Josef Gabriel Rheinberger: Musica sacra. Box with 10 CDs - CD, Choir Coach, multimedia | Carus-Verlag

Josef Gabriel Rheinberger Musica sacra. Box with 10 CDs

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With an opus of more than 200 compositions, Josef Gabriel Rheinberger made a significant contribution to church music in the second half of the 19th century. Since the beginning of the Rheinberger Complete Edition at Carus, the printed music has been accompanied by a Rheinberger CD series (known as the "Musica sacra" Series). In 1988 "Der Stern von Bethlehem" op. 164 appeared not only as the first volume of the Rheinberger Complete Edition, but at the same time was also released on CD. And just one year later Frieder Bernius and the Kammerchor Stuttgart won a German Record critics music prize for their interpretation of Cantus Missae op. 109, Abendlied op. 69,3 and other motets. The "Musica sacra" Series with many world premiere recordings is now available as a box set of 10 CDs. Renowned soloists and ensembles attest to these outstanding interpretations.
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Ecouter (83)
  • Prope est Dominus
  • Chant du soir
  • How beautiful is thy dwelling place
  • Stabat Mater en sol mineur
  • Tribulationes
  • Dextera Domini (Gottes gewalt'ger Arm)
  • Eripe me (Rette mich, Herr)
  • Ave Regina caelorum (Ave, o Herrin)
  • Angelis suis (Engel vom Himmel)
  • Ave Maria
  • See now, what kind of love
  • Ich bin des Herrn
  • Wenn alle untreu werden
  • Prière du soir
  • Ave vivens hostia
  • Regina coeli
  • Adoramus te
  • Salve Regina (Sei uns gegrüßet, o Königin)
  • Memorare
  • Quam admirabile
  • Inclina Domine (Neige, o Ewiger)
  • Ave maris stella
  • Puer natus in Bethlehem (Ein Kind geborn zu Bethlehem)
  • Ich liebe, weil erhöret der Herr
  • Why are the heathen so angry
  • Der Herr erhöre dich
  • Es spricht der Tor in seinem Herzen
  • Frohlocket, ihr Gerechten
  • Hymne de Pâques
  • Chant du matin
  • Hymne
  • Chant de la Passion
  • Ad te levavi
  • Universi
  • Ex Sion
  • Deus tu convertens
  • Qui sedes
  • Benedixisti
  • Rorate coeli
  • Ave Maria
  • Christus factus est (Christus ward für uns gehorsam)
  • Meditabor (Denken will ich)
  • Anima nostra
  • Laudate Dominum (Lobpreiset Gott, den Herrn)
  • Angelus Domini (Siehe, vom Himmel hoch)
  • Pater noster (Gott und Vater)
  • Jam sol recedit (Schon weicht der Sonne Flammenstrahl)
  • Salvete flores martyrum (Euch Martyrblüten, Gruß und Heil)
  • Salve Regina (Gruß, Himmelskönigin)
  • Benedictus Dominus
  • In Deo speravit cor meum (Auf Gott stand des Herzens Vertrauen)
  • Sederunt principes (Fürsten beraten sich)
  • Confitebor tibi Domine (Dich bekenn' ich)
  • Benedicta es tu (Auserkoren bist du)
  • Sperent in te
  • Nocte surgentes
  • Ave Maria
  • Salve Regina
  • Ave Maria en si bémol majeur
  • Ave Maria
  • Alma redemptoris mater
  • Salve Regina
  • Ave maris stella
  • Regina coeli
  • Ave Regina
  • Die Seelen der Gerechten
  • Herr, du mein Gott
  • Heil'ge Nacht
  • Chant de Pâques
  • Credo
  • Kyrie
  • Sanctus
  • Kyrie
  • Credo
  • Requiem
  • Kyrie
  • Kyrie
  • Sanctus/Benedictus
  • Messe in a: Gloria
  • Requiem in Es: Introitus
  • Ave Maria
  • Erscheinung des Engels
  • Anbetung der Weisen
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Compléments
  • Bleib bei uns,
    denn es will Abend werden,
    und der Tag hat sich geneiget.
    Lukas 24,29

    ...
  • Abide with us:
    for it is toward evening,
    and the day is far spent.
    St. Luke 24:29

    ...
  • Texte du livret du CD Carus 83.113

    Florian Sauer
    Traduction: Christian Meyer

    Josef Gabriel Rheinberger est né le 17 mars 1839 à Vaduz, dans la Principauté du Liechtenstein. Son père était administrateur des comptes de la Principauté. Dès l’âge de sept ans il accompagnait à l’orgue les services religieux et composait de petites œuvres. Après deux ans d’études musicales à Feldkirch (Vorarlberg) il entra en 1851, sur recommandation, au Conservatoire de Munich et s’installa ainsi dans cette ville dont il choisit de faire sa patrie d’élection. Il résida à Munich jusqu’à sa mort survenue le 25 novembre 1901 et anima durant presque un demi-siècle la vie musicale de cette ville. Julius Joseph Maier fut l’un de ses professeurs de composition, qui transmettait, en tant qu’élève de Moritz Hauptmann, la tradition leipzigeoise issue de Bach. Plus tard, il suivit les cours de Franz Lachner qui faisait partie du cercle d’amis de Franz Schubert. Le professeur Karl Franz Emil von Schafhäutl fut un mentor désintéressé qui

    ...
  • Text from the CD Carus 83.113

    Florian Sauer
    Translation: John Coombs

    Josef Gabriel Rheinberger was born at Vaduz (Liechtenstein) on the 17th March 1839, the son of a treasurer to the Prince. When only seven he played the organ for church services and composed little pieces. After two years of musical instruction at Feldkirch (Vorarlberg) he was recommended to the Munich Conservatoire, and became a pupil there in 1851 when he was only twelve. He settled permanently in Munich, living there until his death on November 25th, 1901, and playing a major part in the city’s musical life for almost half a century. One of his composition teachers was Julius Joseph Maier, a pupil of Moritz Hauptmann and thus an inheritor of the Leipzig Bach tradition. Later he was taught by Franz Lachner, who had been a member of the circle of friends around Schubert. Rheinberger’s principal mentor was Karl Franz Emil von Schafhäutl, who

    ...
  • Booklet-Text der CD Carus 83.113

    Florian Sauer

    Die katholische Kirchenmusik des 19. Jahrhunderts in Deutschland geriet am Ende des Jahrhunderts in eine Sackgasse. Gefangen in ihrem Anspruch, in einer säkularisierten Welt wahres religiöses Empfinden zu vermitteln und zu unterstützen, hielt sie sich in Distanz zu „fortschrittlichen“ musikalischen Strömungen der Zeit, lehnte die kompositorischen Errungenschaften der Avantgarde um Liszt oder Wagner ab und erlag am Ende ihren restaurativen Tendenzen. Dies führte dazu, dass für uns die Mehrzahl der kirchenmusikalischen Werke jener Zeit im Schatten der Werke großer Komponisten wie Verdi oder Brahms steht – Werke, die den Horizont der kirchenmusikalischen Praxis in Liturgie und Andacht schon von ihrer Anlage her sprengten. Nur so wird verständlich, warum das reiche Schaffen Rheinbergers nahezu in Vergessenheit geraten ist.

    Die Aufklärung hatte der Vernunft die alleinige Führerrolle

    ...
  • Introitus

    Requiem aeternam dona eis Domine:
    et lux perpetua luceat eis.
    Te decet hymnus Deus in Sion,
    et tibi reddetur votum in Jerusalem:
    exaudi orationem meam,
    ad te omnis caro veniet.
    Requiem aeternam dona eis, Domine:
    et lux perpetua luceat eis.

    Kyrie

    Kyrie eleison.
    Christe, eleison.
    Kyrie eleison.

    ...
  • Introitus

    Lord, grant them eternal rest,
    and let the perpetual light shine upon them.
    Thou shalt have praise in Zion, oh God,
    and homage shall be paid to Thee in Jerusalem.
    Hear my prayer.
    All flesh shall come before Thee.
    Lord, grant them eternal rest,
    and let the perpetual light shine upon them.

    Kyrie

    Lord, have mercy upon us.
    Christ, have mercy upon us.
    Lord, have mercy upon us.

    Tractus

    Deliver, Lord,
    the souls of all the Faithful who have died
    from the shackles of their sin,
    and through thy grace, which comes to their aid,
    may they deserve to escape from the court of retribution.
    ...
  • Introitus

    Gib ihnen die ewige Ruhe, Herr,
    und das ewige Licht leuchte ihnen.
    Dir gebührt ein Lobgesang, Gott, in Zion,
    und dir erfülle man sein Gelübde in Jerusalem.
    Erhöre mein Gebet.
    Zu dir komme alles Fleisch.
    Gib ihnen die ewige Ruhe, Herr,
    und das ewige Licht leuchte ihnen.

    Kyrie

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

    Tractus

    Erlöse, Herr,
    die Seelen aller verstorbenen Gläubigen
    von allen Fesseln der Sünde,
    und sie mögen durch deine Gnade, die ihnen zu Hilfe kommt,
    verdienen, herauszukommen aus dem Gericht der Rache
    und die Seligkeit des ewigen Lichtes genießen.

    ...
  • Text from the CD Carus 83.414

    Thomas Bopp
    Translation (abridged): Peter Palmer

    Josef Gabriel Rheinberger was born in Vaduz, Liechtenstein in 1839. At the age of only 12 he embarked on a comprehensive training at the Munich Conservatory. After passing his final examination with excellent marks, he obtained his first professional engagements as an assistant organist at various Munich churches and as a répétiteur for the local Oratorio Society, while also taking further lessons privately with Franz Lachner. As a composer he tried his hand at works in different genres and for different groups of instruments; the evening hymn Abendlied “Bleib bei uns, denn es will Abend werden” for six-part choir, later to be published and become famous as one of the Geistliche Gesänge op. 69, was composed in 1855. Rheinberger was appointed to teach piano at the Munich Conservatory in 1859. The following year his duties were extended to cover theory of harmony and counterpoint.

    ...
  • Texte du CD Carus 83.414

    Thomas Bopp
    Traduction (abrégée) : Josiane Klein

    Josef Gabriel Rheinberger est né en 1839 à Vaduz (Liechtenstein). Dès l’âge de 12 ans, il commença une formation complète au Conservatoire de Munich. Après un examen de fin d’études brillamment réussi, il suivit encore une formation privée complémentaire chez Franz Lachner parallèlement à sa première activité professionnelle comme organiste suppléant de différentes églises munichoises et comme répétiteur pour l’Oratorienverein local. Sur le plan de la composition, il s’essaya à des œuvres de genres et d’instrumentations différentes, la chanson du soir pour chœur à six voix Abendlied « Bleib bei uns, denn es will Abend werden » (Reste avec nous, car le soir tombe), publiée ultérieurement dans les Geistliche Gesänge op. 69 et devenue célèbre, fut écrite dès 1855. Professeur de piano au Conservatoire de Munich depuis 1859, son domaine d’activité fut étendu un an plus tard à l’enseignement de

    ...
  • Booklet-Text der CD Carus 83.414

    Thomas Bopp

    Josef Gabriel Rheinberger wurde 1839 im liechtensteinischen Vaduz geboren. Seine erste musikalische Unterweisung galt neben dem Orgelspiel der Harmonielehre und dem Studium der Werke von Bach, Mozart und Beethoven. Mit 12 Jahren begann Rheinberger eine umfassende Ausbildung am Konservatorium in München. Nach bestens bestandener Abschlussprüfung begleitete ein privates Aufbaustudium bei Franz Lachner die erste berufliche Tätigkeit als Aushilfsorganist an verschiedenen Münchner Kirchen und als Korrepetitor beim örtlichen Oratorienverein. Kompositorisch erprobte er sich an Werken unterschiedlicher Gattungen und Besetzungen; schon 1855 entstand das später unter den Geistlichen Gesängen op. 69 veröffentlichte und berühmt gewordene Abendlied „Bleib bei uns, denn es will Abend werden“ für sechsstimmigen Chor. 1859 erhielt Rheinberger eine feste Anstellung

    ...
  • Kyrie

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

    Gloria

    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,

    ...
  • Kyrie

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

    Gloria

    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, allmächtiger Vater.
    Herr Jesus Christus, eingeborener Sohn,
    Herr und Gott, Lamm Gottes,

    ...
  • Kyrie

    Kyrie eleison,
    Christe eleison,
    Kyrie eleison,

    Gloria

    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,

    ...
  • Text from the CD Carus 83.113

    Annett Reischert-Bruckmann (1999)
    Translation: John Coombs

    After the mid-18th century the place of women in the world of music underwent a remarkable change. Until then women had restricted their music making to a domestic setting, but from the middle of the century onwards they appeared more and more frequently as participants in public performances. Music education for girls was expressly included in the syllabus of schools, and in 1834 singing even became a compulsory subject in the elementary schools in Berlin.

    This development led to an increase in the activity of female-voice choirs during the late 19th and early 20th centuries, since composers of repute such as Hector Berlioz, Johannes Brahms, Claude Debussy, Franz Liszt, Gustav Mahler and Giuseppe Verdi wrote works for female-voice choirs. Nevertheless, male-voice choirs still remained predominant. While the number of male-voice

    ...
  • Booklet-Text der CD Carus 83.113

    Annett Reischert-Bruckmann (1999)

    Seit Mitte des 18. Jahrhunderts veränderte sich die Stellung der Frau im gesellschaftlichen Musikleben in bemerkenswerter Weise. Hatten sich Frauen bis dahin darauf beschränkt, im häuslichen Kreis zu musizieren, traten sie nun auch als Musikerinnen mehr und mehr an die Öffentlichkeit. Im Lehrplan der Schulen sah man jetzt ausdrücklich Musikerziehung für Mädchen vor, und im Jahre 1834 wurde das Singen nach Noten sowie das Chorsingen an den Elementarschulen Berlins sogar zu Pflichtfächern erhoben.

    Diese Entwicklung setzte sich fort in einem Aufschwung des Frauenchorgesangs Ende des 19. und Anfang des 20. Jahrhunderts, als namhafte Komponisten wie Hector Berlioz, Johannes Brahms, Claude Debussy, Franz Liszt, Gustav Mahler und Giuseppe Verdi Werke für Frauenchor verfassten. Dennoch blieb das Männerchorwesen

    ...
  • 1. Kyrie

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

    2. Gloria

    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, have mercy upon us.
    Thou who takest away the sins of the world, receive our prayer.
    Thou that sittest at the right hand of God the Father, have mercy upon us.
    For thou alone art the Holy One, thou alone art the Lord,
    thou alone art the Most High, Jesus Christ.
    With the Holy Ghost in the glory of God the Father. Amen.

    3. Credo

    I believe in one God, the Father almighty,
    Maker of heaven and earth
    and of all things visible and invisible.
    And in one Lord Jesus Christ,
    the only-begotten Son of God,
    begotten of his Father before all ages.
    God of God, light of light, true God of true God,
    begotten, not made, being of one substance with the Father,
    by whom all things were made.

    ...
  • 1. Kyrie

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

    2. Gloria

    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, allmächtiger Vater.
    Herr Jesus Christus, eingeborener Sohn,
    Herr und Gott, Lamm Gottes, Sohn des Vaters.
    Du nimmst hinweg die Sünden der Welt, erbarme dich unser;
    Du nimmst hinweg die Sünden der Welt, nimm an unser Gebet.
    Du sitzest zur Rechten des Vaters: erbarme dich unser.
    Denn du allein bist der Heilige, du allein der Herr,
    du allein der Höchste, Jesus Christus.
    Mit dem Heiligen Geist, zur Ehre Gottes, des Vaters. Amen.

    3. Credo

    Ich glaube an den einen Gott, den allmächtigen Vater,
    der alles geschaffen hat, Himmel und Erde,
    die sichtbare und die unsichtbare Welt.
    Und an den einen Herrn Jesus Christus,
    Gottes eingeborenen Sohn,
    aus dem Vater geboren vor aller Zeit:
    Gott von Gott, Licht vom Licht, wahrer Gott vom wahren Gott,
    ...

  • 1. Kyrie

    Kyrie eleison,
    Christe eleison,
    Kyrie eleison.

    2. Gloria

    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.
    Qui tollis peccata mundi, suscipe deprecationem nostram.
    Qui sedes ad dexteram Patris, miserere nobis.
    Quoniam tu solus Sanctus, tu solus Dominus,
    tu solus Altissimus, Jesu Christe,
    cum sancto spiritu in gloria Dei Patris. Amen.

    3. Credo

    Credo in unum Deum, Patrem omnipotentem,
    factorem coeli et terrae,
    visibilium omnium et invisibilium.
    Et in unum Dominum Jesum Christum,
    Filium Dei unigenitum,
    et ex Patre natum ante omnia saecula.
    Deum de Deo, lumen de lumine, Deum verum de Deo vero,
    genitum, non factum, consubstantialem Patri:
    per quem omnia facta sunt.
    Et incarnatus est de spiritu sancto ex Maria Virgine
    et homo factus est.
    Crucifixus etiam pro nobis: 
    sub Pontio

    ...
  • Abridged text from the CD Carus 83.467

    Barbara Mohn
    Translation: Earl Rosenbaum

    When Josef Gabriel Rheinberger, Professor of composition at the Royal School of Music in Munich, was appointed Court Conductor for church music by the Bavarian King Ludwig II he took on one of the central positions, most rich in tradition in Catholic church music – it was once held by Orlando di Lasso. Rheinberger was responsible for directing church music at the All Saints Church in Munich on Sundays and feast days, from December through May. This meant that on normal Sundays a mass and two motets (for the Graduale and the Offertorium) were performed. For these performances he had a mixed choir of about 40 well-trained singers at his disposal. Rheinberger took great pleasure in his new duties. According to his wife Fanny, more than once he told her “he would not yearn for any other position in his lifetime.” He personally copied out numerous autographs from the 16th–18th centuries in order to expand the repertoire of the Court Choir and he dedicated himself with new enthusiasm to the composition of church music.

    Since the days of his childhood Rheinberger regarded sacred music as his special love. His musical career began at the age of

    ...
  • Gekürzter Booklet-Text der CD Carus 83.467

    Barbara Mohn

    Als Josef Gabriel Rheinberger, Professor für Komposition an der Königlichen Musikschule in München, 1877 vom bayerischen König Ludwig II. zum Hofkapellmeister für Kirchenmusik ernannt wurde, übernahm er eines der zentralen und traditionsreichsten Ämter innerhalb der katholischen Kirchenmusik im Deutschen Reich – ein Amt, das einst ein Orlando di Lasso innegehabt hatte. Rheinberger oblag die Leitung der Kirchenmusik an der Allerheiligen-Hofkapelle in München an allen Sonn- und Festtagen von Dezember bis Mai. Dies bedeutete an gewöhnlichen Sonntagen die Aufführung einer Messe und zweier Motetten (zum Graduale und Offertorium) mit einem Chor von rund 40 gut ausgebildeten Sängerinnen und Sängern. Rheinberger fand an seinen neuen Aufgaben großen Gefallen; seiner Frau Fanny zufolge sagte er mehr als einmal, „er würde sich in seinem Leben nach keiner anderen Stelle sehnen.“ Eigenhändig schrieb er zahlreiche Musikhandschriften des 16. bis 18. Jahrhunderts ab, um das Repertoire der Hofkapelle zu erweitern, und widmete sich selbst mit neuer Begeisterung der Komposition von Kirchenmusik.

    Rheinbergers

    ...
  • plus
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    Sommaire

    • During the second half of the 19th century Rheinberger, who was born in 1839 in Vaduz (Liechtenstein), was a major figure of European stature. In demand as a teacher of composition and esteemed as a composer, this professor at the Munich Conservatoire and Bavarian Court Kapellmeister made his mark on a whole generation of musicians. The fact that many of his compositions were no longer performed after his death in 1901, despite their high musical qualities, was largely a result of external circumstances. The change of aesthetic orientation which began about the turn of the century led to a radical move away from the conservative-classical ideals to which Rheinberger – like Brahms – had felt himself committed. It was also a fact that Rheinberger never publicized his own works vigorously. The Josef-Rheinberger-Archiv and Carus published a complete edition of works by Josef Gabriel Rheinberger for the first time. The edition, concluded in 2009, has contributed significantly to the fact that the music of this composition teacher and Bavarian Court Kapellmeister from Munich can once again be heard around the world today. Plus d'information sur la personne
    • Alongside its dedication to a core repertoire of composers such as Monteverdi, Schütz, Bach, Mozart, Haydn, Schumann, and Brahms, the Vocalensemble Rastatt & Les Favorites frequently explore new terrain with premiere performances. On the heels of its successes in national and international choir competitions, the ensemble has taken part in numerous internationally acclaimed CD recordings as well as radio, and television productions for SWR, Radio France, Deutschlandradio Kultur, and Deutschlandfunk. The Vocalensemble Rastatt & Les Favorites have performed in the Festspielhaus Baden-Baden, the Musikfest Bremen, the Kölner Philharmonie, the SWR RheinVokal Festival, the Europäisches Musikfest Stuttgart, the Schwetzinger Festspiele, the Deutschlandradio Kultur Wartburgkonzerte, the Internationale Musiktage im Dom zu Speyer, the Philharmonie in Mulhouse, and the Centre de Musique “Les Dominicains” in Guebwiller, France, among other venues. The flexible choir does not shy away from excursions into the world of opera, having performed Donizetti’s Lucia di Lammermoor and Bellini’s Norma with Edita Gruberova, and Mozart’s Don Giovanni and Così fan tutte with Rolando Villazón. Together with Klaus Maria Brandauer and the Chamber Orchestra of Europe, the choir also performed Mendelssohn’s Sommernachtstraum at the Musikfest Bremen. The ensemble is sponsored by the German state of Baden-Württemberg in co-operation with its “Kunst 2020” program, as well as by its home city of Rastatt. Plus d'information sur la personne
    • The KammerChor Saarbrücken, founded in 1990 by its conductor Georg Grün, quickly developed into one of the best choirs in Germany and likewise enjoys an outstanding international reputation. This has been confirmed through countless appear ances in Germany, in many European countries, the USA and Russia, CDs which have received critical acclaim, numerous radio record ings, and last, but not least, by the many prizes which the choir has won at international choral competitions and at the German choral competition in Regensburg in 1998. The choir performs works from all historical eras. In the field of early music it collaborates with professional ensembles and soloists who are dedicated to historical performance practice. Additional themes in its repertoire include the performance of romantic choral music, as well as an increasing number of world premiere performances of works written by composers exclusively for the ensemble. Plus d'information sur la personne
    • The Ensemble Stuttgart (Ensemble '76) was founded by Wolfgang Rösch in 1976 and is made up of solo players, musicians from Stuttgart orchestras and music students. Its repertoire comprises pieces for chamber orchestra, including the Bach Brandenburg Concertos as well as symphonies by Haydn, Mozart and Schubert, and chamber music, including the sextets of Brahms and Tchaikovsky and the Mendelssohn Octet. In addition it plays contemporary pieces, some of which were written for this ensemble. The Ensemble Stuttgart gives concerts in Germany, France, Italy and Belgium, and has been involved in many CD and radio productions. Plus d'information sur la personne
    • 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. Plus d'information sur la personne
    • Georg Grün studied church music, school music, Catholic theology, musicology, and conducting, and he taught music and courses on the Catholic religion for several years at a lycée for the arts. In 2000 he was appointed Professor of choral conducting at the Staatliche Hochschule für Musik und Darstellende Kunst Mannheim. He has also been very success ful as a conductor of the chamber choir at this school (it has won prizes at the choral competitions of Cork and Maribor). Grün is active both at home and abroad as a guest conductor, juror and lecturer. In October 2012 Georg Grün was appointed Professor for Choral Conducting at the Hochschule für Musik Saar. Plus d'information sur la personne
    • Since 1982 Wolfgang Schäfer has been Professor of Choral Conducting at the Conservatory of Music and Performing Arts in Frankfurt am Main. In addition, he directs the annual festival and choral music seminar, the “Staufener Musikwoche.” From 1982 to 1997, as successor to Kurt Thomas and Helmuth Rilling, he was the conductor of the Frankfurter Kantorei. Wolfgang Schäfer has won prizes at various international competitions and he has made numerous radio, television, LP and CD recordings. In 1992 he conducted the festival concert in Namur, Belgium, in honor of the tenth anniversary of the International Federation for Choral Music. As a guest conductor he has recently conducted ensembles in Japan, Poland, Latvia and Portugal. He also conducted the Gächinger Kantorei Stuttgart at the European Music Festival in 2003 and 2004. He has also been a lecturer and served as a juror at international symposiums and choral competitions in such countries as Italy, Hungary, Austria, Estonia, Canada and Korea. Plus d'information sur la personne
    • Holger Speck is founder and artistic director of the Vocalensemble Rastatt & Les Favorites. He has developed a distinguished international reputation as a charismatic musician who is capable of bringing to life the aesthetic details of the sound particular to different periods, while communicating emotive content to the listener. His keen sense of sound assures the unmistakable tonal quality of his ensembles. His compelling, lively, and profound interpretations are regularly praised in specialist publications. He has conducted at famous festivals and concert halls such as the Festspielhaus Baden-Baden, the Philharmonie Mulhouse, the Händelfestspiele Karlsruhe, the Europäische Musikfest Stuttgart, the Schwetzinger Festspiele, the Festival Europäische Kirchenmusik Schwäbisch Gmünd, and the SWR RheinVokal Festival. Holger Speck has won prizes at both national and international competitions with the Vocalensemble Rastatt. His CD recordings have met with international acclaim (Gramophone Magazine, American Record Guide, Fanfare, Fono Forum, L’Orfeo, Pizzicato, Diapason, Classicstoday etc.). He frequently collaborates with artists such as Anne Le Bozec (Piano), Reinhold Friedrich (Trumpet), Wolfgang Meyer (Clarinet), and Veronika Skuplik (Violin). Holger Speck is also in demand as a singer, as a guest conductor, and as a lecturer at seminars for conducting and interpretation. He teaches at the Hochschule für Musik in Karlsruhe. Plus d'information sur la personne
    • Christine Müller, mezzo-soprano, studied in Trossingen and Vienna . She is a sought-after concert and lied singer with a broad repertoire who concertizes both at home and abroad. Numerous radio, television and CD productions document her achievements as a singer. She has earned special merit through her discoveries and publications of forgotten musical works, especially in the field of the lied. Plus d'information sur la personne
    • Annette Markert, originaire de Thuringe, a étudié au Conservatoire de musique « Felix Mendelssohn Bartholdy » de Leipzig pour être ensuite engagée aux opéras de Halle et de Leipzig ; depuis 1996, elle travaille à titre indépendant comme cantatrice d’opéra et de concert. La mezzosoprano a travaillé avec le New York Philharmonic et le Gewandhausorchester de Leipzig sous la direction de Kurt Masur, avec le Philharmonique de Vienne sous la direction de Philippe Herreweghe et l’Internationale Bachakademie Stuttgart sous la direction de Helmuth Rilling. Elle est l’hôte régulière du Kreuzchor de Dresde et du Thomanerchor de Leipzig. Pour ses rôles dans des opéras de Haendel, elle a reçu le prix Haendel de la ville de Halle. Des productions variées pour le CD, e. a. avec Ton Koopman et Ludwig Güttler, viennent compléter son activité artistique. Plus d'information sur la personne
    • Rainer Oster (b. 1966) studied organ at the conservatories in Saarbrücken (with Paul Schneider and Andreas Rothkopf) and Stuttgart (in the soloist class of Jon Laukvik.) In 1992 he was awarded first prize in the Internationaler Johann-Pachelbel-Wettbewerb of the Orgelwoche Nürnberg and in 1993 he was honored with the Bachpreis awarded by the city of Wiesbaden. He is internationally active as a music pedagogue, lecturer and freelance concert organist, as well as performing on the harpsichord and fortepiano. Numerous radio (studio) and live recordings, concerts with various affiliates of the ARD (German public radio) and Radio France as well as CD recordings document his extensive musical activities. Since 2000 Rainer Oster has worked freelance in various capacities for the music department of the Saarländischer Rundfunk, including as a journalist and sound editor. In 1999 and 2007 he substituted for Jon Laukvik at the Hochschule für Musik und Darstellende Kunst in Stuttgart. He is currently working on a fundamental organ method. He has recorded, together with the Ensemble Parlando which he founded in 2002, the organ concertos, and sonatas of Carl Philipp Emanuel Bach as well as a series of harpsichord concertos by Johann Sebastian Bach. Plus d'information sur la personne

    Critiques

    There is a cornucopia of material within these discs to refresh the repertoire of any choir looking for something out of the ordinary. Carus and the many performers of these discs are to be warmly congratulated for the care they have brought to the project.


    Choir and Organ, November/December 2015

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