Carus
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Calmus Christmas Carols / Calmus Ensemble Leipzig
Complete Track List:
1 Ludwig Böhme Maria durch ein Dornwald ging 04:23
2 Bob Chilcott Nova! nova! 02:39
3 Ludwig Böhme O Heiland, reiß die Himmel auf 02:37
4 Ludwig Böhme Gaudete! 03:06
5 Philip Lawson Hark! The herald angels sing 03:16
6 Morten Schuldt-Jensen Away in a manger 01:56
7 Gregor Meyer Noel nouvelet 02:35
8 Gregor Meyer La Peregrinacion 03:19
9 Joe Roesler Tu scendi dalle stelle 03:52
10 Hannu Lepola Sylvian joululaulu 05:29
11 Sebastian Krause Es ist ein Ros entsprungen 03:10
12 Fredo Jung Weihnachten / Im Balladenton 02:21
13 Max Reger Schlaf, mein Kindelein 03:18
14 Claus Bantzer Was soll das bedeuten 03:02
15 Wolfram Buchenberg Stille Nacht, heilige Nacht 03:02
16 Ludwig Böhme O Tannenbaum, du trägst ein grünes Kleid 02:49
17 Ludwig Böhme Jingle bells 02:40
18 Ludwig Böhme Thank God it's Christmas 03:16
19 Harald Banter Leise rieselt der Schnee 01:58
PERPETUUM MOBILE
PASSION
ORATORIO
Mendelssohn: Geistliches Chorwerk
Purcell: Love’s Madness / Dorothee Mields, Wolfgang Katschner, Lautten Compagney Berlin
In the old days—that is, the 1980s and ‘90s—this is a recording that would have been done by the Baltimore Consort, with soprano Custer LaRue; but they would have left out the boring stuff, all those endlessly plodding “grounds”, or the excessively torturous (as opposed to the reasonably tortuous) six-and-one-half-minute Expostulation of the Blessed Virgin, in favor of livelier, more virtuosic, or just more light-hearted or even humorous material.
Mields is certainly a wonderful singer—indeed, this is some of the best work she’s done—and the instrumentalists are first-rate. But I don’t buy the legitimacy of the programmatic device that supposedly unifies the chosen repertoire: a “journey into the extremities of the life of the soul, caused by feelings of love.” The word “mad” pops up frequently in the liner notes, supposedly a theme that links all of the music, by Purcell and a few contemporaries—but you’ll be hard pressed to hear and feel this connection as you listen.
That’s not to say that the program isn’t composed of some fine and well-chosen songs—and Mields has admirable command of the material; yet her final, gorgeously sung Dido’s Lament lacks a true emotional connection with the character’s situation, eliminating that oft-recorded, beloved aria as a reason to own the disc. But there are plenty more reasons among the 31 tracks—and if you’re a fan of this period and place (latter 17th-century England), and of songs such as “Sing, sing Ye Druids” and “The Three Ravens”, you really won’t be disappointed with these stylish, polished, engaging performances.
-- David Vernier, ClassicsToday.com
Schutz: Complete Recordings, Vol. 2 / Rademann, Dresden Chamber Choir
The first part of the Heinrich Schutz Complete Recording with the Dresdner Kammerchor under Hans-Christoph Rademann has set new artistic and editorial standards. Now the second of three album sets is being released. It encompasses Volumes 9 to 14 of the Complete Recording, including the St John Passion. This work, representative of the high standard of the whole series, was awarded the German Record Critics’ Award in 2016. Once again, top performers such as Hille Perl, Lee Santana, Dorothee Mields, Harry van der Kamp, and many others join the ensemble. Vol. 9 Auferstehungshistorie (The Resurrection) (album 12) Vol. 10 Weihnachtshistorie (Christmas History) (album 13) Vol. 11 Matthäuspassion (St Matthew Passion) (CD 14) Vol. 12 Symphoniae Sacrae III (CD 15–16) Vol. 13 Johannespassion (St John Passion) (album 17) Vol. 14 Symphoniae Sacrae I (albums 18–19).
Herzogenberg, H.: Frühling lässt sein blaues Band (Weltliche
CHORAL MUSIC
Johann Michael Haydn: Messe für Frauenchor
Kinderlieder aus Deutschland und Europa
SIX VIOLIN SONATAS
A CAPPELLA
O TOD, WIE BITTER BIST DU
Rheinberger - Musica Sacra 5 - Abendlied, Etc / Fankhauser
Mendelssohn: Sacred Choral Music Vol 2 / Bernius, Laki, Possemeyer
Bach: Cantatas And Concertos / Kirkby, Kaiser, Arfken, Et Al
One of the world’s brightest Baroque ensembles performing with one of the world’s most admired Baroque sopranos sounds an enticing proposition‚ and so it should. What is more‚ the solo cantatas on offer here are two of Bach’s most moving: Ich habe genug‚ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blut‚ a relatively early work with a text which moves from the wallowing selfpity of the sinnner to joyful relief in God’s mercy. Each contains music of great humanity and beauty‚ and each‚ too‚ contains an aria of aching breadth and nobility – the justly celebrated ‘Schlummert ein’ in the case of Ich habe genug‚ and in Mein Herze the humble but assured supplication of ‘Tief gebückt’. This aria alone ought to make the cantata a more familiar one‚ but there is plenty more to recommend it‚ including a griefladen first aria with obbligato oboe‚ a dignified chorale with obbligato cello‚ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkby‚ who‚ thrillingly virtuosic though she can be‚ is perhaps at her best in this kind of longbreathed‚ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into it‚ and Kirkby’s allows her to shape vibratoless long notes and phrases with utter security and ravishing vocal quality‚ with only the occasional high note sounding slightly pinched. Above all‚ however‚ her intelligence and unfailing attention to text are a lesson to all; in ‘Schlummert ein’‚ the way her voice subsides almost to nothing‚ retreating into the orchestral texture at ‘fallet sanft’ (fall asleep)‚ is entrancing. The support of the Freiburg Baroque Orchestra is total‚ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are ‘playing the words’. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfken‚ furthermore‚ are outstandingly musical. And if that were not enough‚ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloom‚ clarity and internal balance‚ and you have a CD to treasure.
-- Gramophone [11/2001]
LITANIAE
DAS IST MEINE FREUDE - MOTETS
MUSIC FROM THE FRAUENKIRCHE DR
V 5: CHURCH MUSIC
