Heinrich Schütz: Schwanengesang. Complete recording, Vol. 16 (Rademann) - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Schwanengesang. Complete recording, Vol. 16 (Rademann)

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En 1671, à l’âge de 86 ans, Heinrich Schütz met fin à son activité de compositeur avec la mise en musique monumentale du Psaume 119, complétée par celle du Psaume 100 et d’un Magnificat allemand. Cet ensemble d’œuvres connu sous le nom de « Schwanengesang » (Chant du Cygne) est une profession de foi musicale très personnelle, qui se distingue par son élégance et sa profondeur spirituelle. Dans le cadre de l’intégrale de Schütz, le Dresdner Kammerchor sous la direction de Hans-Christoph Rademann présente de nouveau un enregistrement de référence qui met parfaitement en valeur à la fois les parties chantées et les parties parlées de l’œuvre.

Cet enregistrement du Schwanengesang, dont seulement certaines parties ont été conservées, se base sur la partition de Werner Breig dans le cadre de l’édition Schütz de Stuttgart, parue en novembre 2017 seulement. Pour de nombreux passages, elle recommande d’autres possibilités de reconstitution que la version de 1984 et aborde ainsi le Schwanengesang d’une manière totalement inédite.
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Ecouter (13)
  • Aleph und Beth. Wohl denen, die ohne Wandel leben
  • Gimel und Daleth. Tue wohl deinem Knechte, dass ich lebe
  • He und Waw. Zeige mir, Herr, den Weg deiner Rechte
  • Zajin und Chet. Gedenke deinem Knechte an dein Wort
  • Tet und Jod. Du tust Guts deinem Knechte an dein Wort
  • Kaph und Lamed. Meine Seele verlanget nach deinem Heil
  • Mem und Nun. Wie hab ich deine Gesetze so lieb
  • Samech und Ajin. Ich hasse die Flattergeister
  • Pe und Sade. Deine Zeugnisse sind wunderbarlich
  • Qoph und Resch. Ich rufe von ganzem Herzen
  • Schin und Taw. Die Fürsten verfolgen mich ohn Ursach
  • Jauchzet dem Herren, alle Welt
  • German Magnificat. "Meine Seele erhebt den Herrn"
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Compléments
  • Deutsches Magnificat: Meine Seele erhebt den Herren SWV 494

    My soul doth magnify the Lord,
    and my spirit hath rejoiced in God my Saviour.
    For he hath regarded the low estate of his handmaiden:
    for, behold, from henceforth
    all generations shall call me blessed.
    For he that is mighty hath done to me
    great things; and holy is his name.
    He hath shewed strength with his arm;
    he hath scattered the proud
    in the imagination of their hearts.
    He hath put down the mighty from their seats,
    and exalted them of low degree.
    He hath fi lled the hungry with good things;
    and the rich he hath sent empty away.
    He hath helped his servant Israel,
    in remembrance of his mercy;
    as he spake to our fathers,
    to Abraham, and to his seed for ever.
    Lk 1:46-55
    ...
  • Deutsches Magnificat: Meine Seele erhebt den Herren SWV 494

    Meine Seele erhebt den Herren,
    und mein Geist freuet sich Gottes, meines Heilandes.
    Denn er hat die Niedrigkeit seiner Magd angesehen.
    Siehe, von nun an
    werden mich selig preisen alle Kindeskind,
    denn er hat große Ding an mir getan,
    der da mächtig ist und des Name heilig ist.
    Er übet Gewalt mit seinem Arm
    und zerstreuet, die hoffärtig sind
    in ihres Herzens Sinn.
    Er stößet die Gewaltigen vom Stuhl
    und erhöhet die Niedrigen.
    Die Hungerigen füllet er mit Gütern
    und lässet die Reichen leer.
    Er denket der Barmherzigkeit
    und hilft seinem Diener Israel auf.
    Wie er geredt hat unsern Vätern,
    Abraham und seinem Samen ewiglich.
    Lk 1,46–55

    ...
  • ...
  • Gek
    ...

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Acheter
disque compact Carus 83.275/00, EAN 4009350832756 CD dans un écrin
disponible
19,90 € / 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
  • 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
  • Stefan Maass studied classical guitar and lute, specializing in music of the 17th and 18th centuries, both as a soloist and as a continuo player. He is Lord of Batzdorf Castle near Meißen and co-founder of the Batzdorf Hofkapelle. He regularly performs in the opera houses of Halle and Karlsruhe, the Semper Opera Dresden and the Gran Teatre del Liceu in Barcelona. His numerous CD productions include collaborations with the Dresdner Kammerchor conducted by Hans-Christoph Rademann and the Capella Sagittariana, the Dresdner Staatskapelle, Thomas Quasthoff, Daniel Hope and the contralto Britta Schwarz, as well as with the actors Corinna Harfouch and Michael Quast. Stefan Maass was awarded the prestigious Arras Prize for Art and Culture in Dresden in March 2000. Plus d'information sur la personne
  • Frauke Hess studied musicology in Hamburg, then began studying the gamba in 1999 with Sarah Cunningham and Hille Perl. She also attended masterclasses with J. Savall, W. Kuijken, P. Pandolfo and V. Ghielmi. Since 2000, she has been a freelancing musician, both as a soloist as well as ensemble musician, has performed on many renowned festivals with groups such as Musica Antiqua Koln, Deutsche Kammerphilharmonie, Orlando di Lasso Ensemble, Balthasar Neumann Ensemble, Freiburger Barock Consort a.o. She has made numerous CD and radio recordings. Frauke Hess was a prizewinner at the 3rd International Telemann Competition. In 2007, she graduated with distinction in the Early Music Department in Bremen with Hille Perl. Her first solo CD appeared in 2012 with works Buxtehude, Erlebach, Kuhnel, a. o. 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
  • Matthias Müller works as a freelance musician in Freiburg im Breisgau. Since completing his studies he has pursued a busy international concert career, including performing on numerous CDs. The range of instruments he plays encompasses all of the gamba family, including various types of violone, and the lyra da gamba. Since 2000 he has been a permanent member of the ensemble Cantus Cölln, and also works together with various other leading ensembles and conductors. Plus d'information sur la personne

Critiques

... Schwanengesang, ..., constitue une fois de plus un enregistrement de référence. ... Indispensable!
Jean Borel, ECHO-MAGAZINE, 2020

... This recording of the Schwanengesang has to be ranked among the best in this project. Much attention is paid to the text, which is always perfectly intelligible, thanks to an excellent diction, an immaculate blending of the voices ...
Johan van Veen, musica Dei donum, 2019

... Wie zu erwarten war, präsentiert sich der Dresdner Kammerchor auch bei seiner Einspielung des Schwanengesangs (Psalm 119) in bester Qualität.
Monika Fahrnberger, singende Kirche, 4/2019

... Diese Ausgabe gehört zu den besten der Schütz-Edition. ... Mit dieser CD haben Rademann und seine Musiker dem Musicus Poeticus ein würdiges Denkmal errichtet.
Johan van Veen, Toccata, 10/01/2019

... As always, the Dresdner Kammerchor performs flawlessly. The ensemble blend is seamless.
Ralph Graves, University of Virginia, WTJU 91.1FM, 25.06.2018

... La edición completa de Schütz en Carus se encuentra muy avanzada, con toda la experiencia atesorada que eso supone para los integrantes del proyecto. Esto último se materializa en la versión liderada por Hans-Chrisoph Rademann, quien ha escogido a sus solistas e instrumentistas habituales de la serie. Las versiones están cargadas de expresividad, de sentido prosódico y de excelencia técnica al servicio de la música, con todos los integrantes en perfecta comunión. Otra gran entrega de una magnífica integral.
Scherzo, April 2018

... Überwältigende homogene und warme Mehrchörigkeit, prachtvoller und schneller Wechsel von vokal und instrumental, die «Übersetzung des Textes in die Musik» (Schütz), ist perfekt. Das Verhältnis zwischen sinnlichem italienischen Klangereignis und einer «deutschen» rhetorischen Klarheit in diesem monumentalen Werk ist nahezu perfekt.
Ute Schalz-Laurenze, Chorzeit, Februar 2018

... Die leichte aber dennoch hoch pathetische frühbarocke Klangsprache wird mit metrischer Flexibilität vorbildlich sowohl vom Dresdner Kammerchor als auch von den Solisten ... ausgeführt.
Markus Schauermann, singende kirche, Januar 2018

... interpretiert wieder vom Dresdener Kammerchor und seinem Gründer und Leiter Hans Christoph Rademann sowie ausgezeichneten Solistinnen und Solisten wie Dorothee Mields oder Georg Poplutz.
Gustav Danzinger, Chor aktuell, Januar 2018

... Überwältigende homogene und warme Mehrchörigkeit, prachtvoller und schneller Wechsel von vokal und instrumental, die «Übersetzung des Textes in die Musik» (Schütz), ist perfekt.
Ute Schalz-Laurenze, Chorzeit, Februar 2018

... [Es] ist ein exzellenter Chor zu hören, der in Soli und Tutti eingeteilt ist, wunderbar sauber intoniert und dynamisch klug abschattiert.
Bernhard Schrammek, kulturradio vom rbb, 25.01.2018

... Dynamisch werden schöne Effekte aus den differenzierten Besetzungen gewonnen... Das Klangbild ist räumlich reich, zugleich kompakt in den strukturellen Wirkungen wie überzeugend im Detail.
Matthias Lange, klassik.com, 17.01.2018

... So lohnt sich die Scheibe selbst für Musikliebhaber, die bereits eine Version des "Schwanengesangs" im Regal stehen haben!
Hagen Kunze, Kreuzer, Januar 2018

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