Kleine geistliche Konzerte I. Complete recording, Vol. 7
Sommaire
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Compositeur
Heinrich Schütz
| 1585-1672Heinrich 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
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L'auteur de l'avant-propos
Oliver Geisler
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L'auteur de l'avant-propos
Ludger Rémy
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
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Chef d'orchestre
Ludger Rémy
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
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Solist - soprano
Dorothee Mields
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Solist - soprano
Ulrike Hofbauer
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
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Solist - contraténor
Alexander Schneider
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
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Solist - contraténor
David Erler
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
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Solist - ténor
Georg Poplutz
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Solist - ténor
Tobias Mäthger
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
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Solist - basse
Cornelius Uhle
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
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Solist - basse
Felix Schwandtke
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
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Solist - basse
Andreas Wolf
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
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Solist - théorbe
Stefan Maass
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
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Solist - violone
Matthias Müller
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