Heinrich Schütz: Psalmen & Friedensmusiken. Complete recording, Vol. 20 - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Psalmen & Friedensmusiken. Complete recording, Vol. 20

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A brilliant conclusion to the first Heinrich Schütz complete recording: With the Psalmen & Friedensmusiken (Psalms & Music for Peace), Hans-Christoph Rademann and the Dresdner Kammerchor bring this groundbreaking project to a magnificent close. The recording features mostly unknown, but particularly sumptuous and mostly multi-choral works, which Schütz wrote between 1618 and 1648 for important political occasions or thanksgiving celebrations. Groups of soloists and choristers create a colorful sound experience in interplay with strings, trombones, cornetts and viols. A truly worthy conclusion to this award-winning series.

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Ecouter (19)
  • Wo der Herr nicht das Haus bauet
  • Herr, wer wird wohnen in deiner Hütten
  • Veni Sancte Spiritus (Komm herab, o Heilger Geist)
  • Wo Gott, der Herr, nicht bei uns hält
  • An den Wassern zu Babel
  • Herr, der du bist vormals genädig gewest
  • I love the Lord
  • O Lord our ruler
  • Auf dich, Herr, traue ich
  • Da pacem, Domine
  • Chant des trois hommes
  • Tugend ist der beste Freund
  • Danklied
  • Teutoniam dudum belli
  • Syncharma musicum
  • Father Abraham
  • Osterdialog
  • Mit dem Amphion zwar
  • Trostlied
plus
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disque compact, 2 CD Carus 83.278/00, EAN 4009350832787 CD dans un écrin
disponible
29,90 € / pièce
  • 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
  • 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
  • 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
  • As a scholarship recipient of the Hanns-Seidel-Stiftung Munich, David Erler studied voice in Leipzig with Marek Rzepka. The sought-after soloist throughout Europe works with Peter Van Heyghen, Jos van Immerseel, Wolfgang Katschner, Hermann Max, Hans-Christoph Rademann, Ludger Remy, and Roland Wilson as well as ensembles such as Collegium Marianum Prag, Ensemble Inegal, Gesualdo Consort Amsterdam, Lautten Compagney Berlin, Les Muffatti Brussel, and Weser- Renaissance Bremen. He is also in great demand as a guest singer in vocal ensembles such as the ensemble amarcord, the Calmus Ensemble, Singer Pur and Stimmwerck. More than 50 CD productions, as well as engagements at prestigious festivals (including the Bachfest Leipzig, Handelfestspiele Halle, Resonanzen Wien, Musica Antiqua Brugge) are further evidence of his artistic work. He is also the editor of the Cantatas by Johann Kuhnau, at Pfefferkorn Musikverlag in Leipzig. 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
  • The baritone Martin Schicketanz began studying voice at the Hochschule für Musik Dresden in 2008. He continued his vocal training in the concert classes of Christiane Junghanns and Olaf Bär. On the opera stage he has already performed such roles as "Zangezi" in a joint project of the same name produced together by the Semperoper, Dresden and the composition class of Manos Tsangaris. Schicketanz has a special affinity for works in the area of concert music and already he performs regularly in oratorios and cantatas at various festivals, including the Gstaad Menuhin Festival (CH), the Musikfest Stuttgart (Germany), the BOZAR Festival (Belgium) and the Musikfest Erzgebirge (Germany). Musically and professionally he received vital stimulus through his participation in master classes given by Britta Schwarz, Dorothee Mields and Ingeborg Danz. He also sings in various ensembles, including the Dresdner Kammerchor, Collegium 1704, and the Collegium Vocale Gent. Plus d'information sur la personne

Critiques

... Fulminanter Abschluss der ersten Heinrich-Schütz-Gesamteinspielung ... Schütz’ wunderbare Musik wird damit in all ihren vielen Facetten erstmals in einer exzellenten Einspielung vollständig erlebbar.
CLASS: aktuell, 02/2020

... These are performances as perfectly passionate, and passionately perfect, as Schütz’s music itself. But be warned: after listening to this, you’ll want, as I have, to collect all 20 volumes.
Will Yeoman , limelightmagazine, 12/17/2019

... Dat gezegd hebbende, past het evenzeer om oprecht lof uit te spreken voor de zuivere intonatie, het hoge niveau van alle zangers en de consequente, geëngageerde aanpak door hun dirigent.
Elger Niels, de nieuwe muze, 4/2019

... The performance is equal to this wonderful music; all the soloists are excellent.
Stuart Sillitoe, www.musicweb-international.com, 11/11/2019

... Solisten- und Chorgruppen erschaffen (...) ein farbenreiches Klangerlebnis auf höchstem Niveau - Schütz vom Feinsten, in jeder Hinsicht eine Referenzaufnahme.
Württembergische Blätter für Kirchenmusik, 1/2020

... Manch weitere Perle gibt es zu entdecken auf dieser Doppel-CD, die abermahls mit natürlicher Musizierweise gefangen nimmt.
Karsten Blüthgen, Chorzeit, Okt 2019

... Vol. 20 is recommended unreservedly to every Sagittarian.
J. F. Weber, Fanfare Magazine, Sep/Okt 2019

... Mit „Psalmen und Friedensmusik” ist die 20 Nummern und 28 CDs umfassende Gesamteinspielung von Werken Heinrich Schütz' nun komplett. Es ist die erste, die es gibt.
Gabriele Metsker, Stuttgarter Nachrichten, 29.09.2019

... Was für ein Finale. Und: Was für eine Großtat. Schütz komplett – das gibt es jetzt auf hohem und höchstem Niveau. Für Enthusiasten ist die Reihe unverzichtbar. Wer sich in Zukunft als Interpret mit Schütz befasst, wird sich an der famosen Carus-Edition messen lassen müssen.
Matthias Lange, klassik.com, 12.08.2019

... Og englekoret læt verkeleg himmelsk – sopranane i Dresdner Kammerchor syng med ein lette og glans som vanskeleg kan gjerast vakrare.
Sjur Haga Bringeland, Dag og Tid, 09.08.2019

... eine wundervolle Vertonung des Pfingstsequenz-Textes „Veni Sancte Spiritus”, ein großartiges „Da pacem, Domine” und manches mehr.
Michael Wersin, Rondo, Aug 2019

... Solistisch, im Ensemble oder Tutti und in verschiedenen, exzellenten Instrumentalbegleitungen – stets hört man höchste Vokalkunst, die zur schlichten Einsicht führt: Besser kann man das einfach nicht musizieren.
Jan-Geert Wolff, pizzicato, 27.07.2019

... Eine Sammlung, die ein Muss ist für Musikinstitute, Liebhaber Alter Musik in puristischer Darbietung und Vollständigkeitsfreaks!
Karin Zehetleitner, Austria Presse Agentur, 14.06.2019

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