Heinrich Schütz spent his whole life searching for that which is new in music. The Symphoniae Sacrae I, which were presented in 1629, also testify to this. Schütz composed them as a result of the impressions made upon him by his second journey to Venice. In addition to the numerous Italian stylistic traits which can be traced back to Monteverdi, the 20 concertos – all in Latin – particularly impress with their great variety of timbres: solo pieces, duets and trios for all voice type are combined with diverse string and wind instruments and are governed by the emotional and expressive world of the text. The recording impressively continues the award-winning Schütz complete recording with the Dresdner Kammerchor conducted by Hans-Christoph Rademann with the customary top-quality soloists such as Dorothee Mields, Felix Schwandtke and others.
- Hans-Christoph Rademann Personal details
Soloist - alto
- David Erler Personal details
Soloist - bass
- Felix Schwandtke Personal details
There is not a weak link in the chain. ... Rademanns series is establishing itself as the definitive Schütz-Werke on records.
J. F. Weber, Fanfare, 13.10.2017
The singing here is polished and spirited, and the playing is sometimes more robust and forceful, especially by the dulicians and trombones.
Loewen, American Record Guide, Juli/August 2017
They [the singers] maintain a consistent clarity and discretion in bringing out the words but by no means neglect emotion.
Curtis Roger, Musicweb-International, Juli 2017
Dieser ... Beitrag auf dem Weg zu einer vollständigen Aufnahme sämtlicher Werke von Heinrich Schütz ist Hans Christoph Rademann und seinem bewährten Musikantenteam besonders eindrucksvoll gelungen.
Gustav Danzinger, Chor aktuell, Juni 2017