Thursday, January 20, 2011

Brent Everett Crush Online

Famous last words

[The Triumph of Death. Peter Brueghel]
fiercely hit by the Four Horsemen of the Apocalypse the Empire were not exactly a paradise in the mid seventeenth century. If the readiness for death was always a crucial issue for the Christian people, now more than a century of humanism and the Lutheran Reformation and in the middle behind the disaster caused by the Thirty Years War, went on to become the main obsession for many, especially for those who could afford time for reflection and money to satisfy their thirst for knowledge and spiritual comfort and artistic. Among them, Count Heinrich Reuss Posthumus, who had engraved on his tomb a sentence of Paul of Tarsus to the Philippians: "Christ is my life, to die is gain "and Heinrich Schütz commissioned a musical piece that would honor his funeral with dignity. the prince could hardly imagine that the musician would correspond to the order with one of the absolute masterpieces of music for all deceased times: Funeral the Musikalische are in effect a triptych in which summarizes the best of musical art of seventeenth-century Germany.

Many recordings that exist of this essential work of musical history West, but this just released by the group Raumklang Amarcord and Sagittarian Dresden Cappella has no way inferior to any, even to recording landmark Philippe Herrweghe in Harmonia Mundi, or, in another tone, those of Gardiner (Archiv) and Christophers (Coro). The vision is of a concentration, nudity and an expressive intensity arriving in awe. Furthermore, the work is contextualized in a program dedicated to beautiful funeral music of Germany at the time. Schütz raw knew the horrors of his time since watched his still young wife Magdalena and their two daughters in his adolescence. In honor of the first wrote a delicate lament ( Mit dem zwar Amphion), for solo voice and continuo, which includes also here in an interpretation of a captivating tenderness due to a tenor who unfortunately is not identified.

The CD will open in any case with an anonymous work written on the penitential psalms Gott, sei mir nach Deiner gnädig Güte was probably composed in Leipzig in the early eighteenth century and which had never been recorded before, surprising, since the work in seventeen sections and designed for four soloists, four ripiene, violin, three violas da gamba , bassoon and continuo, is beautiful. The mixture timbre of the violin and the viola, so characteristic of much German music of the time, the softness of the line melodic, with its Italianate touches, the fervor of the true cause corals fascination. Stephan Otto funeral motets, Rosenmüller Johann, Johann Hermann Schein and Michael Praetorius and Heinrich Scheidemann's organ works complete a CD he played all so formidable, with a balance, delicacy and a sense of devotion and a stunning expressive power. A finding.


Latke Wolfram, Martin Lattke, Dietrich Barth, tenor
Frank Ozimek, baritone
Daniel Knauff, Holger Krause, bass

Gesine Adler, Sidonie Gudrun Otto, Dorothea Wagner, sopranos
Stephan Gahler tenor

Cappella Sagittarian Dresden
Amra Groza, violin
Renate Panke, Benjamin Dressler, Thomas Grosche, Thomas Fritzsch, Siegfried Panke, viols
Axel Andrae, Dulcie
Petra Burmann, theorbo
Sebastian Knebel, organ
Donatus Bergemann, guitar 16 '
Norbert Schuster, guitar 12'

Director: Norbert Schuster

1. Anonymous (c.1700): Gott, sei mir nach Deiner gnädig Güte , penitential psalms for four vocal soloists, four ripiene vocal, violin, three violas da gamba, bassoon and continuo
2. Stephan Otto (1603-1656): Der Mensch von Weib geboren, motet for six voices and continuo of Kronenkrönlein (1648)
3. Rosenmüller Johann (c.1619-1684): Welt ade och bin dein müde , funeral piece for five voices and basso continuo for the funeral of Johanna Magdalena, daughter of Archdeacon L. Abraham Teller (Leipzig, March 2, 1649)
4. Heinrich Schütz (1585-1672): Mit dem zwar Amphion SWV 501, sorry for solo voice and continuo, in the death of his young wife Magdalena, born Wildeck (1625)
5. Johann Hermann Schein (1586-1630): Threnus , funeral motet for six voices and continuo, in the death of the Duchess Maria Dorothea von Sachsen in July 1617

Heinrich Schütz: Musikalische Funeral , Heirnich in the death of Reuss Posthumus (1635)
6. Part I: Concert in Form einer Begräbnis-Missa Teutsch SWV 279, for six voices and continuo
7. Part II: Herr, wenn ich nur dich habe SWV 280, Motet for two choirs of four voices and continuo

8. Schiedemann Heinrich (c.1596-1663): Herzlich lieb hab ich dich, or Herr , arrangement for organ coral
9. Michael Praetorius (c.1571-1621): Mit Fried 'und Freud' ich fahr dahin , movement cantata for four voices of Musae Sioniae , Part VIII (Wolfenbüttel, 1610)
10. Heinrich Schütz: Musikalische
Funeral Part III: Canticum B. Simeonis SWV 281, Motet for two choirs and continuo
Raumklang (Apollon Edition) RKap 30,107 ( Diverdi ) [72'34'']
Recording: November 2006 January 2008

Schütz: Mit dem zwar Amphion. [9'06''] Amarcord. Dresden Cappella


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