der Aufnahme überzeugt auch die besonders edle Ausstattung des Hardcoverbüchleins.
Christian Albrecht, Musik & Liturgie, Februar 2017

Das klingende Ergebnis ist hinreißend – nicht nur wegen der Art der Vervollständigung, sondern auch wegen der Einheit von Edition und Interpretation. ... Ein kleines Chorwunder.
Susanne Benda, Stuttgarter Zeitung, 26.01.2017

Eine CD, bei der Frieder Bernius den altbekannten Spagat zwischen Emotionalität und Perfektion mit für ihn neuen Vorzeichen angeht.
Dorothea Bossert, SWR2 Cluster, 03.01.2017

Der Chor und die Hofkapelle Stuttgart sind optimal aufeinander eingestellt ... Bei Bernius spürt man: So kling Erfahrung. ... Das Resultat: äußerst erhebend.
Johnnes Adam, Badische Zeitung, 14.01.2016

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