Masters of Church Music in Dresden - CD, Choir Coach, multimedia | Carus-Verlag

Masters of Church Music in Dresden

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Highlights of Dresden church music from the Carus catalogue: The box with 10 CDs brings together several of Dresden’s most important church composers such as Heinichen, Hasse, Zelenka and Homilius. The “Kyrie Gloria Mass” from Bach’s B minor Mass according to the Dresden parts is also included in the box as a special treat. The performers are the Dresdner Kreuzchor conducted by their artistic director Roderich Kreile, the Dresdner Kammerchor and the Gaechinger Cantorey conducted by Hans-Christoph Rademann as well as the Vocal Concert Dresden conducted by Peter Kopp.
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  • O sweetest Jesu Christ, who thinks rightly upon thee
  • The Lord is my shepherd
  • I lift up my eyes unto the hills
  • If the Lord build not the dwelling
  • Jesus in the temple
  • O save us Lord
  • Behold, there appeared the angel of god
  • Feget den alten Sauerteig aus
  • O Jesus sweet, who thinks on thee
  • Let us declare the glory of the lord our god
  • A sower in his field
  • Be ye loving even as your father hath loved you
  • See now this child has been sent for the downfall
  • The Lord's prayer
  • Siehe, wie fein und lieblich ist’s
  • Watch and pray
  • Master, we know now, you are a trueful man
  • Saul, wilt thou injure me?
  • Lord, how long wilt thou utterly forget me?
  • Come, Holy Ghost
  • Let all give thanks to god
  • Kyrie
  • Gloria in excelsis
  • Qui tollis
  • Quoniam
  • Cum Sancto Spiritu
  • Credo
  • Et ressurexit
  • Et in Spiritum Sanctum
  • Et vitam
  • Sanctus
  • Pleni sunt coeli
  • Benedictus
  • Osanna in excelsis
  • Agnus Dei I
  • Agnus Dei II
  • Agnus Dei III
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Gloria in excelsis
  • Qui tollis
  • Quoniam
  • Cum Sancto Spiritu
  • Credo
  • Et incarnatus est
  • Et resurrexit
  • Et in Spiritum Sanctum
  • Et vitam
  • Sanctus
  • Pleni sunt coeli
  • Benedictus
  • Osanna in excelsis
  • Agnus Dei I
  • Agnus Dei II
  • Dona nobis pacem
  • Te Deum laudamus
  • Tu rex gloriae
  • Tu ad liberandum
  • Tu ad dexteram Dei sedes
  • Judex crederis
  • Aeterna fac
  • Intonatio: Salvum fac
  • Et rege eos
  • Per singulos dies
  • In te, Domine
  • Kyrie eleison
  • Christe eleison
  • Gloria in excelsis
  • Domine Deus
  • Qui tollis
  • Quoniam
  • Concertino
  • Credo
  • Crucifixus
  • Et resurrexit
  • Sanctus
  • Benedictus
  • Osanna in excelsis
  • Agnus Dei
  • Agnus Dei
  • Dona nobis pacem
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Gloria in excelsis Deo
  • Et in terra pax
  • Laudamus te
  • Gratias agimus tibi
  • Domine Deus
  • Qui tollis
  • Qui sedes
  • Quoniam tu solus Sanctus
  • Cum Sancto Spiritu
  • Kyrie
  • Gloria in excelsis Deo
  • Laudamus te
  • Domine Deus
  • Qui tollis
  • Quoniam
  • Cum Sancto Spiritu
  • Credo in unum Deum
  • Et incarnatus est
  • Et resurrexit
  • O admirabile mysterium
  • Ad cunas Jesu parvuli
  • Alleluja
  • Sanctus
  • Bendedictus
  • Agnus Dei I/II
  • Requiem aeternam
  • Te decet hymnus + Exaudi
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Dies irae
  • Recordare
  • Ingemisco
  • Qui Mariam absolvisti
  • Inter oves
  • Oro supplex
  • Lacrimosa
  • Dona eis requiem
  • Sanctus - Osanna I
  • Benedictus
  • Osanna II
  • Agnus Dei
  • Requiem aeternam (da capo)
  • Miserere
  • Tibi soli peccavi
  • Ecce enim
  • Quoniam si voluisses
  • Benigne fac, Domine
  • Tunc acceptabis
  • Requiem aeternam
  • Te decet hymnus
  • Exaudi orationem meam
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Dies irae
  • Tuba mirum
  • Mors stupebit
  • Recordare
  • Quaerens me
  • Juste judex
  • Inter oves
  • Lacrimosa
  • Domine Jesu Christe
  • Hostias et preces
  • Quam olim Abrahae
  • Sanctus
  • Benedictus
  • Hosanna
  • Agnus Dei
  • Lux aeterna
  • Requiem aeternam (da capo)
  • Miserere mei Deus
  • Tibi soli peccavi
  • Ecce enim
  • Libera me
  • Quoniam si voluisses
  • Benigne fac
  • Gloria Patri
  • Sicut erat - Amen
  • Coro: Der Herr ist Gott, der uns erleuchtet
  • Aria (S): Dir sei Ehr und Preis gegeben
  • Coro: Danket dem Herrn, denn er ist freundlich
  • Aria (T): Du bist mein Gott
  • Corale: Richt unser ganzes Leben
  • Coro: Selig seid ihr, wenn ihr geschmähet werdet
  • Aria (T): Geduldig beuge deinen Rücken
  • Corale: Sein Geist spricht meinem Geiste
  • Coro: Heilig ist unser Gott, der Herr Gott Zebaoth
  • Aria (S): Gott, groß ist deine Güte
  • Coro: Heilig ist Jesus Christ
  • Aria (A): Ich weiß, an wen ich glaube
  • Coro: Heilig ist Gottes Geist
  • Aria (T): Schaff du der Christen Tröster
  • Coro: Dir sei, Dreieinigkeit
  • Coro: Gott fähret auf mit Jauchzen
  • Aria (A): Gebückt verehren dich die Seraphinen
  • Corale: Nur daß ihr den Geist erhebt
  • Kyrie (Andante maestoso)
  • Christe (Andante quasi allegretto)
  • Kyrie (Fuga, Allegro giusto)
  • Gloria (Allegro)
  • Qui tollis (Larghetto)
  • Quoniam (Allegro non troppo)
  • Cum sancto spiritu (Fugato, Allegro più moderato)
  • Credo (Allegro maestoso, Larghetto, Allegro giusto)
  • Offertorium (Allegro moderato)
  • Sanctus (Andante)
  • Benedictus (Allegro)
  • Agnus Dei (Andante sostenuto)
more
Additional material
  • Kyrie (Choir)

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

    Gloria (Soli and Choir)

    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,
    ...
  • Kyrie (Chor)

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

    Gloria (Soli und Chor)

    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 und Vater, Herrscher über das All,
    Herr, eingeborener Sohn, Jesus Christus.
    Herr und Gott, Lamm Gottes, Sohn des Vaters.
    Du nimmst hinweg die Sünden der Welt:
    ...
  • Kyrie (Chor)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria (Soli und Chor)

    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.
    ...
  • Texte du livret du CD Carus 83.148

    Katrin Bemmann
    Traduction (abrégée): Jean Paul Ménière

    Dresde connut durant la première moitié du XVIIIe siècle le développement qui lui donna l’immense et toujours actuelle réputation d’être une importante résidence baroque. Comme dans de nombreuses cours allemandes de l’époque, la capitale saxonne suivait le modèle de la cour de Louis XIV qui passait pour être l’incarnation de l’absolutisme et de son amour des fastes. La musique n’était pas la dernière à contribuer aux fonctions représentatives de la cour. La chapelle de la cour de Dresde réunissait les plus importants virtuoses de l’époque et sa haute qualité lui fit obtenir une réputation européenne. Si l’opéra avait atteint un premier sommet lorsque le compositeur italien Antonio Lotti en fut le directeur, ce fut la musique sacrée qui prit le relais à partir de 1720. Deux compositeurs marquèrent particulièrement cette époque florissante de la musique sacrée :

    ...
  • Text from the CD Carus 27.048

    Katrin Bemmann
    Translation (abridged): John Coombs

    During the first half of the 18th century Dresden experienced a flowering of the arts which gave it a widespread and lasting reputation as a splendid example of a baroque princely residence. As at many other princely courts in Germany at that time, courtly life in the Saxon capital was modelled upon that of the glittering French court of Louis XIV, which was considered to be the supreme reflection of splendour-loving absolute monarchy. To no small extent music represented every aspect of court life and art. The Dresden Court Kapelle had in its ranks leading instrumental virtuosi of the period, and it was renowned throughout all Europe for its high quality. Opera in Dresden attained its first peak of achievement under the direction of the Italian composer Antonio Lotti and from 1720 onwards church music was also cultivated to fine effect. Two composers

    ...
  • Booklet-Text der CD Carus 83.148

    Katrin Bemmann

    In der ersten Hälfte des 18. Jahrhunderts durchlief Dresden jene Entwicklung, die der Stadt ihren bis heute so vielgerühmten Ruf als bedeutende Barockresidenz einbrachte. Wie an zahlreichen deutschen Fürstenhöfen jener Zeit eiferte man auch in der sächsischen Hauptstadt dem Vorbild des französischen Hofes unter Ludwig XIV. nach, welcher als Inbegriff der prunkliebenden absolutistischen Herrschaft galt. Die Übernahme der polnischen Königskrone durch den sächsischen Kurfürsten im Jahre 1697 ließ die Bestrebungen nach wirkungsvoller Repräsentation umso wichtiger werden. Aus dieser politischen Situation heraus konnten sich in Dresden unter der Regierung von August dem Starken und seinem Sohn, Kurfürst Friedrich August II., Architektur, Malerei, Plastik und Kunsthandwerk in voller Pracht entfalten. Daniel Matthäus Pöppelmann entwarf in diesen

    ...
  • 1. Te Deum laudamus (Coro SATB/SATB)

    We praise thee, O God: we acknowledge thee to be the Lord.
    All the earth doth worship thee: the Father everlasting.
    To thee all Angels cry aloud: the Heavens, and all the Powers therein.
    To thee Cherubim and Seraphim: continually do cry:
    Holy, Holy, Holy: Lord God of Sabaoth.

    Heaven and earth are full of the Majesty: of thy glory.

    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;
    ...
  • 1. Te Deum laudamus (Coro SATB/SATB)

    Herr, Gott, dich loben wir, Herr Gott, wir danken dir;
    Dich, Vater in Ewigkeit,
    ehrt die Welt weit und breit.
    All Engel und Himmelsheer
    und was dienet deiner Ehr,
    Auch Cherubim und Seraphim
    singen immer mit hoher Stimm:
    Heilig ist unser Gott, heilig ist unser Gott
    heilig ist unser Gott, der Herre Zebaoth.

    Dein göttlich Macht und Herrlichkeit
    geht über Himmel und Erden weit.

    Der heiligen zwölf Boten Zahl
    und die lieben Propheten all,
    die teuren Märtrer allzumal,
    loben dich, Herr, mit großem Schall.

    ...
  • 1. Te Deum laudamus (Coro SATB/SATB)

    Te Deum laudamus, te Dominum confitemur.
    Te aeternum Patrem omnis terra veneratur.
    Tibi omnes angeli, tibi coeli et universae potestates,
    tibi Cherubim et Seraphim, incessabili voce proclamant:
    Sanctus, sanctus, sanctus,
    Dominus Deus Sabaoth.

    Pleni sunt coeli et terra majestatis gloriae tuae.

    Te gloriosus apostolorum chorus,
    te prophetarum laudabilis numerus,
    te martyrum candidatus laudat exercitus.

    Te per orbem terrarum Sancta confitetur ecclesia.
    Patrem immensae majestatis;
    venerandum tuum verum et unicum filium Sanctum
    ...
  • Texte du livret du CD Carus 83.148

    Katrin Bemmann
    Traduction (abrégée): Jean Paul Ménière

    Dresde connut durant la première moitié du XVIIIe siècle le développement qui lui donna l’immense et toujours actuelle réputation d’être une importante résidence baroque. Comme dans de nombreuses cours allemandes de l’époque, la capitale saxonne suivait le modèle de la cour de Louis XIV qui passait pour être l’incarnation de l’absolutisme et de son amour des fastes. La musique n’était pas la dernière à contribuer aux fonctions représentatives de la cour. La chapelle de la cour de Dresde réunissait les plus importants virtuoses de l’époque et sa haute qualité lui fit obtenir une réputation européenne. Si l’opéra avait atteint un premier sommet lorsque le compositeur italien Antonio Lotti en fut le directeur, ce fut la musique sacrée qui prit le relais à partir de 1720. Deux compositeurs marquèrent particulièrement cette époque florissante de la musique sacrée :

    ...
  • Text from the CD Carus 83.148

    Katrin Bemmann
    Translation (abridged): John Coombs

    During the first half of the 18th century Dresden experienced a flowering of the arts which gave it a widespread and lasting reputation as a splendid example of a baroque princely residence. As at many other princely courts in Germany at that time, courtly life in the Saxon capital was modelled upon that of the glittering French court of Louis XIV, which was considered to be the supreme reflection of splendour-loving absolute monarchy. To no small extent music represented every aspect of court life and art. The Dresden Court Kapelle had in its ranks leading instrumental virtuosi of the period, and it was renowned throughout all Europe for its high quality. Opera in Dresden attained its first peak of achievement under the direction of the Italian composer Antonio Lotti and from 1720 onwards church music was also cultivated to fine effect. Two composers

    ...
  • Gekürzter Booklet-Text der CD Carus 83.148

    Katrin Bemmann

    In der ersten Hälfte des 18. Jahrhunderts durchlief Dresden jene Entwicklung, die der Stadt ihren bis heute so vielgerühmten Ruf als bedeutende Barockresidenz einbrachte. Wie an zahlreichen deutschen Fürstenhöfen jener Zeit eiferte man auch in der sächsischen Hauptstadt dem Vorbild des französischen Hofes unter Ludwig XIV. nach, welcher als Inbegriff der prunkliebenden absolutistischen Herrschaft galt. Die Übernahme der polnischen Königskrone durch den sächsischen Kurfürsten im Jahre 1697 ließ die Bestrebungen nach wirkungsvoller Repräsentation umso wichtiger werden. Aus dieser politischen Situation heraus konnten sich in Dresden unter der Regierung von August dem Starken und seinem Sohn, Kurfürst Friedrich August II., Architektur, Malerei, Plastik und Kunsthandwerk in voller Pracht entfalten. Daniel Matthäus Pöppelmann entwarf in diesen

    ...
  • I. Missa

    Kyrie

    1. Coro

    Lord, have mercy on us.

    2. Soprano & Alto

    Christ, have mercy on us.

    3. Coro

    Lord, have mercy on us.

    Gloria

    4a. Coro

    Glory be to God on high.

    4b. Coro

    And on earth peace to men of good will.

    5. Soprano

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

    6. Coro

    We give thee thanks for thy great glory.

    7a. Soprano & Tenore

    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.

    7b. Coro

    ...
  • I. Missa

    Kyrie

    1. Coro

    Herr, erbarme dich unser.

    2. Soprano & Alto

    Christus, erbarme dich unser.

    3. Coro

    Herr, erbarme dich unser.

    Gloria

    4a. Coro

    Ehre sei Gott in der Höhe.

    4b. Coro

    Und Friede auf Erden den Menschen, die guten Willens sind.

    5. Soprano

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

    6. Coro

    Wir danken dir,
    ...
  • I. Missa

    Kyrie

    1. Coro

    Kyrie eleison.

    2. Soprano & Alto

    Christe eleison.

    3. Coro

    Kyrie eleison.

    Gloria

    4a. Coro

    Gloria in excelsis Deo.

    4b. Coro

    Et in terra pax hominibus bonae voluntatis.

    5. Soprano

    Laudamus te, benedicimus te, adoramus te, glorificamus te.

    6. Coro

    Gratias agimus tibi propter magnam gloriam tuam.

    7a. Soprano & Tenore

    Domine Deus, Rex caelestis,
    ...
  • Text from the CD Carus 83.314

    Ulrich Leisinger
    Translation (abridged): J. Bradford Robinson, David Kosviner

    The idea of an autonomous work of art that has governed discussions of art ever since the nineteenth century was alien to Johann Sebastian Bach and his contemporaries. Almost all of Bach’s compositions were written for external occasions, whether in fulfillment of his duties as concert- and chapel-master or to meet the needs of his lessons. Remarkably, however, he returned to some of his works again and again over long periods of time. Some of the alterations he made went far beyond what was necessary for a simple revival, suggesting that he was intent on putting these works into a “definitive”shape.

    The circumstances surrounding the Mass in B minor BWV 232, to use the name we give it today (Carl Philipp Emanuel Bach called it “the great Catholic Mass” to distinguish it from his father’s Kyrie-Gloria Masses, BWV 233–236), are especially complex. Its genesis was spread over a period of more than fifteen years, and the work, though finished at the time of Bach’s death (on 28 July 1750), still awaited a final revision to put it into performable condition. Despite

    ...
  • Booklet-Text der CD Carus 83.314

    Ulrich Leisinger

    Die Idee des autonomen Kunstwerks, die die Diskussion von Kunst seit dem 19. Jahrhundert bestimmt, war Johann Sebastian Bach und seinen Zeitgenossen fremd. Nahezu alle Kompositionen Bachs sind auf äußere Veranlassung hin entstanden, sei es aus seinen Dienstpflichten als Konzert- und Kapellmeister oder aus der Notwendigkeit des Unterrichts heraus. Bemerkenswert ist aber, dass er sich mit einigen seiner Werke über größere Zeiträume immer wieder auseinandergesetzt hat. Die Eingriffe, die er dabei vornahm, gingen zum Teil deutlich über das hinaus, was für eine bloße Wiederaufführung notwendig gewesen wäre, und lassen ein Bemühen erkennen, eine „endgültige“ Werkgestalt zu schaffen.

    Besonders komplex sind die Verhältnisse bei der h-Moll-Messe BWV 232, wie wir sie heute nennen (Carl Philipp Emanuel Bach nannte sie in Abgrenzung von den Kyrie-Gloria-Messen BWV 233–236 „die große catholische Messe“), denn ihre Entstehungsgeschichte erstreckt sich über einen Zeitraum von mehr als 15 Jahren, und das Werk war zum Zeitpunkt des Todes von Johann Sebastian Bach am 28. Juli 1750 zwar

    ...
  • 1. Miserere (Coro)

    Miserere mei, Deus,
    secundum magnam misericordiam tuam
    et secundum multitudinem miserationum tuarum
    dele iniquitatem meam.
    Amplius lava me ab iniquitate mea
    et a peccato meo munda me.
    Quoniam iniquitatem meam ego cognosco,
    et peccatum meum contra me est semper.

    2. Tibi soli peccavi (Aria Soprano)

    Tibi soli peccavi, et malum coram te feci,
    ut iustificeris in sermonibus tuis,
    et vincas, cum iudicaris.

    3. Ecce enim (Soli / Coro)

    Ecce enim in iniquitatibus conceptus sum,
    et in peccatis concepit me mater mea.
    Ecce enim veritatem dilexisti,
    incerta et occulta sapientiae tuae
    manifestasti mihi.
    Asperges me hyssopo et mundabor,
    ...
  • 1. Miserere (Coro)

    Have mercy upon me,
    O God, according to thy loving-kindness,
    according unto the multitude of thy tender mercies
    blot out my transgressions.
    Wash me throughly from mine iniquity,
    and cleanse me from my sin.
    For I acknowledge my transgressions:
    and my sin is ever before me.

    2. Tibi soli peccavi (Aria Soprano)

    Against thee, thee only, have I sinned, and done this evil
    in thy sight: that thou mightest be justified when thou speakest,
    and be clear when thou judgest.

    3. Ecce enim (Soli / Coro)

    Behold, I was shapen in iniquity;
    and in sin did my mother conceive me.
    Behold, thou desirest truth in the inward parts:
    and in the hidden part
    thou shalt make me to know wisdom.
    Purge me with hyssop, and I shall be clean:
    ...
  • 1. Miserere (Coro)

    Erbarme Dich, o Gott,
    nach Deiner Güte,
    nach Deinem großen Erbarmen
    tilge meine Verfehlung.
    Wasche mich wohl von meiner Missetat
    und reinige mich von meiner Sünde.
    Denn ich erkenne meine Missetat,
    und meine Sünde ist immer vor mir.

    2. Tibi soli peccavi (Aria Soprano)

    An Dir allein habe ich gesündigt und übel vor Dir getan,
    auf dass Du recht behaltest in Deinen Worten
    und rein bleibest, wenn Du richtest.

    3. Ecce enim (Soli / Coro)

    Siehe, in Schuld bin ich geboren,
    und meine Mutter hat mich in Sünden empfangen.
    Siehe, an Wahrheit hast Du Gefallen,
    tue mir das Verborgene
    und Geheimnisvolle Deiner Weisheit kund.
    Entsündige mich mit Isop, dass ich rein werde,
    ...
  • Texte du CD Carus 83.175

    Ortrun Landmann
    Traduction (abrégé) : Sylvie Coquillat

    Johann Adolf Hasse naquit en 1699 à Bergedorf près de Hambourg. Il commença sa carrière en qualité de ténor à l’Opéra de Hambourg et présenta à l’Opéra de la cour de Braunschweig en 1721 une première œuvre scénique de sa composition. Il se rendit ensuite en Italie afin de parfaire sa formation, alla à Naples vers 1724 et y étudia entre autres la composition auprès d’Alessandro Scarlatti. De 1726 à 1730, il se fit remarquer à Naples par des opéras au style novateur, et à Venise lui manifesta aussi son intérêt à partir de 1730. Ici, où il contracta une longue et heureuse union avec la primadonna Faustina Bordoni, il acquit en même temps chez les « Incurabili » des premières expériences dans la composition et la prestation de musique spirituelle sur le modèle d’Antonio Vivaldi.

    Les années 1733/34 furent le départ de trois décennies

    ...
  • Text from the CD Carus 83.175

    Ortrun Landmann
    Translation (abridged): John Coombs

    Johann Adolf Hasse was born in 1699 at Bergedorf, near Hamburg. He began his career as a tenor singer at the Hamburg Opera, and in 1721 at the Brunswick Court Opera he presented the first opera which he composed. Then he went to Italy to complete his studies. Around 1724 he arrived in Naples, where he studied composition under Alessandro Scarlatti. From 1726–1730 he attracted attention with stylistically progressive operas in Naples, and from 1730 also in Venice. In this city, where he wed the prima donna Faustina Bordoni in what was to be a lifelong, happy marriage, he also gained his first experience at the “Incurabili” composing and conducting sacred music, after the example of Antonio Vivaldi.

    In 1733/34 there began the three decades of the “Hasse era” which made Dresden the focal point

    ...
  • Booklet-Text der CD Carus 83.175

    Ortrun Landmann

    Johann Adolf Hasse entstammte dem Hamburger Umland. 1699 wurde er in Bergedorf in einer Kirchenmusikerfamilie geboren und entsprechend erzogen. Mit 18 Jahren begann er jedoch, gefördert von dem berühmten Johann Mattheson, seine Berufslaufbahn als Tenor an der Hamburger Oper und kam ein Jahr später nach Braunschweig an die Hofoper, die 1721 Hasses Opernerstling auf die Bühne brachte (wobei der Komponist als Sänger mitwirkte). Anschließend begab sich der junge Musiker zur Vollendung seiner Ausbildung nach Italien. Etwa 1724 traf er in Neapel ein und studierte dort u.a. Komposition bei Alessandro Scarlatti.

    Alsbald fielen die Würfel für sein künftiges Leben: Der lutherische Organistensohn entschied sich für Italien und konvertierte zum Katholizismus. 1726–1730 war er mit stilistisch vorwärtsweisenden Bühnenwerken in Neapel sehr erfolgreich, ab 1730 auch in Venedig. Hier, wo er die lebenslang glückliche Ehe mit der Primadonna Faustina Bordoni schloss, erwarb er bei den „Incurabili“ zugleich erste Erfahrungen im Komponieren und Aufführen geistlicher

    ...
  • 1. Miserere mei Deus (Coro)

    Have mercy upon me,
    O God, according to thy loving-kindness,
    according unto the multitude of thy tender mercies
    blot out my transgressions.
    Wash me throughly from mine iniquity,
    and cleanse me from my sin.
    For I acknowledge my transgressions:
    and my sin is ever before me.

    2. Tibi soli peccavi (Basso solo)

    Against thee, thee only, have I sinned,
    and done this evil in thy sight:
    that thou mightest be justified when thou speakest,
    and be clear when thou judgest.

    3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo)

    Behold, I was shapen in iniquity;
    and in sin did my mother conceive me.
    Behold, thou desirest truth in the inward parts:
    and in the hidden part
    ...
  • 1. Miserere mei Deus (Coro)

    Erbarme dich, o Gott,
    nach deiner Güte,
    nach deinem großen Erbarmen
    tilge meine Verfehlung.
    Wasche mich wohl von meiner Missetat
    und reinige mich von meiner Sünde.
    Denn ich erkenne meine Missetat,
    und meine Sünde ist immer vor mir.

    2. Tibi soli peccavi (Basso solo)

    An dir allein habe ich gesündigt
    und übel vor dir getan,
    auf dass du recht behaltest in Deinen Worten
    und rein bleibest, wenn du richtest.

    3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo)

    Siehe, in Schuld bin ich geboren,
    und meine Mutter hat mich in Sünden empfangen.
    Siehe, an Wahrheit hast du Gefallen,
    tue mir das Verborgene
    und Geheimnisvolle deiner Weisheit kund.
    ...
  • 1. Miserere mei Deus (Coro)

    Miserere mei Deus,
    secundum magnam misericordiam tuam
    et secundum multitudinem miserationum
    tuarum dele iniquitatem meam.
    Amplius lava me ab iniquitate mea
    et a peccato meo munda me.
    Quoniam iniquitatem meam ego cognosco,
    et peccatum meum contra me est semper.

    2. Tibi soli peccavi (Basso solo)

    Tibi soli peccavi, et malum coram te feci,
    ut iustificeris in sermonibus tuis,
    et vincas, cum iudicaris.

    3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo)

    Ecce enim in iniquitatibus conceptus sum,
    et in peccatis concepit me mater mea.
    Ecce enim veritatem dilexisti,
    incerta et occulta sapientiae tuae
    manifestasti mihi.
    Asperges me hyssopo et mundabor,
    ...
  • Text du livret du CD Carus 83.349

    Wolfram Hader
    Traduction (abrégée) : Sylvie Coquillat

    Johann Adolf Hasse fut l’un des compositeurs les plus célèbres d’Europe dans le deuxième tiers du 18ème siècle. Il naît en 1699 à Bergedorf près de Hambourg. Après de premiers succès comme chanteur, il se tourne vers la composition et il est l’un des derniers élèves d’Alessandro Scarlatti à Naples. En 1730, il épouse à Venise la célèbre cantatrice Faustina Bordoni avec laquelle il se rend à la cour de Dresde un an plus tard. La représentation de son opéra Cleofide est un triomphe pour le couple. À la mort d’Auguste le Fort en 1733, son fils Frédéric Auguste II engage Hasse comme maître de chapelle à la cour de Dresde.

    Pendant ses 30 années de service, il y amène la vie musicale à son apogée. Toute l’Europe regarde avec envie la dynamique vie culturelle et les nombreux chefs-d’œuvre musicaux qui y sont interprétés durant

    ...
  • Text from the CD Carus 83.349

    Wolfram Hader
    Translation (abridged): Elizabeth Robinson

    Johann Adolf Hasse was one of the most famous composers in Europe in the second third of the 18th century. Hasse was born in 1699 in Bergedorf near Hamburg. After initial success as a singer, he turned to composition and became one of Alessandro Scarlatti’s last pupils in Naples. In 1730 he married the famous singer Faustina Bordoni in Venice, with whom he came to the Dresden court a year later. The performance of his opera Cleofide was a triumph for the couple. After the death of Augustus the Strong in 1733, his son Frederick Augustus II engaged Hasse as Kapellmeister at the Dresden court.

    During the thirty years in his position, he brought musical life there to a magnificent height. All of Europe looked enviously on the active cultural life and the countless musical masterpieces which were

    ...
  • Booklet-Text der CD 83.349

    Wolfram Hader

    Johann Adolf Hasse war im zweiten Drittel des 18. Jahrhunderts einer der berühmtesten Komponisten Europas. Hasse wurde 1699 in Bergedorf bei Hamburg geboren. Nach ersten Erfolgen als Sänger wandte er sich der Komposition zu und wurde in Neapel einer der letzten Schüler von Alessandro Scarlatti. 1730 heiratete er in Venedig die berühmte Sängerin Faustina Bordoni, mit der er ein Jahr später an den Dresdner Hof kam. Die Aufführung seiner Oper Cleofide wurde zum Triumph für das Ehepaar. Nach dem Tod Augusts des Starken 1733 verpflichtete sein Sohn Friedrich August II. Hasse als Kapellmeister an den Dresdner Hof.

    Während seiner dreißigjährigen Amtszeit führte Johann Adolf Hasse das dortige Musikleben zu großartiger Blüte: In ganz Europa blickte man neidvoll auf das rege kulturelle Leben und die zahlreichen musikalischen Meisterstücke, die zu Hasses

    ...
  • ...
  • Introitus et Kyrie

    1. Requiem aeternam (Solo S, Coro)

    Lord, grant them eternal rest,
    and let the perpetual light shine upon them.

    2. Versus: Te decet hymnus / Exaudi

    Thou shalt have praise in Zion, oh God,
    and homage shall be paid to thee in Jerusalem.

    Aria (Solo T)

    Hear my prayer. All flesh shall come before thee.

    3. Kyrie eleison I (Coro)

    Lord, have mercy upon us.

    4. Christe eleison (Soli SA)

    Christ, have mercy upon us.

    5. Kyrie eleison II (Coro)

    Lord, have mercy upon us.

    Sequentia

    6. Dies irae (Soli SSATTB, Coro)

    This day, this day of wrath
    shall consume the world in ashes,
    ...
  • Introitus et Kyrie

    1. Requiem aeternam (Solo S, Coro)

    Herr, gib ihnen die ewige Ruhe,
    und das ewige Licht leuchte ihnen.

    2. Versus: Te decet hymnus / Exaudi

    O Gott, Dir gebührt ein Loblied in Sion,
    Dir erfülle man sein Gelübde in Jerusalem.

    Aria (Solo T)

    Erhöre mein Gebet,
    zu Dir kommt alles Fleisch.

    3. Kyrie eleison I (Coro)

    Herr, erbarme Dich unser.

    4. Christe eleison (Soli SA)

    Christus, erbarme Dich unser.

    5. Kyrie eleison II (Coro)

    Herr, erbarme Dich unser.

    Sequentia

    6. Dies irae (Soli SSATTB, Coro)

    Tag der Rache, Tag der Sünden
    ...
  • Texte du CD Carus 83.175

    Ortrun Landmann
    Traduction (abrégé) : Sylvie Coquillat

    Johann Adolf Hasse naquit en 1699 à Bergedorf près de Hambourg. Il commença sa carrière en qualité de ténor à l’Opéra de Hambourg et présenta à l’Opéra de la cour de Braunschweig en 1721 une première œuvre scénique de sa composition. Il se rendit ensuite en Italie afin de parfaire sa formation, alla à Naples vers 1724 et y étudia entre autres la composition auprès d’Alessandro Scarlatti. De 1726 à 1730, il se fit remarquer à Naples par des opéras au style novateur, et à Venise lui manifesta aussi son intérêt à partir de 1730. Ici, où il contracta une longue et heureuse union avec la primadonna Faustina Bordoni, il acquit en même temps chez les « Incurabili » des premières expériences dans la composition et la prestation de musique spirituelle sur le modèle d’Antonio Vivaldi.

    Les années 1733/34 furent le départ de trois décennies

    ...
  • 

    Text from the CD Carus 83.175

    Ortrun Landmann
    Translation (abridged): John Coombs

    Johann Adolf Hasse was born in 1699 at Bergedorf, near Hamburg. He began his career as a tenor singer at the Hamburg Opera, and in 1721 at the Brunswick Court Opera he presented the first opera which he composed. Then he went to Italy to complete his studies. Around 1724 he arrived in Naples, where he studied composition under Alessandro Scarlatti. From 1726–1730 he attracted attention with stylistically progressive operas in Naples, and from 1730 also in Venice. In this city, where he wed the prima donna Faustina Bordoni in what was to be a lifelong, happy marriage, he also gained his first experience at the “Incurabili” composing and conducting sacred music, after the example of Antonio Vivaldi.

    In 1733/34 there began the three decades of the “Hasse era” which made Dresden the focal point

    ...
  • 

    Gekürzter Booklet-Text der CD Carus 83.175

    Ortrun Landmann

    Johann Adolf Hasse entstammte dem Hamburger Umland. 1699 wurde er in Bergedorf in einer Kirchenmusikerfamilie geboren und entsprechend erzogen. Mit 18 Jahren begann er jedoch, gefördert von dem berühmten Johann Mattheson, seine Berufslaufbahn als Tenor an der Hamburger Oper und kam ein Jahr später nach Braunschweig an die Hofoper, die 1721 Hasses Opernerstling auf die Bühne brachte (wobei der Komponist als Sänger mitwirkte). Anschließend begab sich der junge Musiker zur Vollendung seiner Ausbildung nach Italien. Etwa 1724 traf er in Neapel ein und studierte dort u.a. Komposition bei Alessandro Scarlatti.

    Alsbald fielen die Würfel für sein künftiges Leben: Der lutherische Organistensohn entschied sich für Italien und konvertierte zum Katholizismus. 1726–1730 war er mit stilistisch vorwärtsweisenden Bühnenwerken in Neapel sehr erfolgreich, ab 1730 auch in Venedig. Hier, wo er die lebenslang glückliche Ehe mit der Primadonna Faustina Bordoni

    ...
  • Unbenanntes Dokument

    Booklet-Text der CD Carus 83.349 (gekürzt)

    Wolfram Hader

    Johann Adolf Hasse war im zweiten Drittel des 18. Jahrhunderts einer der berühmtesten Komponisten Europas. Hasse wurde 1699 in Bergedorf bei Hamburg geboren. Nach ersten Erfolgen als Sänger wandte er sich der Komposition zu und wurde in Neapel einer der letzten Schüler von Alessandro Scarlatti. 1730 heiratete er in Venedig die berühmte Sängerin Faustina Bordoni, mit der er ein Jahr später an den Dresdner Hof kam. Die Aufführung seiner Oper Cleofide wurde zum Triumph für das Ehepaar. Nach dem Tod Augusts des Starken 1733 verpflichtete sein Sohn Friedrich August II. Hasse als Kapellmeister an den Dresdner Hof.

    Während seiner dreißigjährigen Amtszeit führte Johann Adolf Hasse das dortige Musikleben zu großartiger Blüte: In ganz Europa blickte man neidvoll auf das rege kulturelle Leben und die zahlreichen musikalischen Meisterstücke, die zu Hasses Amtszeit dort zur Auf führung gelangten. Hasse genoss am Dresdner Hof einen hohen Stand; demzufolge gewährte man ihm viele Freiheiten. So konnte er sich (oft über sehr lange Zeit räume) in Italien aufhalten und dort

    ...
  • Unbenanntes Dokument

    Text from the CD Carus 83.349 (abridged)

    Wolfram Hader
    Translation: Elizabeth Robinson

    Johann Adolf Hasse was one of the most famous composers in Europe in the second third of the 18th century. Hasse was born in 1699 in Bergedorf near Hamburg. After initial success as a singer, he turned to composition and became one of Alessandro Scarlatti’s last pupils in Naples. In 1730 he married the famous singer Faustina Bordoni in Venice, with whom he came to the Dresden court a year later. The performance of his opera Cleofide was a triumph for the couple. After the death of Augustus the Strong in 1733, his son Frederick Augustus II engaged Hasse as Kapellmeister at the Dresden court.

    During the thirty years in his position, he brought musical life there to a magnificent height. All of Europe looked enviously on the active cultural life and the countless musical masterpieces which were performed there during Hasse’s tenure. He enjoyed a high reputation at the Dresden court; therefore the court offered Hasse many freedoms. Thus, he was able to visit Italy (often for extended periods) and to compose and have several operas

    ...
  • Unbenanntes Dokument

    Texte du CD Carus 83.349 (abrégée)

    Wolfram Hader
    Traduction: Sylvie Coquillat

    Johann Adolf Hasse fut l’un des compositeurs les plus célèbres d’Europe dans le deuxième tiers du 18ème siècle. Il naît en 1699 à Bergedorf près de Hambourg. Après de premiers succès comme chanteur, il se tourne vers la composition et il est l’un des derniers élèves d’Alessandro Scarlatti à Naples. En 1730, il épouse à Venise la célèbre cantatrice Faustina Bordoni avec laquelle il se rend à la cour de Dresde un an plus tard. La représentation de son opéra Cleofide est un triomphe pour le couple. À la mort d’Auguste le Fort en 1733, son fils Frédéric Auguste II engage Hasse comme maître de chapelle à la cour de Dresde.

    Pendant ses 30 années de service, il y amène la vie musicale à son apogée. Toute l’Europe regarde avec envie la dynamique vie culturelle et les nombreux chefs-d’œuvre musicaux qui y sont interprétés durant toute la période où Hasse est en fonction. Il jouit d’une situation privilégiée à la cour de Dresde : en conséquence, la cour de Dresde lui accorde de grandes libertés.

    ...
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Contents

  • The Dresden Kreuzchor is one of the world’s oldest and most famous boys’ choirs. Its most important task in its 800 years of existence is still the musical accompaniment of the vespers and services at Dresden’s Kreuzkirche. Not only on religious holidays but also throughout the entire church year the Kreuzchor accompanies half of all liturgical services in the famous church on the old market. The impressive architecture of the Kreuzkirche is an added attraction for the 3000 spectators of its choir concerts. As the city’s oldest and critically acclaimed cultural institution, the Dresden Kreuzchor has marked Dresden’s musical life in a very special way and spreads the city’s reputation as a cultural metropolis throughout the world as one of its most prominent ambassadors. Several times a year, the Dresden Kreuzchor goes on national and international concert tours beyond Germany and Europe’s borders to Israel, Canada, Japan, South America and the USA. Moreover, it performs at international music festivals as well as on countless radio and television recordings. A very wide repertoire ranging from early Baroque to world premieres of contemporary music has enabled it to make more than 800 recordings in the last 80 years for prestigious record labels such as Deutsche Grammophon, Teldec, Capriccio and Berlin Classics. There is a constant cooperation with famous orchestras such as the Dresden Philharmonic and the Sächsische Staatskapelle Dresden. Renowned opera houses regularly employ members of the choir as soloists for roles such as the three boys in the Magic Flute. The Kreuzchor singers, called “Kruzianer,” still pursue their education and graduate from the Kreuzschule; about half of them live in the adjacent boarding school. In addition to their regular classes, the 150 singers aged nine to eighteen have weekly singing and instrumental lessons. Their daily rehearsals and the specific sound of the choir are the basis of the success and the fame of the Dresden Kreuzchor. 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
  • The Vocal Concert Dresden, which was founded as “Körnerscher Sing-Verein” by Peter Kopp in 1993, consists largely of graduates of the Dresden Hochschule für Musik and former members of the Dresden Kreuzchor. The chamber choir’s challenging repertoire extends from programs featuring the music of Schütz, Bach, Handel, Haydn, Mendelssohn and Brahms to contemporary compositions, some of which it has premiered. The ensemble’s interpretative insight and, most importantly, the emotional impact of its concerts, have contributed to its reputation for exceptional performances and to its artistic standing. It is constantly credited with stylistic assurance and an elegant, natural approach to music-making. The choir has appeared in a number of concerts staged by the Dresden Staatskapelle and the Dresden Philharmonic. It has made guest appearances at Bachwoche Ansbach, the Göttinger Händel-Festspielen, the Schlossfestspiele Potsdam, the Händel-Festspielen Halle, the Ravello Festival (Italy), in Poland and Holland, and also repeatedly in the USA. A prominent feature of its programs is music of the late 18th century, for which the Vocal Concert Dresden has developed a particular affinity. Personal details
  • Since 1995 the Dresdner Instrumental-Concert has brought together artists who perform music true to historical style on period instruments. The name of the group originated from middle class musical life as it existed in Dresden around 1800. Numerous concerts and recordings – especially together with the Vocal Concert Dresden under the direction of Peter Kopp – display an impressive artistic quality. The primary emphasis of its repertoire lies in the treasures of Dresden’s rich musical history. The Dresdner Instrumental-Concert has been acclaimed in the international press and by the public for its sensitive sonority and its tasteful manner of playing. Personal details
  • 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
  • One of the distinguishing features of the Dresdner Barockorchester, founded in 1991, is the fact that its membership includes both early music specialists and orchestral musicians drawn from the Dresdner Staatskapelle and the Dresdner Philharmonie. Working together with baroque instruments, with their specific clarity of sound and articulation they achieve a variegated, eloquent music-making in which their different areas of musical experience are combined. The musicians are united in their desire to follow the splendid example set by the Dresden Court Orchestra of Augustus the Strong. The heritage of that era is the music of such conductors and instrumentalists of the Court Orchestra as Hasse, Heinichen, Zelenka, Quantz and Pisendel, whose works have a prominent place in the repertoire of the Dresdner Barockorchester. This repertoire extends from the end of the 17th century through Mozart. The Dresdner Barockorchester works closely with the Dresdner Kammerchor and its conductor Hans- Christoph Rademann. Personal details
  • Founded in 1548 by the Elector Moritz von Sachsen, the Staatskapelle Dresden is among the world’s oldest orchestras and it is rich in tradition; it is probably the only one which has existed continuously for more than four and a half centuries, and has always been among the leading orchestras during every epoch. Along with its unique musicianship, founded on its quite specific ensemble spirit, the unmistakable sound of the Staatskapelle has evolved through its long tradition in matters of timbre, transparency and homogeneity, which has lead audiences and critics everywhere to refer to it as one of the great orchestras of our time. Important conductors and internationally celebrated instrumentalists have left their mark on the former Hofkapelle, now Staatskapelle. Its musical directors have included Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber and Richard Wagner, who called the orchestra his “miraculous harp.” Important principal conductors of the 20th century were Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling and Herbert Blomstedt. From 1992 until his death in 2001 Giuseppe Sinopoli was the principal conductor, then from 2002 until 2004 Bernard Haitink. At the beginning of the 2007/2008 season Fabio Luisi became General Musical Director of the Staatsoper Dresden and therefore also the principal conductor of the Staatskapelle Dresden. The honorary conductor of the orchestra since 1990 is Sir Colin Davis. In April 2007 the Sächsische Staatskapelle Dresden was the only orchestra so far to be awarded, in Brussels, the “Prize of the European Cultural Foundation for the preservation of the musical world cultural heritage”. 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
  • After singing in the Dresden Kreuzchor as a schoolboy, Peter Kopp trained both as a church musician and as a choral and orchestral conductor at the Dresden Hochschule für Musik. While still a student he directed the Dresden Bach Choir. Since 1995 he has been a choral conductor of the Dresden Kreuzchor, which he was engaged to direct when the post of Kreuzkantor was vacant. His diverse musical activities have taken him abroad on a number of occasions. He is particularly interested in rediscovering forgotten gems from Saxony’s musical history. In this respect, performances and CD recordings of works by Johann Gottlieb Naumann have had the same lasting resonance as his most recent releases, “Christmas at the Dresden Court” (Carus 83.169), “Christmas in the Dresden Frauenkirche” (Carus 83.170), and the first recording of the most important Vivaldi discovery for seventy years, the Dixit Dominus. In 2002 Peter Kopp was awarded the Johann Walter Plaquette of the Saxon Music Council, followed by the Sponsor Prize of Dresden, the state capital of Saxony, in the spring of 2003. In addition he regularly appears as a guest conductor with the Bach Society of Houston/Texas and has given courses in choral conducting at two universities there. Personal details
  • For centuries the position as cantor of the Dresdner Kreuzchor (Choir of the Church of the Holy Cross) has been among the most honorable and renowned positions in Protestant church music. Roderich Kreile has served as the 28th post-Reformation cantor of the Dresdner Kreuzchor since 1997. He was born in 1956 and studied church music and choral conducting in Munich. Roderich Kreile quickly achieved nationwide recognition as a church musician. He taught at the Munich Conservatoire between 1989 and 1996, eventually as a professor, and led two choirs. Furthermore, in 1994 he took over the position as Director of the Munich Philharmonic Choir. As an organist and tutor he has received invitations from both within Germany and from abroad. Kreuzkantor Roderich Kreile all music performances in the church as well as the concerts and tours of the Dresdner Kreuzchor. There, he has established with the members of the choir – named “Kruzianer” –, a wide-ranging repertoire of religious and secular choral works from throughout the history of music. In the last few years he has given many compositions their first performances. He has also strengthened ties with renowned orchestras and produced numerous radio and CD recordings. In previous centuries the area of responsibility of the cantor of the Dresdner Kreuzchor was concentrated primarily on the leadership of the religious services, as is still the case. Nowadays, however, the remit of the Kantor far exceeds purely artistic responsibility; as the leader of the Dresdner Kreuzchor, Roderich Kreile also has the responsibility of being a community representative. Personal details

Reviews

... Ein Gustostück der Box sind sicherlich die enthaltenen Symphoniae Sacrae III von Heinrich Schütz ... Besser geht es kaum! ... Alles in allem also große Interpretennamen, die dem Hörer auch hierorts weniger bekannte Werke durchaus schmackhaft machen können.
Monika Fahrnberger, singende Kirche, 4/2019

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