Heinrich Schütz: Kleine geistliche Konzerte I. Complete recording, Vol. 7 - CD, Choir Coach, multimedia | Carus-Verlag

Heinrich Schütz Kleine geistliche Konzerte I. Complete recording, Vol. 7

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Under the general direction of Hans-Christoph Rademann Carus will realize the first recording of the complete works of Heinrich Schutz by 2017. With a total of 22 CDs and countless concerts the first German composer of European statue will be given a tangible monument. The Kleine geistliche Konzerte, Part 1 is volume 7 of the series and the first of the CDs within the complete recording that present solo concertos by Schutz. With Dorothee Mields, Ulrike Hofbauer and the other soloists the best singers for this early baroque repertoire are performing together on this disc.
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  • Bringt her dem Herren
  • Eile mich, Gott, zu erretten
  • Blest he who goes not after words of the godless
  • Great is our lord
  • Make in me, o God a clean pure heart
  • One thing I ask the Lord God
  • Ich hab mein Sach Gott heimgestellt
  • I worship the Lord with all my Spirit
  • Give ear to me
  • O save us Lord
  • Now come, the nation's Saviour
  • O gracious Lord our god, waken us now
  • A child is born unto us
  • The Lord looks down
  • Das Blut Jesu Christi
  • Help us, Christ, thou Son of God
  • See, I have an advocat in heaven
  • Be not afraid
  • Praised be the Lord God
  • O holy ones, sing praise to the lord god
  • Wir gläuben all an einen Gott
  • Die Gottseligkeit ist zu allen Dingen
  • O süßer, o freundlicher
  • Heaven and earth both shall vanish
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Compléments
  • Praise ye the Lord. I will praise the Lord with my whole heart, in the assembly of the upright, and in the congregation. The works of the Lord are great, sought out of all them that have pleasure therein. His work is honourable and glorious: and his righteousness endureth for ever. He hath made his wonderful works to be remembered: the Lord is gracious and full of compassion. He hath given meat unto them that fear him: he will ever be mindful of his covenant. He hath shewed his people the power of his works, that he may give them the heritage of the heathen. The works of his hands are verity and judgment; all his commandments are sure. They stand fast for ever and ever, and are done in truth and uprightness. He sent redemption unto his people: he hath commanded his covenant for ever: holy and reverend is his name. The fear of the Lord is the beginning of wisdom: a good understanding have all they that do his commandments: his praise endureth for ever.
    Ps 111
    Translation: King James Bible

    ...
  • Ich danke dem Herrn von ganzem Herzen im Rat der Frommen und in der Gemeinde. Groß sind die Werke des Herren; wer ihr achtet, der hat eitel Lust dran. Was er ordnet, das ist löblich und herrlich, und seine Gerechtigkeit bleibet ewiglich. Er hat ein Gedächtnis gestift’ seiner Wunder, der gnädige und barmherzige Herr. Er gibt Speise denen, die ihn fürchten; er denket ewiglich an seinen Bund. Er lässt verkündigen seine gewaltigen Taten seinem Volk, dass er ihm gebe das Erbe der Heiden. Die Werk seiner Hände sind Wahrheit und Recht; alle seine Gebot sind rechtschaffen. Sie werden erhalten immer und ewiglich und geschehen treulich und redlich. Er sendet ein Erlösung seinem Volk; er verheißet, dass sein Bund ewiglich bleiben soll. Heilig und hehr ist sein Name. Die Furcht des Herren ist der Weisheit Anfang. Dies ist eine feine Klugheit, wer darnach tut; des Lob bleibet ewiglich.
    Ps 111
    Ehre sei dem Vater und dem Sohn und auch dem

    ...
  • Text from the CD Carus 83.255

    Oliver Geisler
    Translation: Elizabeth Robinson

    “intended for singing”
    The “Psalmen Davids” and the art of consolation

    Heinrich Schütz was fortunate. In the years around 1600 the number of portents of the end of the world increased. And this would also naturally affect the Dresden court, even if it sometimes seemed to be in a world of its own. Constellations of stars, curious events, cometary impacts – all these happenings were rapidly broadcast through the mass media of the Baroque – pamphlets and articles. And the more frequently there were signs giving cause for concern, the nearer the predicted end approached. In the mid-16th century, 2046 was marked out as the end. But at the time when Schütz took up his post in Dresden, the year 1625 was regarded as the point in time when the ‘last trumpet’ would sound. None of this happened – as stated, he was fortunate,
    ...
  • Booklet-Text der CD Carus 83.255

    Oliver Geisler

    „zum singen gemeint“
    Die Psalmen Davids und die Kunst des Zuspruchs

    Heinrich Schütz hatte Glück. In den Jahren um 1600 mehrten sich die Anzeichen für den Weltuntergang. Und der würde natürlich auch den Dresdner Hof betreffen, auch wenn dieser mitunter als eigener Kosmos erscheinen mochte. Sternenkonstellationen, kuriose Ereignisse, Kometeneinschläge – alle diese Geschehnisse verbreiteten sich rasant über die Massenmedien des Barock: Flugblätter und Sonderdrucke. Und je häufiger die besorgniserregenden Zeichen, desto näher rückte das prognostizierte Ende. Mitte des 16. Jahrhunderts war noch 2046 als Ende markiert. Zu jener Zeit, als Schütz in Dresden sein Amt antrat, galt das Jahr 1625 als Zeitpunkt, an dem die ‚letzte Posaune‘ erklingen würde. All das trat nicht ein – wie gesagt, er hatte Glück, aber eine Prognose bewahrheitete
    ...
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disque compact Carus 83.254/00, EAN 4009350832541 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
  • 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
  • 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
  • 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
  • Alexander Schneider (altus) was a member of the Dresdner Kreuzchor from 1987 until 1996. From 1997 he studied under Peter Herrmann at the Hochschule für Musik “Hanns Eisler” in Berlin, obtaining his singing diploma in 2004. He has sung with numerous renowned conductors and ensembles including the Collegium Vocale of Ghent and the Akademie für Alte Musik Berlin, as well as the Dresdner Kreuzchor. He made a successful opera debut in 1999 at the Neukölln Opera, Berlin, in Johann Adolf Hasse’s Commedia per musica La Sorella amante. His work is documented on many CD and radio recordings. 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
  • Cornelius Uhle (baritone) was a member of the Dresdner Kreuzchor and sang as a boy treble soloist. He studied singing at the Hochschule für Musik Carl Maria von Weber in Dresden with Prof. Christiane Junghanns and Kammersänger Olaf Bär (lied class). In 2005 he made his debut as Figaro at the Lusatian Summer of Opera festival. In 2007 he sang the main role in the premiere of W. Krätzschmar’s Schlüsseloper, and Papageno in Die Zauberflöte in 2008/09. He has a busy concert schedule, singing throughout Germany and specializing in oratorio and lieder. He has a particular interest in the interaction between historically-informed performance practice and contemporary music. His singing career also includes a close collaboration with a wide range of ensembles and festivals, various concert tours, and CD and radio recordings. 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 German bass baritone Andreas Wolf received his first musical education at the Landesgymnasium for music in Wernigerode, Germany, and was also a member of the renowned youth choir Rundfunk-Jugendchor Wernigerode. In 2002 he received a scholarship at the University of Music in Detmold and started his music studies. Andreas Wolf sang the role of Guglielmo in Così fan Tutte at Teatro Real in Madrid, Falke in Die Fledermaus and Jupiter in Platée both at the Staatstheater Stuttgart, Elviro in Handel’s Serse at the Theater an der Wien and Zoroastre in Handel’s Orlando at Scottish Opera. With Les Arts Florissants he performed the role of Aeneas in Dido and Aeneas in New York and Moscow and at the festival in Aix-en-Provence he appeared as Nanni in Haydn’s L’Infedeltà delusa. He has already had the pleasure of working with conductors like William Christie, Andreas Spering, Jérémie Rhorer, Alessandro De Marchi, René Jacobs, Jean-Christophe Spinosi, Paul Goodwin and Marcus Creed. 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
  • 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

... Obgleich „klein”, sind die Konzerte doch voller Sprachkraft und strahlender musikalischer Vielfalt ...
Aus der insgesamt wunderbaren und vielseitig gefärbten Aufnahme ein einziges Stück hervorzuheben, das als Höhepunkt zu bezeichnen wäre, wäre angesichts der komplett unbeschreiblich hohen musikalischen Qualität der Einspielungen ein verfehlter Zugang.
Monika Fahrnberger, singende kirche, 3/2019

… music of extraordinary inventiveness and freshness, qualities that are captured magnificently on this new recording. With good documentation by Rémy and Oliver Geisler, and sound that is unobtrusively excellent and suitably intimate in scale, this is a disc that should be an urgent priority for anyone with an interest in Schütz's music. I found it utterly engrossing.
Nigel Simeone, International Record Review, Dezember 2013

... Ein weiteres Album der Schütz-Gesamteinspielung bei Carus, das das Prädikat „Referenzeinspielung” verdient.
Michael Klein, Glaube + Heimat. Mitteldeutsche Kirchenzeitung Nr. 47, 24. November 2013

... Im Rahmen der bei Carus angelegten Gesamteinspielung der Kompositionen
des Dresdner Hofkapellmeisters ist die vorliegende CD (Vol. 7) ein spezielles Kleinod, das die einzelnen kompositorischen Preziosen enorm ausdrucksstark präsentiert …
Almut Jedicke, Tonkunst, 4/2013

... Mit so viel emotionaler Beteiligung und innerer Dramatik hat man diese Stücke bislang wohl kaum einmal gehört. […] Nach dem Hören dieser vorzüglichen Einspielung sollte man sich einige Minuten Ruhe gönnen. Da klingt so einiges noch nach …
Reinmar Emans, Fono Forum 10/13

... Nicht nur setzen sich die bis zu fünf Singstimmen mit Continuobegeltiung in der strengen Polyphonie vorbildlich voneinander ab, auch präsentiert sich der Gesamtklang in seiner unprätentiösen Sinnlichkeit wunderbar ausgewogen.
concerti, 10/2013

... Es ist ein begeistertes Ensemble zu hören – musikalisch und in der inhaltlichen Deutung glaubwürdig. Die fein ausbalancierte Besetzung ist den Anforderungen mühelos gewachsen. Und Ludger Rémy versammelt dieses schöne Potenzial zu einer beispielhaften Deutung, für die man nur hoffen kann, dass sie über den engeren Kreis der Schütz-Experten hinaus Beachtung und Anerkennung findet – zeugt doch gerade dieser oft weniger spektakuläre Teil des Werkes Schütz‘ von der gedanklichen Tiefe wie dem kompositorischen Potenzial des Barockmeisters gleichermaßen.
Dr. Matthias Lange, klassik.com, 11. September 2013

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