Madrigals & Wedding Music. Complete recording, Vol. 19 (Rademann)
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- Behold, how good and pleasant
- Tell all the bidden
- Itzt blicken durch des Himmels Saal
- Nachdem ich lag in meinem öden Bette
- Lässt Salomon sein Bette nicht umgeben
- Ich beschwöre euch, ihr Töchter zu Jerusalem
- Ach, wie soll ich doch in Freuden leben
- Die Erde trinkt für sich
- Liebster, sagt in süßem Schmerzen
- Stehe auf, meine Freundin
- Wohl dem, der ein tugendsam Weib hat
- Haus und Güter erbet man von Eltern
- Glück zu dem Helikon
- Wie wenn der Adler sich aus seiner Klippe schwingt
- Rejoice with the wife of thy youth
Contents
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Composer
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. Personal details
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Preface writer
Oliver Geisler
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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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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
Dorothee Mields
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Soloist - soprano
Isabel Schicketanz
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Soloist - alto
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. Personal details
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Soloist - tenor
Georg Poplutz
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Soloist - tenor
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. Personal details
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Soloist - bass
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. Personal details
Reviews
Samuel Scheidt: Cantiones Sacrae
... In der ersten Schütz-Gesamteinspielung ist auch diese Einspielung ein weiterer Höhepunkt.
Württembergische Blätter für Kirchenmusik, 1/2020
... Rejoice in the Lord bringt eine dermaßen hohe Energie ein, dass man selbst als HörendeR nicht anders kann, als sich von der immerwährenden Freude am Herrn mittragen zu lassen. ... Und so sei diese CD allen Freunden zeitgenössischer geistlicher Chormusik sehr zum Hinein-Hören und Kennenlernen empfohlen.
Monika Fahrnberger, singende kirche, 3/2019
This collection makes a fine addition to the recorded Carus Edition. Along with the forthcoming collection of miscellaneous sacred works, it will present nearly all the surviving music of the greatest German composer of the 17th century.
J. F. Weber, Fanfare Magazine, Sep/Okt 2019
Hans-Christoph Rademann has gathered first-rate instrumentalists and vocal soloists to collaborate with his Dresden chamber choir to give performances that are an ideal marriage of energy and clarity.
Tony Way, Limelight, 01.07.2019
Aus den Werken spricht eine gegen die Katastrophen des Dreißigjährigen Krieges gerichtete Daseins- und Sinnenfreude.
Roland Dippel, Crescendo, April/Mai 2019
L’intérêt de ces pages souvent méconnues est grevé par des solistes peu impliqués, des violons étriqués et la routine austère de Hans-Christoph Rademann.
Denis Morrie, Diapason, April 2019
Das gut organisierte Klangbild zeigt sich ansprechend balanciert und wird in plastischer Anmutung präsentiert, wie stets bei den Produktionen der Reihe in einem gelungenen Verhältnis von detailreichem Kern und maßvoller räumlicher Noblesse.
Dr. Matthias Lange, klassik.com, 12.03.2019
Ausgezeichnete Solisten ... und Instrumente wie Zinken, Posaunen und Gamben ergeben ein stimmiges Klangbild, das vom Dresdner Kammerchor unter der Leitung von Hans-Christoph Rademann ergänzt wird.
Tiroler Tageszeitung, 04.03.2019
Les qualités vocales des six chanteurs de l’ensemble nous offrent une parfaite lisibilité de la polyphonie et du sens du texte : projection et articulation, tels sont les atouts maîtres de ces solistes. ... Le motet le plus émouvant, écrit sur un texte biblique, Ich beschwöre euch, ihr Töchter zu Jerusalem, nous fait entendre un dialogue entre un chœur de femmes et un chœur d’hommes qui se rejoignent pour le final après une série d’échos parfaitement maîtrisés.
Cécile Glaenzer, ResMusica, 25.02.2019
Vor allem die Hochzeitsmusiken zeigen in ihrer lustvollen Lebenszugewandtheit eine Seite, die man von Schütz zu wenig kennt. Der zwölf Sängerinnen und Sänger umfassende Chor und das siebzehnköpfige Instrumentalensemble musizieren wunderbar farbig, luftig und ausdrucksvoll.
Sabine Näher, Concerti, 11.02.2019
Für Schütz-Liebhaber ist diese CD indes fraglos ein großer Genuss und eigentlich ein Muss.
Jan-Geert Wolff, pizzicato, 29.01.2019
Deze uitgave van onbekende gelegenheidswerken van de jonge Schütz, is opnieuw een hoogtepunt in de indrukwekkende, complete Schützopname
(“Gesamteinspielung”) van het bijzonder label, Carus. Niet te missen!
[This edition of unknown occasional works by the young Schütz, is yet another highlight in the impressive, complete Schütz recording
”('Gesamteinspielung') of the special label, Carus. Not to miss it!
Michel Dutrieue, Stretto, 28.01.2019
Auf der nun erschienenen Aufnahme ist vorwiegend der weltliche Komponist Schütz kennenzulernen, der farbig, auch humorvoll zu schreiben weiß, und das transportieren Chor, Solisten sowie Gamben, Zink, Violinen und mehr sehr ansprechend.
Landeszeitung für die Lüneburger Heide, 09.01.2019
The recording is crisp and bright, like the execution of the music – everything about this disc is excellent!
Brian Clark, Early Music Review, 08.01.2019
Het Dresdner Kamerkoor is zo langzamerhand gespecialiseerd in het uitvoeren van de werken can Schütz en doet dat op deze nieuwe uitgave opnieuw met volle overtuiging en inzet, muzikaal en beheerst van vorm.
Maarten Seijbel, De-Waarheidsvriend, 01/2019
Die Ausführung dieser Stücke gelingt mit großer Frische und Lebendigkeit, was angesichts der großen Schütz-Routine der Sänger und Instrumentalisten umso erfreulicher ist.
Gustav Danzinger, Chor aktuell, 01/2019
Je mehr unser Vertrauen in diesen Komponisten gewachsen ist, desto freier sind wir im Umgang mit ihm geworden - und diese Freiheit und Begeisterung würden wir nun gerne weitergeben.
Gerald Felber im Interview mit Hans-Christoph Rademann, FAZ, 31.12.2018
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