Heinrich Schütz: Christmas History. Complete recording, vol. 10 - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Christmas History. Complete recording, vol. 10

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The tenth volume of the recording of Schütz’s complete works presents the Weihnachtshistorie SWV 435 (Christmas History). The well-known Christmas History is supplemented with additional pieces for the Christmas season, including the Magnificat SWV 468. Under the direction of Hans-Christoph Rademann, the Dresdner Kammerchor and the Dresdner Barockorchester perform together with renowned soloists such as Gerlinde Sämann, Marie Luise Werneburg and Georg Poplutz (as Evangelist). A coproduction with MDR Figaro.
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  • Magnificat
  • Hodie Christus natus est (Christ der Herr ist geboren heut)
  • This happy morning was Christ the Lord born
  • Oh Lord, Creator of all thing
  • O bone Jesu, fili Mariae (O mein Herr Jesus)
  • Introduktion
  • Die Geburt Jesu
  • Der Engel zu den Hirten auf dem Felde (aus Vol. 10: Weihnachtshistorie)
  • Die Menge der Engel
  • Die Hirten auf dem Felde
  • Die Anbetung der Hirten
  • Die Weisen aus dem Morgenlande
  • Die Hohenpriester und Schriftgelehrten
  • Herodes
  • Die Anbetung der Weisen aus dem Morgenlande
  • Die Flucht nach Ägypten
  • Die Flucht nach Ägypten II
  • Kindermord des Herodes
  • Rückkehr aus Ägypten (aus Vol. 10: Weihnachtshistorie)
  • Rückkehr aus Ägypten II
  • Conclusio
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  • Introduction (Coro)

    The glad birth, of our Lord and Savior Jesus Christ, in the words of the holy Evangelists’ description, who wrote it down..

    The birth of Jesus

    Evangelist (Tenore)

    And behold, it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world enroll for taxing. (And this taxing was the first; being made at the time when Cyrenius was governor of Syria.) And ev’ryone went that he might be taxed, unto the city of his birth. Among them there went up ­Joseph being of Galilee, and went from Nazareth, to Judaea, to the city of David, which is called Bethlehem; (because he was of the lineage and house of David:) that he might enroll for taxing, and with him Mary, his own espoused wife, being great with child. And, while they yet tarried there, it was time that she should be delivered. And she brought forth her first-born son, and wrapped him round in swaddling, and laid him in a lowly manger, for they could not find a room for them in the inn. And, in the same country where shepherds abiding in the fields, and keeping watch over their flock by night. And lo, the Lord’s own angel came upon them, and the glory of the Lord shone round about them: and they were sore afraid.

    ...
  • Introduction (Coro)

    Die Geburt unseres Herrn Jesu Christi, wie uns die von den heiligen Evangelisten beschrieben wird.

    Jesu Geburt

    Evangelist (Tenore)

    Es begab sich aber zu der selbigen Zeit, dass ein Gebot von dem Kaiser Augusto ausging, dass alle Welt geschätzet würde, und diese Schätzung war die erste und geschah zu der Zeit, da Cyrenius Landpfleger in Syrien war, und jedermann ging, dass er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zu der Stadt Davids, die da heißet Bethlehem, darum dass er von dem Hause und Geschlechte Davids war, auf dass er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, dass sie gebären sollte, und sie gebar ihren ersten Sohn und wickelt’ ihn in Windeln und legte ihn in eine Krippe, denn sie hatten sonst keinen Raum in der Herberge. Und es waren Hirten in derselbigen Gegend auf dem Felde, die hüteten des Nachts ihre Herde, und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet’ um sie und sie furchten sich sehr, und der Engel sprach zu

    ...
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disque compact Carus 83.257/00, EAN 4009350832572 CD dans un écrin
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Album audio à télécharger, fichier zip, fichier mp3 Carus 83.257/00-110-000
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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. Plus d'information sur la personne
  • Le Dresdner Kammerchor (Chœur de chambre de Dresde) – l’un des meilleurs chœurs d’Allemagne – est bien connu pour sa sonorité unique, faite d’une grande intensité et clarté. Rayonnement dynamique, homogénéité et transparence sonores souvent cités en exemple sont les points forts de cet ensemble demandé au niveau international. Le chœur a été créé en 1985 par Hans-Christoph Rademann et des étudiants du Conservatoire de musique « Carl Maria von Weber » de Dresde. De nombreuses tournées de concerts ont établi la notoriété de l’ensemble également hors d’Europe. En ont résulté des invitations régulières à d’importants festivals internationaux. Le répertoire du chœur va de la musique de la Renaissance à des compositions du 21ème siècle. Des interprétations de la musique chorale romantique et contemporaine ont été récompensées de prix spéciaux lors de concours internationaux, ainsi que du prix d’encouragement de la fondation Ernst von Siemens. En dehors de la pratique a cappella, le chœur de chambre se consacre intensément à la coopération avec le Dresdner Barockorchester et l’ensemble « Alte Musik Dresden », donnant des impulsions importantes à la pratique de la musique ancienne en Saxe. Une foule d’enregistrements pour la radio et pour le CD, ainsi que la coopération avec des orchestres allemands et étrangers viennent renforcer la renommée du Chœur de chambre de Dresde. Le CD paru aux Editions Carus de Stuttgart, avec le premier enregistrement mondial du Requiem en mi bémol majeur de Johann Adolf Hasse s’est vu décerner le prix de la Critique allemand du disque. Plus d'information sur la personne
  • Le Dresdner Barockorchester [Orchestre baroque de Dresde] a été créé en 1991 par des diplômés du Conservatoire de musique de Dresde. Au cours des années, les musiciens saxons ont révélé tout ce qu’il avaient de particulier à apporter à la scène de la musique ancienne : force émotionnelle et expressive, alliée à une musicalité éloquente, une interprétation sous un angle neuf, vivant. Les compositions de maîtres de chapelle et instrumentistes de la Chapelle de la cour de Dresde des 17ème et 18ème siècles comme Hasse, Heinichen, Zelenka, Quantz, Pisendel e. a. constituent un aspect important du répertoire du Dresdner Barockorchester. Le centre de gravité et le défi véritable pour l’ensemble est le vécu direct du concert. Plusieurs enregistrements pour le CD documentent autant l’art des interprètes que la pratique musicale éprise de magnificence de la cour baroque de Dresde. Des tournées ont conduit le Dresdner Barockorchester non seulement dans de nombreux centres musicaux d’Allemagne, mais aussi en Hollande, en Espagne, en Autriche et au Japon. Plus d'information sur la personne
  • 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. Plus d'information sur la personne
  • Marie Luise Werneburg loves Renaissance and Baroque music. She grew up in a musical rectory in Dresden, and then developed her musical inclination and talent by firstly studying church music in Dresden and then later studying singing in Bremen. She is a sought-after soloist who pursues her passion for early music by singing concerts worldwide with, among others, the Ensemble Weser-Renaissance Bremen, the Lautten Compagney Berlin, the Rheinische Kantorei and Bell’Arte Salzburg. She is especially passionate about J.?S.?Bach’s cantatas and oratorios and H.?Schütz’s oeuvre. But she has also been enchanted by other musical treasures by less well-known composers such as Rosenmüller and Biber. Additionally, Werneburg’s other favorite musical projects include collaborating with the harpsichordist Elina Albach and her ensemble CONTINUUI IM, as well as with Hille Perl and the Sirius Viols. Plus d'information sur la personne
  • The blind soprano Gerlinde Sämann studied piano and singing at the Richard Strauss Conservatoire in Munich, working with teachers including Karl- Heinz Jarius, Henriette Meyer-Ravenstein and Selma Aykan. Her repertoire ranges from historic works, via lieder and oratorio, to avant-garde and contemporary music theatre works. Since 1991 Gerlinde Samann has performed as a soloist with a wide range of ensembles, mainly specializing in early music, at leading festivals. These include the Dresdner Kreuzchor, Accentus Chamber Choir, Arsys Bourgogne, Akademie fur Alte Musik Berlin, and La Petite Bande. She also enjoys a busy career in opera and contemporary music theatre, working with directors such as Arila Siegert, Gil Mehmert, Sabine Hasz, Thomas Hoft, Crescentia Dunser, and Otto Kukla. She has made numerous radio recordings and CDs in Germany and abroad. Gerlinde Samann is passionately committed to devising programs of unusual songs and duos, performing these with musicians such as the renowned fortepianist Ronald Brautigam. Plus d'information sur la personne
  • The mezzo-soprano Maria Stosiek was born in Gorlitz in 1988. In Dresden she studied voice under Christiane Junghanns and violin with Annette Under and was a stipendiary of the Dresden Talentschmiede. Master classes under, among others, Charlotte Lehmann and Dorothee Mields brought her important musical impulses. Today she sings in the MDR choir (Middle German Radio Choir) as well as in the Dresdner Kammerchor, where she regularly sings solo parts. Moreover, she works as a soloist together with both the Singakademie Dresden and the Vokalensemble Kassel. Concert tours have taken her to other European countries, to Israel and Palestine, as well as to Taiwan and China. In addtion to ensemble singing and concert singing Maria Stosiek has devoted herself increasingly to contemporary music. Plus d'information sur la personne
  • 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. Plus d'information sur la personne
  • 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. Plus d'information sur la personne

Critiques

... Sie [die CD] macht uneingeschränkt Freude, schöner geht es für Schütz wohl kaum!
Monika Fahrnberger, singende kirche, 3/2019

... The balance of the soloists’ voices is wonderful; no individual voice overpowers the others, and the tone quality of each singer complements the other soloists.
Jennifer Adam, Bowling Green, CHORAL JOURNAL, Vol. 56, Number 5

... Die verschiedenen Rollen werden von den Solisten [...] sehr schön gestaltet. Diese Interpretation der Weihnachtshistorie gehört zu den besten, die momentan zu haben sind.
Toccata, 06/2015

... Hans-Christoph Rademann trifft stets den passenden Ton, mal feierlich erhaben, mal rein erzählerisch, anderweitig eher intim und zurückgenommen. Seine Schütz-Lektüre bleibt immer kohärent strukturiert und fein ausbalanciert.
Guy Engels, www.pizzicato.lu, 8. Dezember 2014

... Wie schon vorausgegangene Aufnahmen verdient auch die zehnte Folge [der Schütz-Gesamteinspielung] höchstes Lob.
Friedegard Hürter, Chorzeit, Dezember 2014

... Carus has produced an excellent introduction that is sure to cultivate a taste for more.
Stephen Smoliar, www.examiner.com, 15. Dezember 2014

... einfach wohltuend stimmig.
Gustav Danzinger, oe1.orf.at , Ö1 bis zwei, CD des Tages, 12. Dezember 2014

... ein bedeutendes Zeitdokument der Schütz-Auffassung zu Beginn des 21. Jahrhunderts.
Michael Klein, Glaube + Heimat, 30. November 2014

... Das Ensemble hat sich mit seiner ganz von der Sprache herkommenden, vollkommen natürlichen musikalischen Artikulation eine unbestreitbare Expertise erarbeitet. Und so ist eine sehr schöne Weihnachtshistorie zu hören, ein Schlüsselwerk des Schützschen Schaffens. Die immer weiter reifende Expertise der Solisten und Ensembles wird bei diesem sehr verdienstvollen Rademann-Projekt auch hier hörbar.
Dr. Matthias Lange, klassik.com, 17.11.2014

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