Luthers Lieder. Chormusik von Bach, Praetorius, Buxtehude, Mendelssohn, Jennefeldt (Bernius, Bresgott)
Sommaire
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L'auteur de l'avant-propos
Johann Hinrich Claussen
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Chœur
Kammerchor Stuttgart
The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Plus d'information sur la personne
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Ensemble
Stuttgarter Kammerorchester
Founded in 1945, the Stuttgarter Kammerorchester is the oldest and most renowned ensemble of its kind and for over 65 years it has occupied an outstanding position in international orchestra culture. Michael Hofstetter has been the conductor of this ensemble since September 2006. The orchestra had already earned its excellent reputation under its founder and long-time director, Karl Münchinger. Through a completely new and exemplary style of interpretation of the works of Johann Sebastian Bach the Stuttgarter Kammerorchester became a pathfinder in the field of historical performance practice. Dennis Russell Davies, its principal conductor, from 1995 to 2006, expanded the repertoire of the orchestral, especially with works from 20th century. In 2008 the orchestra was awarded the European Chamber Music Award by the European Foundation for Culture. Plus d'information sur la personne
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Ensemble
Athesinus Consort Berlin
The Athesinus Consort Berlin, named after the composer Leonhard Lechner Athesinus (ca. 1553–1606), was founded by Klaus-Martin Bresgott in 1992. He has been the conductor of the ensemble since then. The ensemble, which usually performs as a double quartet and – when enlarged – as a soloistic chamber choir, rehearses and performs both a cappella and continuo literature of the late Renaissance and Baroque as well as modern and contemporary works, which regularly result in world premieres. The ensemble members, all experienced concert singers who are also active in the Collegium Vocale Gent, the Chor des Bayerischen Rundfunks, the SWR Vokalensemble and the RIAS-Kammerchor, as well as on the stage of the Deutsches Theater Berlin, with Sasha Waltz & Guests and others, are united in their delight sounding out the verbal images of speech and suggestive arts. All of the ensemble members are active as soloists in addition to their activities in larger ensembles. The spectrum here ranges from Johann Sebastian Bach’s oratorios to experimental music of the 21st century. The latest successes of the ensemble include, among others, the world premiere of the music theatre piece Paulus. Das ängstliche Harren der Kreatur by Thomas Jennefelt in 2011, the world premiere of the tryptich Du bist mein Schlaf by Frank Schwemmer in 2012, the world premiere of Drei Gedichte von Rainer Maria Rilke by Jonathan Brell (*1987) in 2013, as well as the world premiere of Turbulent Days – fünf Spruchmotetten nach Martin Luther King und Martin Luther für 8–12-stimmiges Vokalensemble, Saxophon und Schlagwerk by Frank Schwemmer and Anyone can let you down – no one will let you down by Thomas Jennefelt in 2014. In addition to specific compositional focuses, the Athesinus Consort Berlin has committed itself to selected topics in which the texts are of definitive significance. One emphasis is on the innumerable forgotten strophes of the cornucopia of German folk song. Classical concert principles recede into the background and make way for a more individual form of expression. Exemplary thereof are the collaborations with songwriters, jazz musicians, drummers and percussionists as well as dancers and pantomimes. Since 2010 the Athesinus Consort Berlin has regularly released CDs, including O Heiland, reiß die Himmel auf … vergessene Strophen der Weihnacht (2010), Signale ( 2011) w ith w orks by Michael Praetorius and Thomas Jennefelt or Boten ( 2012) w ith w orks b y J ohann A dam Hiller, Max Bruch, Hugo Distler and others. In 2013 Leonhard Lechner: Mein süße Freud auf Erden. Sacred Choral Music was released (Carus 83.384; a tribute from the ensemble to the man who gave it its name – the works on this CD are also available complete as a music edition, Carus 4.022), followed by Frank Schwemmer: Perlmuttfalter. Contemporary Choral Music (Carus 83.464) in 2014. Plus d'information sur la personne
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Ensemble
Deutsche Kammerphilharmonie Bremen
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Chef d'orchestre
Frieder Bernius
| 1947Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Plus d'information sur la personne
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Chef d'orchestre
Klaus-Martin Bresgott
| 1967Klaus-Martin Bresgott was born 1967 in Greifswald and initially studied Protestant theology, later German language and literature and art history (M. A.), parallel thereto choral conducting. Contracts as an ensemble singer led him to the most notable concert venues in Europe under conductors such as René Jacobs, Marcus Creed, Daniel Reuss, Hans-Christoph Rademann and Fabio Luisi, and directors such as Sasha Waltz, Luc Perceval, Barrie Kosky and others. His main focus is on ensemble work that spans epochs and interdisciplinary contexts. This has led to a regular co-operation with composers and poets of our time such as Thomas Jennefelt and Frank Schwemmer as well as Christa Wolf (†) and Christian Lehnert. As well as works on art history, including Ernst Barlach, he has edited several books of choral music, including Frau Musica spricht. Chorbuch Reformation (2011) and Chorbuch Leonhard Lechner (2014, Carus 4.022), Vier Weihnachtsmotetten (2015, Carus 7.389) and Hugo Distler’s Die Weihnachtsgeschichte op. 10 (2015, Carus 10.011). He was awarded the “Preis der Deutschen Schallplattenkritik” in 2008 for the first complete recording of the Geistliche Chormusik op. 12 by Hugo Distler, 2019 the french "Choc de Classica" for Samuel Scheidt: Cantiones Sacrae. Plus d'information sur la personne
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Solist - soprano
Sophie Harmsen
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Solist - alto
Elke Rutz
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Solist - ténor
Holger Speck
Holger Speck is founder and artistic director of the Vocalensemble Rastatt & Les Favorites. He has developed a distinguished international reputation as a charismatic musician who is capable of bringing to life the aesthetic details of the sound particular to different periods, while communicating emotive content to the listener. His keen sense of sound assures the unmistakable tonal quality of his ensembles. His compelling, lively, and profound interpretations are regularly praised in specialist publications. He has conducted at famous festivals and concert halls such as the Festspielhaus Baden-Baden, the Philharmonie Mulhouse, the Händelfestspiele Karlsruhe, the Europäische Musikfest Stuttgart, the Schwetzinger Festspiele, the Festival Europäische Kirchenmusik Schwäbisch Gmünd, and the SWR RheinVokal Festival. Holger Speck has won prizes at both national and international competitions with the Vocalensemble Rastatt. His CD recordings have met with international acclaim (Gramophone Magazine, American Record Guide, Fanfare, Fono Forum, L’Orfeo, Pizzicato, Diapason, Classicstoday etc.). He frequently collaborates with artists such as Anne Le Bozec (Piano), Reinhold Friedrich (Trumpet), Wolfgang Meyer (Clarinet), and Veronika Skuplik (Violin). Holger Speck is also in demand as a singer, as a guest conductor, and as a lecturer at seminars for conducting and interpretation. He teaches at the Hochschule für Musik in Karlsruhe. Plus d'information sur la personne
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Solist - ténor
Jan Kobow
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Solist - basse
Michael Volle
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Solist - basse
Adolph Seidel
Adolph Seidel a étudié le chant avec Peter Wetzler et Paul Lohmann. La musique du baroque ancien et moyen est l’un des points principaux de son travail. A côté des parties de basse de son activité de concertiste, il se consacre avec grand enthousiasme au chant choral. Ainsi, il est membre du Kammerchor Stuttgart depuis 1977, des Sechzehn Solisten du Kammerchor Stuttgart sous la direction de Frieder Bernius et du KammerChor Saarbrücken, et il a travaillé pendant plusieurs années comme basse attitrée de l’ensemble Orlando di Lasso. En plus de son activité de chanteur, il se consacre, en tant que directeur de l’ensemble vocal VocArt, à la musique vocale baroque, du petit effectif soliste aux oratorios. Plus d'information sur la personne
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Solist - clavecin
Arno Schneider
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Solist - orgue
Detlef Bratschke
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Solist - orgue
Matthias Ank
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Solist - violoncelle
György Bognar
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Solist - violoncelle
Reinhard Werner
Critiques
Luthers Lieder
Der Kammerchor Stuttgart unter seinem Leiter Frieder Bernius lässt diese Aufnahme zum Erlebnis werden ... bei gleichzeitiger stimmlicher Intensität und profunder Ausdeutung des Notentexts.
Martin Frieß, Vierteljahreshefte für Erneuerung und Einheit der Kirche, Heft 1+2, Reformation 2017
The choral and solo singing is excellent.
Peter Loewen, American Record Guide, 02.05.2017
Die vorliegende Doppel-CD ... enthält hervorragende Aufnahmen der Lieder Luthers. Die Qualität der Aufnahmen - von vollem Orchester bis hin zu schlichtem solistischen Gesang – überzeugt.
Joachim Werz, Musica Sacra, April 2017
...es (das Athseinus Consort Berlin) überzeugt einmal mehr mit intensiver Musizierfreude, einem transparenten Klangbild, präziser Artikulation und absoluter Intonationssicherheit.
Martin Frieß, Forum Kirchenmusik, März 2017
Zahlreiche Abbildungen von Dokumenten und Protagonisten der Reformationszeit ergänzen das Begleitbuch auf das Prächtigste und steigern seinen Wert als Dokumentation der Reformationszeit...
Dr. Dietmar Hiller, Berliner Chorspiegel, März 2017
...[T]he musical recordings alone in this compendium offer a fascinating glimpse into the role of the chorale in German musical culture.
Curtis Rogers, musicweb-international.com
Der Kammerchor Stuttgart und das Athesinus Consort Berlin sowie die hervorragenden Solisten machen die Lieder lebendig und verwandeln sie ganz neu in Glaubensbekenntnisse, in wahren Trost.
Doris Michel-Schmidt, Lutherische Kirche, Februar 2017
In summa eine sehr beeindruckende, gleichermaßen subtile wie strahlende Musikproduktion, die von einem vorzüglichen Booklet gekrönt wird[...]. Einzigartig.
Reinhard Mawick, Zeitzeichen, Januar 2017
Mit beeindruckender Intonationsreinheit und plastischer Textdeklamation meistern sie [Kammerchor Stuttgart und Athesinus Consort Berlin] die enorme Bandbreite des Repertoires.
Friedegard Hürter, Chorzeit, Januar 2017
Impression de totale et bienfaisante beauté.
Bénédicte Palaux Simonnet, crescendo-magazine, 10.01.2017
Das Athesinus Consort Berlin ... beeindruckt mit einem klaren, transparenten Klangbild und präziser Artikulation ... Ebenso homogen, zudem noch voll und weich klingt der Kammerchor Stuttgart ...
Sarah Seidl, kulturradio vom rbb (CD der Woche), 02.01.2017
Interprétées par deux des meilleurs ensembles allemands [...], ces pièces polyphoniques compelexes prennent un relief et und intensité réelle, superbement rendue par und prise de son idéale.
Thierry Jacques Collet, ClicMag, 12/2016
Ergänzt werden die stimmungsvoll dargebotenen Chorsätze durch einige auflockernde Choralbearbeitungen für Orgel.
Pizzicato, Remy Franck, 20.12.2016
Interpretatorisch - zum Verdruss künftiger Interpreten sei es gesagt - sind die Aufnahmen ohnehin schwerlich zu übertreffen.
Sven Hiemke, Musik und Kirche, 11/12 2016
Mit beeindruckender Intonationsreinheit und plastischer Textdeklamation meistern sie die enorme Bandbreite des Repertoires.
Friedegard Hürter, Chorzeit, 01/2017
Dem Ensemble intensive Musizierfreude und absolute Intonationssicherheit zu attestieren, erscheint nach den fabelhaften Aufnahmen der letzten Jahre fast ... redundant, ist aber immer wieder neu frappierend.
Sven Hiemke, Musik und Kirche, 06/2016
Beide Ensembles agieren sauber und präzise und meistern problemlos die große Bandbreite des Repertoires. [...] Fazit: Repräsentativ ist die CD, und hochprofessionell umgesetzt.
br-klassik.de, Stefanie Bilmayer-Frank, 02.10.2016