This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

It is hard to fault this Carus release of Mendelssohn's Paulus ... a must for any collection of sacred music.

Specialising in spiritual choral music from all periods the Carus label continue their impressive series of Mendelssohn sacred choral works with the oratorio Paulus (St. Paul); their eleventh volume under the baton of Frieder Bernius.

The oratorios Paulus and Elijah are two mainstays of the genre that secured Mendelssohn’s fame in the restorationist Germany and Victorian Britain, where they were frequently performed at numerous music festivals and sometimes conducted by the composer. In spite of the forceful and enduring backlash against things Germanic and Victorian that prevailed in Britain following the outbreak of the Great War, Paulus and Elijah have remained perennially popular with the British provincial choral societies. On the other hand, owing mainly to changes in music fashion, Mendelssohn’s impressive output of psalm settings, motets, cantatas, Walpurgisnacht and the Lobgesang - works that figured so prominently in the European music life of the 1830s and 1840s - are either largely forgotten or rarely performed.

According to biographer Michael P. Steinberg, "Paulus was written in the aftermath of Abraham Mendelssohn’s death and as a tribute to his memory." Musicologist Edward Dannreuther opined that Paulus was written probably for festival concert performance purposes with a devotional spirit rather than purely for ecclesiastical reasons. Mendelssohn’s sacred choral music contains a special and unique appeal. At its very best it is convincing and expressive, bright and airy in tone with a gentle serenity and a rare beauty.

Mendelssohn composed the oratorio Paulus for solo voices, chorus and orchestra between 1834 and 1836. Assisted by Pastor Julius Schubring, he prepared the text from the Bible centring the oratorio on the book of St. Paul and focusing on the martyrdom of St. Stephen and the conversion of Saul of Tarsus.

Paulus was a tremendous success at its première at the Lower Rhine festival in Düsseldorf, Germany in 1836 and gave the twenty-seven year old Mendelssohn his international breakthrough. In the eyes of musicologist Francis Toye, for Mendelssohn the triumph of Paulus, "eventually established him, in England in particular, as the legitimate successor to Handel." Many performances soon followed throughout Europe, Russian and also in the USA. Probably Mendelssohn’s most admired score in his lifetime, composer Robert Schumann remarked upon the, "indelible colour of instrumentation" and the, "masterful playing with all the forms of the art of composition" describing it as a, "jewel of the present." However Paulus has not achieved the same enduring level of greatness as that of his later oratorio Elijah; a more mature score that is performed more often with a far larger number of available recordings. Paulus is cast in two large sections. According to music writer David Ewen the first section is, "essentially dramatic" and the second section, "lyrical and contemplative".

Section one of Paulus contains numerous highlights and is the more successful of the two parts. I was struck by how much the robust and elaborate opening chorus Herr, der du bist der Gott (Lord, Thou alone art God) (track 2, CD1) reminded me of Handel’s coronation anthem, Zadok the Priest (HWV 258). The splendid declamation of the soprano Maria Cristina Kiehr in the aria Jerusalem, die du tötest die Propheten (Jerusalem! They that killest the Prophets) (track 7, CD1). The shock and abhorrence from Werner Güra in the tenor aria, Und sie steinigten ihn (And they stoned him) (track 9, CD1) is memorable. A true high spot is the sequence of soothing strains from the chorus in Siehe! Wir preisen selig, die erduldet haben (Happy and blest are they who have endured!) (track 11, CD1). Also notable is the remorse and sorrow from Michael Volle in the bass ‘rage’ aria Vertilge sie, Herr Zebaoth (Confound them all, Lord Sabbath) (track 12, CD1). Volle’s outburst of anger and loathing in Gott, sei mir gnädig nach deiner Güte (O God, have mercy on me) (track 18, CD1) must also be mentioned. Here one cannot fail to be impressed by the excellent woodwind accompaniment. Another highlight is the bass aria Ich danke dir, Herr, mein Gott! (I praise thee, O Lord, my God!) where Saul’s prayer is answered by the mixed chorus.

Section two of Paulus is generally considered to be of reduced dramatic quality and consequently is of rather less interest than the opening part. I should just mention the reverential and moving duets for tenor and bass So sind wir nun Botschafter an Christi Statt (Now we are Ambassadors in the name of Christ) (track 3, CD2) and Denn also hat der Herr geboten (For so hath the Lord himself commanded) (track 9, CD2). Then there’s the dramatic and powerful, extended bass aria from Michael Volle in Ihr Männer, was macht ihr da? (O wherefore do ye these things) (track 14, CD2). Werner Güra in the tenor cavatina, Sei getreu bis in den Tod (Be thou faithful unto death) (track 18, CD2) is impressive. Here I was struck by the superb playing by the soloist in the obbligato cello part. The strength and intensity of the two mighty and compelling final choruses is noteworthy: Sehet, welch eine Liebe uns der Vater erzeiget (See what love hath the Father bestowed on us) (track 21, CD2) and Nicht aber ihm allein, sondern allen (Not only unto him) (track 23, CD2).

Argentinian soprano Maria Cristina Kiehr, who sings both the soprano and alto parts, rises to the tough assignment and proves impressive. Her captivating performance was appropriately reverential, blended with impressive clarity of enunciation and creamy timbre. Güra provides an enthusiastic contribution with his bright and medium weight tones, of a certain Italianate quality. These contrast splendidly with Volle’s memorably rich and characterful bass.

Bernius’s direction is impressive in every way. The playing of Deutsche Kammerphilharmonie Bremen is never overwhelming but always high on sensitivity; containing an especially moving directness of expression. The sound quality on this SACD, which I played on my standard players, is first class and especially well balanced. I enjoyed the exemplary essay in the booklet from musicologist R. Larry Todd, however, there are several errors in the accompanying liner notes.

With regard to alternative recordings of Paulus I have considerable affection for the 1995 Montreux version under the direction of Philippe Herreweghe. The quartet of soloists: Melanie Diener (soprano); Annette Markert (mezzo); James Taylor (tenor) and Matthias Görne (baritone) are joined by the Collegium Vocale Gent; La Chapelle Royale and the Orchestre des Champs-Élysées on Harmonia Mundi HMC901584.85.

Another alternative version of Paulus from my collection that I can recommend is the 1994 Dvo?ák Hall, Prague performance from the baton of conductor Helmuth Rilling. The talented quartet of soloists is Juliane Banse (soprano); Ingeborg Danz (alto); Michael Schade (tenor); Andreas Schmidt (bass) with the Gächinger Kantorei Stuttgart; Prager Kammerchor and the Czech Philharmonic Orchestra on Brilliant Classics 99953 c/w Elijah, Op. 70.

It is hard to fault this Carus release of Mendelssohn’s Paulus which is a must for any collection of sacred music. I look forward to Frieder Bernius’s forthcoming recording of Elijah, Op. 70, also on Carus.

-- Michael Cookson, MusicWeb International

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Reviews of some of the original recordings that make up this set:

St. Paul
Specialising in spiritual choral music from all periods the Carus label continue their impressive series of Mendelssohn sacred choral works with the oratorio Paulus (St. Paul); their eleventh volume under the baton of Frieder Bernius.

The oratorios Paulus and Elijah are two mainstays of the genre that secured Mendelssohn’s fame in the restorationist Germany and Victorian Britain, where they were frequently performed at numerous music festivals and sometimes conducted by the composer. In spite of the forceful and enduring backlash against things Germanic and Victorian that prevailed in Britain following the outbreak of the Great War, Paulus and Elijah have remained perennially popular with the British provincial choral societies. On the other hand, owing mainly to changes in music fashion, Mendelssohn’s impressive output of psalm settings, motets, cantatas, Walpurgisnacht and the Lobgesang - works that figured so prominently in the European music life of the 1830s and 1840s - are either largely forgotten or rarely performed.

According to biographer Michael P. Steinberg, "Paulus was written in the aftermath of Abraham Mendelssohn’s death and as a tribute to his memory." Musicologist Edward Dannreuther opined that Paulus was written probably for festival concert performance purposes with a devotional spirit rather than purely for ecclesiastical reasons. Mendelssohn’s sacred choral music contains a special and unique appeal. At its very best it is convincing and expressive, bright and airy in tone with a gentle serenity and a rare beauty.

Mendelssohn composed the oratorio Paulus for solo voices, chorus and orchestra between 1834 and 1836. Assisted by Pastor Julius Schubring, he prepared the text from the Bible centring the oratorio on the book of St. Paul and focusing on the martyrdom of St. Stephen and the conversion of Saul of Tarsus.

Paulus was a tremendous success at its première at the Lower Rhine festival in Düsseldorf, Germany in 1836 and gave the twenty-seven year old Mendelssohn his international breakthrough. In the eyes of musicologist Francis Toye, for Mendelssohn the triumph of Paulus, "eventually established him, in England in particular, as the legitimate successor to Handel." Many performances soon followed throughout Europe, Russian and also in the USA. Probably Mendelssohn’s most admired score in his lifetime, composer Robert Schumann remarked upon the, "indelible colour of instrumentation" and the, "masterful playing with all the forms of the art of composition" describing it as a, "jewel of the present." However Paulus has not achieved the same enduring level of greatness as that of his later oratorio Elijah; a more mature score that is performed more often with a far larger number of available recordings. Paulus is cast in two large sections. According to music writer David Ewen the first section is, "essentially dramatic" and the second section, "lyrical and contemplative".

Section one of Paulus contains numerous highlights and is the more successful of the two parts. I was struck by how much the robust and elaborate opening chorus Herr, der du bist der Gott (Lord, Thou alone art God) (track 2, CD1) reminded me of Handel’s coronation anthem, Zadok the Priest (HWV 258). The splendid declamation of the soprano Maria Cristina Kiehr in the aria Jerusalem, die du tötest die Propheten (Jerusalem! They that killest the Prophets) (track 7, CD1). The shock and abhorrence from Werner Güra in the tenor aria, Und sie steinigten ihn (And they stoned him) (track 9, CD1) is memorable. A true high spot is the sequence of soothing strains from the chorus in Siehe! Wir preisen selig, die erduldet haben (Happy and blest are they who have endured!) (track 11, CD1). Also notable is the remorse and sorrow from Michael Volle in the bass ‘rage’ aria Vertilge sie, Herr Zebaoth (Confound them all, Lord Sabbath) (track 12, CD1). Volle’s outburst of anger and loathing in Gott, sei mir gnädig nach deiner Güte (O God, have mercy on me) (track 18, CD1) must also be mentioned. Here one cannot fail to be impressed by the excellent woodwind accompaniment. Another highlight is the bass aria Ich danke dir, Herr, mein Gott! (I praise thee, O Lord, my God!) where Saul’s prayer is answered by the mixed chorus.

Section two of Paulus is generally considered to be of reduced dramatic quality and consequently is of rather less interest than the opening part. I should just mention the reverential and moving duets for tenor and bass So sind wir nun Botschafter an Christi Statt (Now we are Ambassadors in the name of Christ) (track 3, CD2) and Denn also hat der Herr geboten (For so hath the Lord himself commanded) (track 9, CD2). Then there’s the dramatic and powerful, extended bass aria from Michael Volle in Ihr Männer, was macht ihr da? (O wherefore do ye these things) (track 14, CD2). Werner Güra in the tenor cavatina, Sei getreu bis in den Tod (Be thou faithful unto death) (track 18, CD2) is impressive. Here I was struck by the superb playing by the soloist in the obbligato cello part. The strength and intensity of the two mighty and compelling final choruses is noteworthy: Sehet, welch eine Liebe uns der Vater erzeiget (See what love hath the Father bestowed on us) (track 21, CD2) and Nicht aber ihm allein, sondern allen (Not only unto him) (track 23, CD2).

Argentinian soprano Maria Cristina Kiehr, who sings both the soprano and alto parts, rises to the tough assignment and proves impressive. Her captivating performance was appropriately reverential, blended with impressive clarity of enunciation and creamy timbre. Güra provides an enthusiastic contribution with his bright and medium weight tones, of a certain Italianate quality. These contrast splendidly with Volle’s memorably rich and characterful bass.

Bernius’s direction is impressive in every way. The playing of Deutsche Kammerphilharmonie Bremen is never overwhelming but always high on sensitivity; containing an especially moving directness of expression. The sound quality on this SACD, which I played on my standard players, is first class and especially well balanced. I enjoyed the exemplary essay in the booklet from musicologist R. Larry Todd, however, there are several errors in the accompanying liner notes.

With regard to alternative recordings of Paulus I have considerable affection for the 1995 Montreux version under the direction of Philippe Herreweghe. The quartet of soloists: Melanie Diener (soprano); Annette Markert (mezzo); James Taylor (tenor) and Matthias Görne (baritone) are joined by the Collegium Vocale Gent; La Chapelle Royale and the Orchestre des Champs-Élysées on Harmonia Mundi HMC901584.85.

Another alternative version of Paulus from my collection that I can recommend is the 1994 Dvo?ák Hall, Prague performance from the baton of conductor Helmuth Rilling. The talented quartet of soloists is Juliane Banse (soprano); Ingeborg Danz (alto); Michael Schade (tenor); Andreas Schmidt (bass) with the Gächinger Kantorei Stuttgart; Prager Kammerchor and the Czech Philharmonic Orchestra on Brilliant Classics 99953 c/w Elijah, Op. 70.

It is hard to fault this Carus release of Mendelssohn’s Paulus which is a must for any collection of sacred music. I look forward to Frieder Bernius’s forthcoming recording of Elijah, Op. 70, also on Carus.

-- Michael Cookson, MusicWeb International

Elijah
I have long sought a performance of Mendelssohn’s oratorio, Elijah , that did not disappoint. Every one I’ve heard has left me feeling there was something wanting, either in the interpretation or the recording, or both. A star-studded cast including Janet Baker, Nicolai Gedda, Gwyneth Jones, and Fischer-Dieskau on EMI is undermined by the turgid conducting of Raphael Frübeck de Burgos and flat-dimensional sound. Wolfgang Sawallisch does much better by the score, is provided with better sound by the Philips engineers, and has a mostly decent cast of singers; but I’ve never been able to abide Peter Schreier’s voice. Another ideal cast includes Bryn Terfel, John Mark Ainsley, and Renée Fleming on Decca, but it’s a period-instruments performance with the Orchestra of the Age of Enlightenment. Richard Hickox attempted it for Chandos with a decent lineup of singers including Linda Finnie, Rosalind Plowright, and Willard White; but the sound is over-reverberant and creates a cavernous perspective. Philips went to bat for the work again with another fine cast that included Anne Sofie von Otter, Anthony Rolfe Johnson, and Yvonne Kenny, in a performance led by Neville Marriner. Paradoxically, this may be the best and the worst of the Elijahs I’m familiar with; for it presents the oratorio in that high-tea English style that probably comes closest to capturing Mendelssohn’s Victorian valediction, while exposing those very aspects of the score that are most arch and artificial. Perhaps the best all-around recording with which I’m familiar is Telarc’s with Thomas Hampson, Barbara Bonney, Jerry Hadley, Florence Quivar, and Robert Shaw leading the Atlanta Symphony and Chorus. It’s a sort of middle-of-the-road reading that avoids extremes, does the score no harm, and benefits Mendelssohn’s writing with exceptionally clear diction, clean recording, and ideal balance between soloists, chorus, and orchestra. But there’s nothing particularly revelatory about it.


Evident from the above is that almost without exception the castings for all of these recordings could have been ideal if not for other militating factors. There are of course many recordings of the work—this being Mendelssohn’s most popular oratorio—but of those cited, one can’t help wondering why none of them fully satisfy. The fault may indeed be Mendelssohn’s. Many years ago, I had the opportunity to lead a performance of the work with a community orchestra and chorus, and a decent ensemble of amateur vocal soloists. What became obvious during rehearsals was that between the many inspired arias and choruses lay many arid patches. Call me a Philistine if you like, but we ended up making some judicious cuts in the score; and even at that, there was restlessness in the audience during the performance as the malady lingered on.


Elijah was one of Mendelssohn’s last works, completed in 1846, a year before his death. But he began work on it as early as 1837 to an original text in German by Julius Schubring drawn from the Old Testament. The work remained unfinished until 1845, when Mendelssohn received a commission for a large oratorio to be performed at the 1846 Birmingham Festival. It was for that performance that the work was completed and the libretto translated into English. Current recordings are about equally divided between English and German performances, the new Bernius release falling into the latter category.


If you were an ancient Israelite living during the reign of King Ahab, c. 869 to 850 B.C., the worst transgression against Old Testament (Mosaic) law you could possibly commit, worse even than coveting your neighbor’s camel, was the cardinal sin of idolatry. The prohibition against worshipping stones, statues, and alien gods goes back to the very first of the Ten Commandments; and for centuries thereafter, during the dynasties of the Israelite kings and the biblical Prophets, throughout the Babylonian, Persian, Greek, and Roman eras, there have been ongoing battles for the minds, hearts, and souls of the Jewish people. In these great clashes of religion and culture, Jehovah, God of the Israelites, had to prevail, even if it meant letting the blood of His own people to instill fear and guilt and bring them back into the fold. Like many another biblical account of retribution against those who have gone astray, the story of Elijah—one of the earliest in the line of Hebrew prophets—has its villain. In this case, it’s King Ahab who married Jezebel and succumbed to the temptations of Baal worship. As Ahab’s queen, she turned the king away from Jehovah to the pagan god of fertility, Baal, and to the carnal abominations of ritual orgies and the horrific practice of immolating infants as sacrificial offerings. In a nutshell, the tale is told of a terrible drought afflicting the people. The Baal worshippers resort to their debauchery and other unnatural rites in a vain attempt to call forth rain. Following an afternoon of the naked gyrating and cutting themselves, Elijah has had enough. He challenges the priests of Baal to a contest against Jehovah. The God of Israel triumphs, the rain comes, the followers of Baal, along with their many Israelite apostates, are destroyed, and Elijah ascends to heaven in a fiery chariot. Highlights of Mendelssohn’s score include a number of memorable solo arias: “If with all your hearts,” “O rest in the Lord,” “Lord God of Abraham, Isaac, and Israel.” Also several magnificent choruses: “Baal, answer us,” “He that shall endure to the end,” “Thanks be to God!” and perhaps the single most beautiful set piece in the whole oratorio, “He watching over Israel.”


The new Bernius recording can be immediately dismissed by anyone with an uncompromising bent towards hearing Elijah sung in English. For all others, this is a performance worthy of your attention. The vocal soloists may not be quite of the caliber as those in the above-named recordings, but as was already stated, not even the best soloists can make a convincing case for this oratorio without a conductor and recording engineers who perceive its weaknesses and compensate for them. In this, Bernius and the Carus recording largely succeed where others have failed.


Bernius sets a pace similar to that of Masur, which is to say on the brisk side; but unlike Masur he doesn’t sound rushed and the orchestra doesn’t sound harried. The chorus is brightly lit and to the fore, but not so forward as to overwhelm the soloists and orchestra, and with sufficient ambient air around them so as to provide ample dimensional perspective. The soloists, likewise, are captured with pinpoint clarity, but their voices seem to emerge from within the same plane as that of the chorus, instead of occupying a space separate and disconnected from the rest of the ensemble. The Classical Stuttgart Philharmonic is a modern-instruments band that draws players from a number of leading German orchestras.


Editorial integrity compels me to state that I was not able to audition this SACD release in its full surround-sound version. This is a strongly recommended addition to the Mendelssohn Elijah discography. It may be about the most nearly perfect performance of an imperfect and uneven work we are likely to get anytime soon again.

FANFARE: Jerry Dubins

Carus's complete recording with Frieder Bernius and the Kammerchor Stuttgart of Felix Mendelssohn's sacred choral works represents a magnificent act of interpretation and editing. A better recording can hardly be imagined. This edition, which has won numerous prizes and has now been released as a box at a reasonable price, should form part of every CD collection.

Classical Music

With their new album “Madrigals of Madness” the Calmus Ensemble presents a musical journey to 16th and 17th c. Europe with madrigals from Gibbons, Flecha, Monteverdi, Gesualdo and Desprez. This first CD of a promised future series of madrigal compilations about the different emotions pictured in the music is about the madness found in love, war, loneliness and lovesickness. The liner notes contain an interview with a psychiatrist about madness from a medical point of view. A striking blend of sound, precision, lightness and wit: these are the hallmarks of Calmus – a unique line-up of soprano, countertenor, tenor, baritone and bass voices – now one of the most successful vocal groups in Germany. The reach of their activities is constantly expanding, taking them throughout Europe as well as North and South America. They are naturally at home in the vocal music of the Renaissance, the Baroque and the Romantic, with music of our own time – including pop, folk and jazz, as well as chansons and evergreens from the 1920s – also a real passion. Over the years Calmus has commissioned numerous new works and given many world premieres.

The 500th anniversary of the generally agreed beginning of the Reformation–when Martin Luther published his famous “disputations” (the Ninety-five Theses) in October, 1517–not surprisingly has sparked an outpouring of recordings focused not on the Reformation but on Luther’s justly famous chorales and the many settings and re-imaginings by numerous other composers, from the 16th century to the present. This program follows that line, except it doesn’t feature a choir, neither is there an organ or instrumental ensemble in sight.

Calmus is a vocal ensemble with one soprano and four guys who cover the rest of the parts (countertenor, tenor, baritone, bass). Together they take on everything from cantata movements by Bach, motets by numerous composers (from Praetorius and Schütz to Mendelssohn and Brahms), and even organ chorale preludes, the latter sung in a cool, sensuous Swingle Singers style, enlivened by impeccably tuned, complementary vocal timbres. Notable among these are a couple by Bach–BWV 599 and 659 (sound clip)–and several by Carl Piutti, a 19th-century German composer/organist, who wrote more than 200 organ preludes and did serious time at the Leipzig Thomaskirche, beginning in 1880.

Although this program is very thoughtfully based on Luther’s hymns–beginning with settings of the classic Ein feste Burg ist unser Gott and proceeding through Nun komm, der Heiden Heiland, Christ lag in Todesbanden, and several others, all arranged in neatly flowing sections, following the church year from Advent through Pentecost, it’s really about excellent ensemble singing, the art of coordinating and balancing voices, developing and shaping musical interpretations, and using the unique aspects and qualities of the voice to illuminate and give life to words and music. And these singers demonstrate this at every turn and phrase, capturing the glory and grandeur of all manner of musical conceptions–and they do endings in a manner that makes you just want to savor every last note and chord.

It takes a very accomplished ensemble to successfully juxtapose so many styles and settings of these great hymns, and the Calmus Ensemble does it with world-class expertise and just the right amount of charm–yet I have to say, that although every one of these singers is excellent, soprano Anja Pöche, with her seemingly effortless technique and gorgeous sound (not to mention a true, untempered sense of intonation) is a particular treasure. Enthusiastically recommended.

– ClassicsToday (David Vernier)

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Frieder Bernius, more than anyone else, knows how to focus more attention on lesser known composers who were not active in the great musical centers and make their voices heard. After his much acclaimed recording of the opera Die Aeolsharfe by Justin Heinrich Knecht (1752–1817) in 2009, he is once more dedicating himself to works by this contemporary of Mozart. The orchestral works and arias recorded here demonstrate that Knecht, both during his time in Biberach and later in Stuttgart, was neither totally cut off from the musical developments in the musical centers nor indifferent to them, but creatively enriched them with his own approach and solutions. The Grande Symphonie from Knecht is often mentionend as an important precursor to Beethoven’s 6th Symphony. Because the work is still practically unknown, the present CD rectifies a genuine omission.

KEISER Dialogus von der Geburt Christi. GRAUPNER Magnificat • Jürgen Ochs (ten, cond); Rastatter Hofkapelle (period instruments) • CARUS 83.417 (45:00 Text and Translation)


The appearance of a new recording of the works of Reinhard Keiser is for me a cause of rejoicing. The high quality of the operas that have been recorded gives testimony of a composer near the top rank of Baroque composers. This is my first encounter with one of Keiser’s religious works, and the Dialogus confirms the high opinion I hold of his ability.


Dialogus , written for performance in a Hamburg concert hall in 1707, survives only in a revised version, including the addition of chorales, and probably dates from Keiser’s period as Cathedral choirmaster. While the work is recognizably in the tradition of the north German cantata, it is leavened with the melodic and dramatic gifts of one of the Baroque era’s best opera composers. An additional feature typical of Keiser’s work is the varied instrumentation; none of the solo movements, whether aria, duet, or trio, have the same instrumentation.


The pairing of Keiser with Graupner on this disc is appropriate; they both wrote for the Hamburg opera in the first decade of the 18th century, and Graupner contributed several arias to one of Keiser’s greatest operatic successes, Der Carneval von Venedig . Graupner’s only Magnificat may have been written in support of an application for the position of Thomaskantor in Leipzig. The work is very appealing, vocally and instrumentally. Although Graupner’s work found favor in Leipzig, his Darmstadt employer refused to release him to accept the Leipzig appointment.


Rastatter Hofkapelle is, at least on this recording, a group of eight vocalists and 13 instrumentalists. Jürgen Ochs, the conductor, also serves as tenor soloist and chorister. The performances are generally accomplished, especially from the instrumentalists and the vocalists singing in concert. In their solo turns, however, they are somewhat disappointing. The solo music obviously taxes their abilities; they are able to get through their solo assignments, but we are aware that more-accomplished singers could have made more of this music. I do not want to put anyone off of purchasing this recording by suggesting that the solo singing is awful; it certainly isn’t that. It simply could have been better with more-accomplished vocalists.


Carus claims that both of these works are recording premieres, and I see no reason to dispute this claim. The short length of the program is a disappointment. There was plenty of room for another Keiser or Graupner work. Both of these works are well worth getting to know, and the recording has provided me with a great deal of pleasure.


FANFARE: Ron Salemi

Even in the 18th Century Life in University Towns Offered Many Temptations, Just Made to Distract Students from Their Studies, Though Certainly Music Ranked Among the More Harmless Diversions. Evidently, Teems of Students Were Drawn, Particularly to Sacred Services in Leipzig But Also, After 1701 to Georg Philipp Telemann's Collegium Musicum, Which He Founded in 1701. This CD, Performed By L'arpa Festante and Rien Voskuilen, Gives An Admirable Impression of the High Level Musical Quality Accessible in the University Town of Leipzig at the Beginning of the 18th Century, When Telemann, Heinichen, and Graupner Were Making Music There and Presumably Studying Law on the Side.

A worthy addition to the repertoire for Passiontide.

About ten years ago the German label Carus started a project of recording compositions by Gottfried August Homilius and publishing the scores. This has borne fruit in a series of remarkable productions, with cantatas, motets and passions (see below). No fewer than three of the latter genre have been released so far, the latest being this setting of the St Mark Passion. It is not documented when it was written, but there is evidence that it was performed a couple of years before 1765 in Berlin. Homilius' Passions were quite famous and were performed in the German-speaking world well into the 19th century. That is the more remarkable as they had to compete with the then most celebrated Passion, Der Tod Jesu, by Carl Heinrich Graun, which dates from 1755.
 
The latter is a so-called passion oratorio. This was mostly a combination of a paraphrase of and contemplation on the story of the Passion. Passion oratorios were usually performed outside the church, in the form of a concert, but in the second half of the century they became part of religious services as well. This St Mark Passion belongs to the older type of the oratorio passion like those by Johann Sebastian Bach. It is based on the Biblical account of the suffering and death of Jesus, with additional chorales and arias. Even so, this work is quite different from Bach's Passions in various ways.
 
It is interesting to compare Homilius's Passion with Bach's St Matthew Passion. This will reveal in what way the Passions from the Enlightenment differ from those of the previous era. Bach's Passion is written in the spirit of Luther's theology of the Cross, which emphasized that the suffering and death of Jesus for the sins of mankind are an absolute precondition to receiving the grace of God. In order to imprint this into the minds of the congregation it should 're-experience' as it were Jesus' sufferings and take part in the unfolding of the events as described in the gospels. To that end the references to the happy outcome of Jesus' passion are very limited. It is telling that Bach's St Matthew Passion ends with an expression of grief on Jesus' death. This Passion by Homilius ends on a positive note: "God is reconciled, he layeth down his thunders. (...) The heavens exult, with hallelujahs echoing. Join forces with them in this solemn song!" The scene which describes the Last Supper is followed by an aria of an uplifting character, referring to the Lord's Supper which is celebrated in the Christian church: "If by sin ye are distressed, come and the Lord will refresh you. (...) O taste and see how gracious he is!" It is followed by a chorus which expresses the same thought. This connection is completely absent in Bach's Passion.
 
The purpose of the congregation 're-experiencing' the events also explains the dramatic character of Bach's St Matthew Passion. Homilius's St Mark Passion is considerably less dramatic. A typical example is the scene where the High Priest asks Jesus whether he is the son of God. Jesus answers: "I am, and ye shall see the Son of man sitting on the right hand of power, and coming in the clouds of heaven." In Bach's Passion the Evangelist immediately mentions the High Priest rending his clothes and saying that Jesus has spoken blasphemy. Homilius inserts a chorale, and only then the Evangelist recounts the response of the High Priest. The same happens in the scene of Peter denying Jesus. After his last denial Bach's Evangelist tells that the cock crew and that Peter wept bitterly. In Homilius's Passion the last denial is followed by an aria: "Do not misconceive the God of gods! His anger flares, go, kiss the Son!" In these passages the inclusion of a chorale and an aria respectively interrupt the dramatic flow of the story.
 
The aria just mentioned reveals a feature of this Passion which clearly reflects the spirit of the Enlightenment. In Bach's Passions the arias express the emotions the congregation is supposed to feel while witnessing the sufferings of Jesus: "May my weeping and my mourning be a welcome sacrifice" (Buss und Reu), "I wish my heart to offer thee" (Ich will dir mein Herze schenken), "Have mercy, Lord, on me" (Erbarme dich). It is the congregation speaking; in Homilius the congregation is addressed. They are warned: "Be merciful, o mortal man, break thou thy bread with the hungry". That is the opening sentence of the first aria which follows the scene when Jesus' disciples complain about the woman pouring ointment on Jesus' head. This shows that the arias often have a strong moral content. In other arias participants in the story are addressed: "Condemn him, if ye must, ye unjust judges", but "when the Son of Man shall return as judge on the clouds of heaven, then flee, evildoers, flee!"
 
The recitatives of the Evangelist bear witness to the less dramatic character of Homilius's St Mark Passion as well. They are more straightforward, and the text is less drastically depicted in the music. The compass of this part is considerably narrower and there are far fewer modulations. The most dramatic parts of this Passion are the arias. The tenor aria mentioned above, 'Verdammt ihn nur, ihr ungerechten Richter' is a kind of operatic rage aria. There’s drama also in the two accompanied recitatives of the soprano in the second part, which strongly contrast with the ensuing arias. Some arias are quite long: several take seven or eight minutes. The most expressive of these is also the longest: 'Ich geh, von Leiden ganz'. The words are put into the mouth of Jesus (another feature of Enlightenment Passions): "I go hence, surrounded by sorrow on all sides, and there is none to ask: Whither goest thou?" Its expressive character is reinforced by the strings playing with mutes.
 
The mixture of 'old' and 'new' elements has resulted in a compelling Passion with music of great beauty and incisive expression. The performance does full justice to its character and quality. Hans Jörg Mammel gives an excellent account of the part of the Evangelist, in a true declamatory manner. The part of Jesus is lighter than in other Passions: Thomas Laske is a baritone rather than a bass, and his agile voice perfectly suits this part. His aria which I already mentioned is one of the most moving parts and is exquisitely sung. His voice is more powerful in the aria 'Mit Preis und Ruhm gekrönt'. Monika Mauch has a beautiful and clear voice; especially moving is the aria in the second part, following the death of Jesus: "Flow, flow, ye tears!" The dramatic accompanied recitatives I referred to are not lost on her either. No less beautiful is the voice of Ruth Sandhoff, whose warm timbre suits the aria 'Wenn euch eure Sünden drücken'.
 
The Basler Madrigalisten are a vocal ensemble of twenty voices and sing the turbae in a fitting dramatic fashion. The chorales are often a weak spot in recordings of works like this, but not here. Words and phrases are effectively singled out, for instance through dynamic accents, such as in the last lines of 'O weh demselben' (CD 1, track 13). The articulation is also immaculate. The orchestra gives full weight to the dramatic aspects, and displays its expressive powers in the arias.
 
This recording shows why Homilius was considered the greatest German composer of sacred music in his time. It is a worthy addition to the repertoire for Passiontide.
 
-- Johan van Veen, MusicWeb International

The music of the Court of Dresden is of special interest to Hans-Christoph Rademann and his two Dresden ensembles, the Kammerchor and the Barockorchester. Johann David Heinichen's Masses Nos.11&12 are presented in a manner in which the musicians can display the entire majestic sound of this festive court music from the baroque era. Mr. Rademann is one of the most sought-after choral conductors and widely acknowledged specialists in choral sound in the world. His concerts and recordings of music from the 17th-18th c., particularly the musical treasures of Saxony, are pioneering.

Classical Music

The Peñalosa-Ensemble is an a cappella quartet consisting of four absolutely experts for the early vocal music: the German singers Susan Eitrich, Sebastian Mory, Jörg Deutschewitz und Pierre Funck. The CD presents a cappella works by Hans Leo Hassler (1564–1612) for advent and Christmas. The selected works, which cover the entire gamut of Hassler’s productivity with respect to different compositional types and genres, profit greatly from the clear performance by the solo mold of the Peñalosa quartet.

Classical Music