To give familiar melodies a fresh, rich and colorful new look and thus to present them in an attractive new light is the essential direction which the Calmus Ensemble Leipzig followed for this Christmas CD. The arrangements of well-known Christmas songs in this collection make use of structures from both classical as well as popular music from a variety of eras, always taking only the best of both worlds. It is hoped that the listener will not only be delighted, but will also be pleasantly surprised. That listening to this international Christmas album brings continually good feelings and that one listens with much joy and pleasure is due not only to the fine arrangements, but also to the lively interpretation and the perfect sound of the Calmus Ensemble Leipzig, which knows how to create an entirely genuine, uninhibited Christmas feeling.

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

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ORATORIO

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.

You really won’t be disappointed with these stylish, polished, engaging performances.

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

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).

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• The Hannover Girl’s Choir under the direction of Gudrun Schröpresents three masses for high voices. The two masses by Johann Michael Haydn (1737–1806) were written on the occasion of Holy Innocents’ Day. The CD is rounded out by the world premiere recording of the Missa in f Minor women’s choir by Hans Koessler (1853–1926), a composer who belonged stylistically to the “Rheinberger School”.

Most tellingly, Christmas songs render the joy and anticipation of children at Christmas time. + The children’s choir “SingsalaSing” of the Landesakademie for young musicians in Baden-Württemberg, Ochsenhausen, sing 26 traditional and new yuletide songs from Germany and its neighboring countries. + This CD is part of the “Lieder Project” an effort that promotes and benefits singing with children. + It emphasizes quality and is designed especially for children. + Proceeds from the Lieder Project are donated to causes furthering singing with children.

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Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry

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]

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