Johann Adolf Hasse: Requiem in C (Rademann)
Contents
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Preface writer
Hans-Christoph Rademann
| 1965Conductor 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. Personal details
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Preface writer
Wolfram Hader
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Choir
Dresdner Kammerchor
DRESDNER KAMMERCHOR Radiant, transparent, homogeneous and flexible: the Dresdner Kammerchor is internationally esteemed for its unique culture of sonority. Its artistic director Hans-Christoph Rademann has shaped this distinctive sound since the choir was founded in 1985, leading it to worldwide renown. The choir’s diverse repertoire has its foundation in Baroque music, with a special focus on Saxon court music. As a cultural ambassador for Dresden and Saxony, the choir keeps the musical heritage of its homeland alive and makes it known to an international audience. A prominent example of this is the world’s first complete Heinrich Schütz recording, which was concluded in 2019, published by Carus-Verlag, and has won several awards: among others, the St. John Passion was awarded the Annual Prize of the German Record Critics in 2016, and the last installment of the edition containing “Psalms and Peace Music” was honored with the Opus Klassik 2020. The choir has also rediscovered, performed anew and recorded on CD numerous works by other Central German masters such as Johann Adolf Hasse, Johann David Heinichen and Jan Dismas Zelenka in collaboration with the Dresden Baroque Orchestra and other musical partners. In addition to symphonic choral works from the Classical and Romantic periods, a further repertoire focus is on challenging a cappella works of the 19th and 20th centuries. This includes music by Johannes Brahms, Max Reger, Olivier Messiaen, Francis Poulenc, Arnold Schoenberg and Herman Berlinski. For years, the Dresdner Kammerchor has been intensively dedicated to modern and contemporary music, with world premieres, first performances and its own commissioned works. This commitment is deepened further by diverse music education and youth projects. In 2009, Hans-Christoph Rademann and the Dresdner Kammerchor initiated the Dresden Choral Workshop for New Music, which took place for the 4th time in 2018. For its services to contemporary choral music, the choir was awarded a Sponsorship Prize by the Ernst von Siemens Music Foundation. The Dresdner Kammerchor gives guest performances in centers of music and at festivals throughout Europe. Tours have taken the singers to Israel, India, Taiwan, China, Mexico, South America, South Africa and the USA. Musical partners to date have included René Jacobs, Sir Roger Norrington, Ádám Fischer, Václav Luks, Stefan Parkman, Trevor Pinnock, Christoph Prégardien, Jos van Immerseel, Herbert Blomstedt, Omer Meir Wellber, Christian Thielemann, Riccardo Chailly and Reinhard Goebel, as well as the Sächsische Staatskapelle Dresden, the Gewandhausorchester Leipzig, the BBC Philharmonic Orchestra, Anima Eterna Brugge, the Akademie für Alte Musik Berlin, and the Bamberg Symphony Orchestra. The choir regularly collaborates with the Wroc"naw Baroque Orchestra. By means of a cooperation with the Dresden University of Music, the Dresdner Kammerchor keeps the connection to its roots alive. Personal details
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Orchestra
Dresdner Barockorchester
One of the distinguishing features of the Dresdner Barockorchester, founded in 1991, is the fact that its membership includes both early music specialists and orchestral musicians drawn from the Dresdner Staatskapelle and the Dresdner Philharmonie. Working together with baroque instruments, with their specific clarity of sound and articulation they achieve a variegated, eloquent music-making in which their different areas of musical experience are combined. The musicians are united in their desire to follow the splendid example set by the Dresden Court Orchestra of Augustus the Strong. The heritage of that era is the music of such conductors and instrumentalists of the Court Orchestra as Hasse, Heinichen, Zelenka, Quantz and Pisendel, whose works have a prominent place in the repertoire of the Dresdner Barockorchester. This repertoire extends from the end of the 17th century through Mozart. The Dresdner Barockorchester works closely with the Dresdner Kammerchor and its conductor Hans- Christoph Rademann. Personal details
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Conductor
Hans-Christoph Rademann
| 1965Conductor 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. Personal details
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Soloist - soprano
Johanna Winkel
Johanna Winkel studied singing with Mechthild Böhme and Caroline Thomas, and attended master classes to augment her education. She gave her international debut in 2008 with Peter Neumann and the Concerto Köln in Nantes. She subsequently performed with, among others, the Hamburg Symphony Orchestra, the SWR Vokalensemble Stuttgart and the SWR Symphony Orchestra as well as the NDR Choir. She has sung, for example, at the Musikfest Berlin, the Lucerne Festival and La Folle Journée. Johanna Winkel has won several prizes for opera singing and was awarded first prize in the Cantilena Singing Competition in Bayreuth. Johanna Winkel has performed various operatic roles in historical performance locations such as the Margravial Opera House in Bayreuth and the Ekhof Theater in Gotha. She can be heard on many live recordings as well as on a number of CD recordings. Personal details
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Soloist - soprano
Marie Luise Werneburg
Marie Luise Werneburg loves Renaissance and Baroque music. She grew up in a musical rectory in Dresden, and then developed her musical inclination and talent by firstly studying church music in Dresden and then later studying singing in Bremen. She is a sought-after soloist who pursues her passion for early music by singing concerts worldwide with, among others, the Ensemble Weser-Renaissance Bremen, the Lautten Compagney Berlin, the Rheinische Kantorei and Bell’Arte Salzburg. She is especially passionate about J.?S.?Bach’s cantatas and oratorios and H.?Schütz’s oeuvre. But she has also been enchanted by other musical treasures by less well-known composers such as Rosenmüller and Biber. Additionally, Werneburg’s other favorite musical projects include collaborating with the harpsichordist Elina Albach and her ensemble CONTINUUI IM, as well as with Hille Perl and the Sirius Viols. Personal details
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Soloist - alto
Marlen Herzog
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Soloist - alto
Wiebke Lehmkuhl
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Soloist - tenor
Colin Balzer
Canadian born Colin Balzer studied singing with David Meek in Canada and Edith Wiens in Germany. He has participated in master classes given by Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender and Christoph Prégardien. Colin Balzer has won a range of international prizes, and has embarked on a busy international concert schedule with a repertoire ranging from Monteverdi to Penderecki. He has been heard at Festivals in Baden-Baden, Aix-en-Provence and at the Early Music Festivals in Boston and Vancouver, and he regularly performs with various Canadian orchestras. He has also enjoyed considerable success as a lieder singer. He recorded his first CD, Hugo Wolf’s Italienisches Liederbuch, with Hartmut Höll. Personal details
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Soloist - bass
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. Personal details
Reviews
Die Aufnahme trägt alle Züge der historisch informierten Aufführungspraxis - verbürgt durch den schlank, aber ausdrucksvoll musizierenden Dresdner Kammerchor unter seinem Leiter Hans-Christoph Rademann, der auch das spannungsvoll besetzte Dresdner Barockorchester … einmal mehr zu mitreißendem Musizieren animiert.
(Birger Petersen, Gottesdienst und Kirchenmusik, September/Oktober 2012)
Makellos vorgetragen von guten Solisten, dem ausgezeichneten Dresdner Kammerchor und einem gut aufgelegten Dresdner Barockorchester unter der Leitung von Hans-Christoph Rademann.
(Thorsten Schlepphorst, Musica Sacra, 3/2012)
Es gelingt Rademann in fantastischer Art und Weise, in Hasses Musik die kirchenmusikalische Satzstrenge mit der Süße italienischer Opernmusik zu verschmelzen und in einem Ganzen aufgehen zu lassen. Dabei geraten weder die fugierten Chorsätze zu steif oder hölzern noch die Arien zu theatralisch, beide Elemente beeinflussen einander. Das Dresdner Barockorchester agiert mit äußerster Präzision sowie transparentem Klang und weiß mit durchdachter Phrasierung und Dynamik zu begeistern. … Der Dresdner Kammerchor steht den Instrumentalisten dabei in nichts nach: Homogenität, Klangschönheit und Beweglichkeit lassen keine Wünsche offen. Ebenso sind die Solisten gleichmäßig gut disponiert. … Insgesamt handelt es sich um eine willkommene Ergänzung und Erweiterung des Dresdner Musikrepertoires des 18. Jahrhunderts.
(Frederik Wittenberg, klassik.com, 30. Mai 2011)
Ein Requiem in C, in der reinsten Tonart, die alles andere als Betrübnis und Trauer ausdrückt - das ist eigentlich schon ein Antagonismus per se. Wenn er dann auch noch so wundervoll dargebracht wird, wie auf dieser Einspielung, leuchtet die Tonart-Wahl des langjährigen Dresdner Hofkomponisten durchaus ein. Hier werden nicht die Trauer, sondern die Dankbarkeit für ein erfülltes Leben und die Hoffnung auf das Kommende großgeschrieben. Die Interpreten aus Elb-Florenz tun dies mit Hingabe, sehr bewegt und bewegend im Duktus der Partitur. Die Solostimmen klingen schön ebenmäßig, ergänzen sich bestens, wie im Abschnitt "Mors stupebit". Zusammen mit dem Miserere in c-Moll ist hier eine genussvolle Aufnahme gelungen, auch wenn das in Zusammenhang mit einem Requiem wiederum antagonistisch klingen mag.
(pizzicato, 06/2011)
[...] Ein spannendes Werk, perfekt in Szene gesetzt. [...]
(Dr. Klemens Hippel, concerti, Juni 2011)
Es waren Komponisten wie Schütz, Zelenka und Johann Adolf Hasse (1699,1783), die zu einer Blüter der Barockmusik am sächsischen Hof zu Dresden beigetragen haben. Genau diese Komponisten möchten der Dresdner Kammerchor und das Dresdner Barockorchester unter der Leitung von Hans-Christoph Rademann wieder in Erinnerung bringen - auch mit dieser fulminanten, spannungsgeladenen Aufnahme des Requiems für das Label Carus.
(Die Rheinpfalz, 16. April 2011)