Heinrich Schütz: St. Matthew Passion. Complete recording, Vol. 11 - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz St. Matthew Passion. Complete recording, Vol. 11

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Volume 11 of the celebrated complete recording of Schütz’s works presents the St. Matthew Passion, SWV 479. Schütz’s Passions according to the evangelists Matthew, Luke and John were all commissioned by the court in Dresden: they were pure a cappella settings of high artisanal standard combined with a profound, intensely personal expressivity, these works form the conclusion of Schütz’s settings of biblical scenes. They are the mature works of old age, representing, as it were, the crowning conclusion of an entire musical epoch. The St. Matthew Passion, the last of the three passion settings, was composed in 1666. Particularly in this work the composer called for the Bible texts to be sung in an emphatic declamatory style, requiring flawless intonation and perfect comprehensibility of the words. These requirements are effortlessly met by Georg Poplutz as the Evangelist and the excellent Dresdner Kammerchor under the direction of Hans-Christoph Rademann. The CD program is ideally complemented by the "Litania" SWV 458, the psalm setting "In dich habe ich gehoffet, Herr" SWV 128, as well as "O du allersüßester und liebster Herr Jesu" SWV 340.
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  • Litania
  • O du allersüßester und liebster Herr Jesu
  • In dich hab ich gehoffet, Herr
  • Introitus
  • Letzte Leidensankündigung (aus Vol. 11: Matthäuspassion)
  • Salbung in Bethanien
  • Verrat des Judas
  • Das heilige Abendmahl
  • Ankündigung der Verleugnung des Petrus
  • Jesus in Gethsemane
  • Gesu Gefangennahme
  • Jesus vor dem hohen Rat
  • Verleugnung des Petrus
  • Jesus vor Pilatus. Ende des Judas
  • Verurteilung und Verspottung (aus Vol. 11: Matthäuspassion)
  • Kreuzigung und Tod
  • Jesu Grablegung (aus Vol. 11: Matthäuspassion)
  • Bewachung des Grabes
  • Beschluss
plus
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disque compact Carus 83.259/00, EAN 4009350832596 CD dans un écrin
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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
  • 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
  • Ulrike Hofbauer studied singing and vocal pedagogy in Würzburg and Salzburg and at the Schola Cantorum Basiliensis. She has collaborated as a soloist with numerous renowned ensembles and conductors. Her interest in acting finds its outlet on the opera stage, among others in/at the theaters in Basle, Berne and Magdeburg. With her own prize-winning ensemble savadi, Hofbauer combines historical authenticity with modern esprit and emotionality; projects with larger forces are realized with her ensemble &cetera. Since 2014 she has taught Baroque singing at the Mozarteum University in Salzburg. Her repertoire embraces all epochs and styles – her intensive preoccupation with musical rhetoric, ornamentation and the “recitar cantando” style thereby form the main emphases of her artistic work. 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
  • Lyric baritone Felix Rumpf was born in 1984 in Halle an der Saale. He began his vocal studies with Susanne Stahl in Dresden in 2004. There he took part in various school productions, singing roles including Agamemnon (La Belle Hélène), Papageno (Die Zauberflöte) and in Schumann’s Scenes from Goethe’s Faust. A member of Olaf Bär’s lieder class since 2007, he has presented song recitals in the “Lied in Dresden” and “Lied-gut” series. After his diploma in 2009, postgraduate studies in opera and concert followed, which he completed with distinction in 2011. Felix Rumpf has attended master classes with Dietrich Fischer-Dieskau, Julia Varady, Peter Schreier, Ruth Ziesak, and Gerold Huber. Plus d'information sur la personne
  • The harpsichordist/pianist and conductor Ludger Rémy († June 2017) felt an obligation to meet the challenge set by the theorist Mattheson to combine theory and practice. He studied school music and harpsichord in Freiburg, followed by private studies with Kenneth Gilbert in Paris. In 1998 he was appointed to a professorship for early music in Dresden. Around 70 CD productions – several have been awarded prestigious prizes – both as instrumentalist and conductor, as well as numerous concerts at home and abroad (at festivals incl. Utrecht, Brügge, Paris, Saintes, Bachfest Leipzig, Händel­festspiele Göttingen, Musikfestspiele Dres­den) made him one of the leading musicians active in the rediscovery and revival of early German music. Plus d'information sur la personne
  • Margret Baumgartl studied violin in Dresden with Günter Friedrich and in Munich with Urs Stiehler. During her time as a student she specialized in authentic performance practice on historic instruments, working with conductors such as René Jacobs, Frieder Bernius, Jos van Immerseel, and Hans-Christoph Rademann. Her most important teacher and chamber music partner in the area of early music was Reinhard Goebel. She was a member of Musica Antiqua Köln from 2002 to 2006, performing in concerts throughout Europe, the USA and Canada, and appearing in a TV film on Bach’s The Art of Fugue. Margret Baumgartl became the concertmaster of the Dresdner Barockorchester in 2004. Plus d'information sur la personne
  • Karina Müller studied violin and baroque violin at the Dresden Musikhochschule. She has been a member of several national and international youth orchestras, an extra player in the Dresden Philharmonic and Akademistin in the Sächsische Staatskapelle Dresden. Since 2008 she has held a permanent orchestral position with the Landesbühnen Sachsen, and following its merger in 2012, with the Elblandphilharmonie Sachsen. She also plays at the Staatsoperette Dresden. Karina Müller performs with various freelance early and contemporary music ensembles, including Ensemble courage Dresden, the Dresdner Barockorchester, Cappella Sagittariana, Batzdorfer Hofkapelle, and Serenata Saxonia. Plus d'information sur la personne

Critiques

Diese [Aufnahme] ist wohl zu den besten zu rechnen.
Toccata 82/2016

Mit Hans-Christoph Rademann hat das Unternehmen einen künstlerischen Leiter, wie er besser nicht hätte gefunden werden können, er hat einen so entspannten Zugang gerade zu den mit einfachsten Mitteln geformten Werken von Schütz, dass das herrlich frei fließ ende Klangresultat eine Selbstverständlichkeit zu sein scheint.
Gustav Danzinger, Chor Aktuell, Juni 2015

...leur (Georg Poplutz et Felix Rumpf) déclamation solennelle mais sans raideur hissent l’album au sommet de la discographie de cette œuvre inclassable.
Diapason, Xavier Bisaro, April 2015

Die Musik ist, zumal in so gelungener Interpretation, geeignet, gängige Hörgewohnheiten zu entschlacken. Man kann sich ganz ohne Textbuch dem Passionsgeschehen anvertrauen und ist bei Rademann in besten Händen.
Matthias Lange, 1.April 2015

Damit stellt diese Interpretation […] eine interessante Alternative zu den schon existierenden Aufnahmen dar. [...] Fazit: eine in jeder Hinsicht gelungene Produktion.
Johan van Veen, Toccata März-April 2015

Incisioni curatissime, difficili da eguagliare. Di riferimento.
Sorgsamste Gravuren, kaum erreichbares Niveau, Referenzaufnahme.
http://issuu.com, 19.März 2015

However, the clarity of Rademann’s performance is such that even those with a relatively limited command of German can follow the progress of the narrative and appreciate the rhetorical devices that Schütz invoked in the service of accounting for that narrative.
www.examiner.com, 8. März 2015

[...] das elementare Handwerk der Chorkunst, zu dem Rademann ”Linie, Klang, Intonation und Natürlichkeit des Worte zählt, wird hier erneut zur Perfektion geführt und ebenso wohldosiert wie wirkungsvoll eingesetzt.
Eva Krautter, Chorzeit, 01.März 2015

Herrliche Aufnahme des Dresdner Kammerchors unter Hans-Christoph Rademann!
Chrismon plus, 01. März 2015

Hans-Christoph Rademann, ein unerschütterlicher Schütz-Prophet, hat mit seinem Dresdner Kammerchor die Stimmen beisammen, die ohne den kleinsten Manierismus dieses Werk aus einer fernen Zeit durchdringen können. Wunderbar auch die beiden Solisten [....]
Hessische/Niedersächsische Allgemeine, 12. Februar 2015

[...] mit exzellenter Klangqualität.
Stuttgarter Nachrichten, 05. Februar 2015

[…] excellent CD […]
www.new-classics.co.uk, Februar 2015

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