Classical Music

Organ

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

-----

C. P. E. BACH Magnificat. Die Himmel erzählen die Ehre Gottes • Fritz Näf, cond; Monika Mauch (sop); Matthias Rexroth (ct); Hans Jörg Mammel (ten); Gotthold Schwarz (bs); Basler Madrigalisten; L’arpa festante • CARUS 83.412 (Hybrid multichannel SACD: 62:37 Text and Translation)

Carl Philipp Emanuel Bach was the Thomaskantor’s second son. He spent 27 years at the Prussian royal court and 20 years in Hamburg, surpassing his father’s reputation for some time after his death. This Magnificat was an early choral work of 1749, performed even in Leipzig. Both works are billed as world premiere recordings, or, in the case of the Magnificat, “the first recording of the original version.” But the latter differs from the work I have loved since Felix Prohaska’s recording was reissued on a single LP (it was originally three sides for a 49-minute performance) only in omitting trumpets and timpani, for the only other difference is the original “Et misericordia,” which most previous recordings have used. Seymour Solomon himself wrote the liner notes for Prohaska, asserting that the printed score had been compared with the original manuscript, and the trumpets and drums (“inexplicably omitted from later editions,” he says) were restored for the recording. He may have meant the manuscript in Hamburg, described by colleague William Youngren (15:2). Only Helmut Rilling has recorded the later, shorter “Et misericordia”; every other recording known to me has the original, longer setting of this verse.

The work became a favorite of mine, and I bought the next four LPs as soon as I could find them, but they all followed period-performance style, such as it was in those days, and I missed the grandeur that I had come to love. Emanuel’s work, as Solomon described it, was a combination of Italianate vocal style, Haydnesque orchestration, and his father’s Baroque choral writing. Prohaska’s large forces with modern orchestra, broad tempos (the longest recording known to me), and marvelous soloists brought out the majesty of the work better than later versions. I can still hear it with pleasure. Geraint Jones’s version was made next, but somehow remained on the shelf while several other recordings that he made in 1957 and 1958 for His Master’s Voice were issued; after Jones’s auto accident in 1960 limited his activities, it was apparently forgotten until Malcolm Walker discovered the tape and obtained its release in 1965 (I only found a copy many years later, a stereo LP pressed with an Odeon label for export). It was also Helen Watts’s first version, preceding her work for Ledger and Rilling.

This glorious work begins with a festive chorus on the first verse, a soprano solo on “Quia respexit,” and a brilliant tenor solo on “Quia fecit mihi.” After the choral “Et misericordia” comes a heroic bass solo on “Fecit potentiam,” then two rousing duets for contralto and tenor followed by a meltingly lovely contralto solo on “Suscepit Israel.” “Gloria Patri” is set to the music of the opening movement, followed by a gigantic double fugue on “Sicut erat,” an extended movement of great power. I hear the longer “Et misericordia” as a central peak between the opening and closing choral movements, while colleague Youngren likes the shorter setting because it makes the series of solo arias more prominent. The present performance is impressive, even if I miss the trumpets and timpani that punctuate the opening and closing choruses and the bass aria. Enhanced by modern sound, the soloists embellish their melodies stylishly. Three of the singers remind me favorably of Prohaska’s soloists, but Matthias Rexroth, the first countertenor I have heard in this work, has a heavier voice than Prohaska’s contralto, Hilde Rössl-Majdan, though he melds in well with the others in this team. So even though I think the composer knew what he was doing when he added the trumpets and timpani, I can recommend this as a gorgeous performance and recording of a masterpiece. Here are the versions so far issued:

• Felix Prohaska, 1952, Bach Guild 516-17; 552
• Geraint Jones, rec. May 1957 and May 1958, H.M.V. CLP 1828; CSD 1612; SME 91477
• Adolf Detel, rec. November 1965, Archiv 73267; SAPM 198367
• Kurt Thomas, rec. 1966, Victrola VICS 1368; Harmonia Mundi 30821; 1C 065-99624; CD: BMG-DHM. 05472-77411
• Philip Ledger, rec. March 1976, Argo ZRG 853; CD: 421148 (15:2).
• Helmut Rilling, rec. September 1976 and January–April 1977, Hänssler 91511; CD: 98970 (15:2). Revised “Et misericordia.”
• Hartmut Haenchen, rec. December 1988, CD: Berlin BC 1011-2 (18:1). Not heard.
• J. Reilly Lewis, rec. 1998, CD: Newport 60155. Not heard.
• Michael Schneider, rec. December 2000, CD: Capriccio 67003 (26:3). Not heard.
• Fritz Näf, rec. January 2008, CD: Carus 83412. Omits trumpets and timpani.

The other work on this disc was first heard in the early Hamburg years, 1773 or 1774, but it was written in 1772. In 1775 the first movement was revised and a new final chorale added, but the revisions are not heard here. The original purpose of the composition was the installation of a new pastor, only the last two original movements referring to Christmas at all. In the form performed annually after 1775, the added movements made it more of a Christmas cantata. The ensemble includes the three trumpets and timpani that could have been used in the other work, but the work strikes me more as well constructed than inspired. The performance does it full justice, but the Magnificat is worth the price of the disc.

FANFARE: J. F. Weber

Even though Charles Gounod is now mostly remembered as a composer of the opera Faust, his main creative focus was church music. His sacred oeuvre eclipses that of his French contemporaries, but cannot conceal Gounod’s affinity for opera. On the occasion of the composer’s 200th birthday, Carus is re-releasing an outstanding recording by the chamber choir I Vocalisti under the direction of Hans-Joachim Lustig of the oratorio "Die letzten Worte des Erlosers am Kreuze" and other sacred compositions: works to which the composer was particularly inspired by his stay in Rome and the Gregorian chant which is very frequently heard there. Depending on the project, the chamber choir I Vocalisti consists of 20 to 60 vocally and musically trained singers from Northern Germany, who come together to perform challenging sacred and secular choral music at a professional level. Since its founding in 1991, the ensemble has performed in numerous concert series and has received prizes at national and international choral competitions, including first prize at the 6th German Choir Competition in 2002 and 1st prizes at the international choral contests in Tolosa, Spain in 2004 and in Cork, Ireland in 2009.

On the occasion of it's 40th anniversary Carus has initiated a new series Carus Classics, featuring ten outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. '... exemplary recording.' (New Classics, September 2005)

Classical Music

... The sound of 35 women's voices has a beautiful balance. The Rheinberger choral pieces are rendered here clearly and are dynamically very rich in shading.

On the occasion of it's 40th anniversary Carus has initiated a new series Carus Classics, featuring ten outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. '... exemplary recording.' (New Classics, September 2005)

In the depth of it's expression and richness of form Johann Sebastian Bach's music has no equal. This becomes especially clear in the famous cantatas for solo soprano, as can be heard in this recording, featuring "Ich bin in mir vergn�gt" BWV 204 and "Mein Herze schwimmt in Blut" BWV 199 (Weimar version, 1714). The recording is rounded off by a performance of the famous soprano aria "Alles mit Gott und nichts ohn' ihn" BWV 1127. Once again Dorothee Mields shows that she is one of the leading interpreters of our time for the music of the 17th and 18th centuries. Performed with L'Orfeo Barockorchester, under the direction of Michi Gaigg, this is an exemplary interpretation of these seldom heard solo cantatas.

With this recording Bernius concludes a series featuring Burgmuller's instrumental music. For the astonishingly mature Piano Concerto he was able to engage as a soloist Tobias Koch, the renowned pianoforte specialist. In addition, with the four Entr'actes op. 17 and the Overture op. 5, the recording contains two of Burgmuller's works which are definitely worth discovering. The complete orchestral music of this extraordinary talent is now available on CD, performed on historical instruments.

Classical Music

Classical Music

The Carus Classics series feature outstanding CD productions from Carus’ past library of recordings. This selection of Brahms’ sacred choral music shows a clear line of development from the early works, such as the songlike Ave Maria, to the later and progressively contrapuntal masterwork motets, clear evidence of the composer’s brilliance at motivic variation. The esteemed British conductor Roger Norrington leads the Schütz Choir of London.

The Carus Classics series feature outstanding CD productions from Carus’ past library of recordings. Reger’s “Acht geistlichen Gesänge” (Eight Sacred Songs) are both a challenge and a joy for every choir who sings them. The Kammerchor Saarbrücken directed by Georg Grün has created a masterful interpretation of this cycle, setting it in the context of other late Romantic choral works by Hugo Wolf, Max Reger and Anton Webern.

Many questions persist surrounding J. S. Bach’s Mass in B minor, one of the master’s most frequently performed vocal works, enigmas and problems that musicologists and performers continue to research or grapple with, including early performance, textual and revision issues. The present new live 2015 recording by the combined forces of the Gächinger Kantorei, Freiburger Barockorchester, conductor Hans-Christoph Rademann and vocal soloists rigorously follows – in the Kyrie and Gloria – Bach’s own meticulously configured “Dresdner Stimmen” [Dresden parts] and is therefore based, for the first time, exclusively on the musical text that emanated from Bach’s pen. Additional movements with marked deviations from the familiar version are accessible as variants as bonus material on Disc Two. Renowned Bach and Mozart scholar Ulrich Leisinger, upon whose new edition of the work this recording is based, also prepared the notes in the accompanying booklet. The Deluxe version also contains a bonus DVD with additional material: Film: Bach’s Secret Legacy – Hans-Christoph Rademann in search of the true B-minor Mass. Also: Bach’s Manuscript: The “Dresden Parts“ of 1733 in PDF format.

On the occasion of it's 40th anniversary Carus has initiated a new series Carus Classics, featuring ten outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. '... exemplary recording.' (New Classics, September 2005)

Florilegium Portense – this is the title of a collection of sacred motets from Italy, Germany and the Franco-Flemish region, first printed in Leipzig in 1618. It contains motets by the most famous composers of the time in Europe, such as Hieronymus and Michael Praetorius, Hans Leo Hassler, Orlando di Lasso, and Andrea and Giovanni Gabrieli. Its dissemination was so successful that almost all church choirs, school choirs and court orchestras between Eisenach and Breslau came into contact with it. The motets were compiled by Sethus Calvisius, the cantor of Schulpforte and later Thomaskantor of Leipzig, and edited by Erhard Bodenschatz, his successor in Schulpforte. Exactly 400 years after going to press, the Vocal Concert Dresden and the Cappella Sagittariana under the direction of Peter Kopp honor this important cultural monument with a recording of selected motets and hymns, including several premiere recordings.

Beethoven repeatedly described the Missa solemnis as his greatest work, intended to affect and move people. His labor on the composition was long and intense; the work is not regarded as the most important mass setting of the 19th century in vain. In terms of its scope and musical demands, it reaches far beyond what is liturgically usual – not without reason did the premiere take place in a concert hall. The Kammerchor Stuttgart and the Hofkapelle Stuttgart under the leadership of Frieder Bernius master the challenges of the Missa with bravura. All the sonorous groups work together intensively, creating an organic and homogeneous flow of interpretation. The young quartet of soloists Johanna Winkel, Sophie Harmsen, Sebastian Kohlhepp and Arttu Kataja complement the ensembles.

Classical Music

An excellent performance.

George Frideric Handel left a large oeuvre, most of it written after he had left Germany. As a result very few compositions on a German text are known. For some time a St John Passion was attributed to Handel, but there now seems general agreement that it was written by someone else. That leaves the nine German arias and the Brockes Passion. Although they are on German texts Handel wrote them while he was living in England.
 
Handel used the well-known libretto 'Der für die Sünden der Welt gemarterte und sterbende Jesus' (Jesus who suffered and died for the sins of the world) written by Barthold Heinrich Brockes. It was also set by other composers: Reinhard Keiser (1712, the same year the libretto was published), Georg Philipp Telemann in 1716 (the same year as Handel) and Johann Mattheson in 1718. The latter performed all four in Holy Week of 1719 in the refectory of Hamburg Cathedral. This church was a kind of sanctuary in Hamburg because it was not under the supervision of the city council. Brockes' text was of a dramatic nature and offered a composer much opportunity to write in an operatic style. That kind of Passion music was certainly not approved of by the ecclesiastical authorities.
 
The Brockes Passion was one of the first in the new genre of the Passion oratorio in which the text of the Gospels was paraphrased. The report of the events is delivered by the Evangelist, the other characters in the Gospels are also represented - Judas, Peter, Pilate, - but there are also two symbolic characters: Tochter Zion (Daughter of Sion) and Gläubige Seele (the Believer) who reflect and comment on the events. They take most of the arias, and are mostly scored for soprano. Because of the number of arias some are performed by Johanna Winkel, who also takes the role of the Believer. Two arias of the Believer and one of Daughter of Sion are given to a tenor, and are sung here by Markus Brutscher. And another aria of the Believer is scored for bass: 'Wie kommt's, dass da der Himmel weint', sung by Michael Dahmen.
 
Handel explored the operatic character of the libretto to the full. It is hardly surprising that he used material from this Passion in later years for some of his English oratorios. The text is set in a very expressive way, not only for the voice but also for the instruments. Two arias are given to Jesus, another feature of the Passion oratorio. These two - 'Mein Vater, schau wie ich' and 'Ist's möglich, dass dein Zorn', which have the same musical material and are divided by a recitative - are introduced by dramatic chords from the strings. Descending chords lead to Peter's aria 'Schau, ich fall' in strenger Busse': "See, I fall on my knees at your feet as a penance". A kind of operatic dialogue is the scene in Gethsemane, when Jesus urges his disciples to stay awake. Also reminiscent of opera are the rage arias; there are no less than four in this oratorio.
 
In some arias instruments play a prominent role. The aria 'Dem Himmel gleicht sein buntgefärbter Rücken' - which with some textual differences also appears in Bach's St John Passion - contains an extended solo for the violin. The highly expressive aria 'Die ihr Gottes Gnad' versäumet' has a beautiful obbligato part for the oboe. And the last aria of this oratorio, 'Wisch ab der Tränen scharfe Lauge', begins with an introduction by the strings, after which soprano and oboe proceed alone in unisono. These are just some examples of the many splendid arias this oratorio contains. In addition there are two duets, between Daughter of Sion and Jesus, and between Mary and Jesus respectively. The latter and the preceding recitative are the only passages which are given to Mary.
 
Handel's manuscript has not been preserved. For this recording a copy was used – one made by Johann Sebastian Bach. It is not known whether he copied it to perform in Leipzig or just out of interest. In this copy the text of the first chorus has been changed. Brockes' text begins with the words: "Mich vom Stricke meiner Sünden zu entbinden". Here we get: "Kommet, ihr verworfnen Sünder".
 
Considering that Handel's Brockes Passion was first performed in the refectory of Hamburg Cathedral one wonders how large the ensemble would have been. A choir of 27 singers is probably a bit on the large side. On the other hand, the oratorio has been performed again in later years, probably also in larger venues, and that could well be an argument in favour of a larger ensemble. I have nothing but praise for the choir, though. It produces a powerful sound where it is due, in particular in the 'turbae'. But the chorales are also beautifully sung.
 
What is so admirable about this performance is that it has absolutely no weak link. Peter Neumann has brought together a really excellent cast, which is stylistically on the same wavelength. The two sopranos have gorgeous voices; they are not that different, but here that is not really necessary. They sing the more dramatic recitatives and arias just as brilliantly as the more reflective parts. Markus Brutscher gives a splendid account of the part of the Evangelist. His articulation and diction are exemplary. If there is one thing to criticise it is that the recitatives are sometimes too strict in time, with too little rhythmic freedom. This is a problem with recordings of baroque vocal music which I have noticed quite often.
 
Markus Flaig performs the role of Jesus just as well, both in the recitatives and in the arias. Elvira Bill's performance of the small role of Maria is very moving, and her duet with Markus Flaig is one of the highlights of this recording. Apparently Michael Damen sings all the smaller bass roles - although the booklet omits to tell us - and he does so convincingly. Jan Thomer sings the role of Judas, including another operatic aria (Lasst diese Tat nicht ungerochen), and James Oxley the role of Peter, and both do so beautifully. Lastly the orchestra gives excellent support to the singers and greatly contributes to the drama which unfolds.
 
There are not that many recordings of Handel's Brockes Passion. The only one I have is directed by Nicholas McGegan (originally released on Hungaroton, later reissued on Brilliant Classics). That is a quite good performance, but this new recording surpasses it. In my view it sets a new standard for every future recording of this work.
 
-- Johan van Veen, MusicWeb International

Classical Music

Classical Music

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

Carus is building a valuable stable of recordings, many taped in the Frauenkirche in Dresden. For this three CD set the NDR Choir, Festspiel Orchester Göttingen, a sextet of solo singers and Nicholas McGegan have been enlisted to render Samson to the disc-buying public. The result, if I can anticipate my own critical comments, is an equable and well, but small scaled, performance. There are no outstanding singers as such; instead ensemble virtues are promoted in pursuance of a harmonious and expressively equable reading of the score.

One of the most striking things about the set is the excellent diction and spirited incision of the NDR Chorus. The relatively new Festspiel Orchester Göttingen employs period instruments and, as with almost all bands promoted by Carus that I have encountered, are a most adept, rhythmically buoyant and sympathetic one. McGegan directs with style and if one sometimes feels him a little lacking in brio - I tend to feel the same way about his compatriot Robert King in this sort of repertoire - then compensation comes in the shape of his long-term control and of the rise and fall of the work's emotive high ground. Recitative is notably well judged, accompanied recitative especially, where the band points finely, and these are the result of McGegan's acumen.

But Samson is about the voice and here we have some matters to ponder. The singers have been well selected to ensure that warmth and a certain limited expressive range is harmoniously maintained - which is not to say there aren't some outbursts, of which more in a moment. It is all too easy, when this work is staged or semi-staged, as it has been, to allow Samson's gravitational pull to splinter ensemble focus. I saw John Vickers's last performances on a London stage, when he sang Samson, and though this wasn't quite the case here, it was obvious where all eyes and ears were directed. In this Carus things are, for want of a better phrase, democratically apportioned.

Franziska Gottwald is a sonorous but not over inflated Micah - she sings with equalized tone and requisite plangency, as well as fine English diction. It's a voice that can take on a pleasing keen, as in her Act II aria with chorus Return Oh God of Hosts. Thomas Cooley is Samson; he sings with pleasing, neatly controlled eloquence but it's rather small-scaled and arguably a bit neutral, something I felt about his Total Eclipse! which should be more starkly and incontrovertibly conveyed. William Berger has a warm, rounded bass and does well throughout; his recitative control is evident as early as Act I's Oh miserable change! where the band accompanies with spirited interjectory drama. His How willing my paternal love is sensitively graded, modest but not especially expressive. Sophie Daneman sings a pretty but perhaps subdued Let the Bright Seraphim but otherwise gives a controlled, pleasing account. Bass Wolf Matthias Friedrich sports some well nourished but incongruously employed open American vowels, not least in Honour and Arms which gets rather a 'windy' reading.

Who sings the Virgin in Act II, to shadow Daneman? I assume it's a member of the choir but she should be credited, especially as she's good.

The Raymond Leppard directed modern instrument performance is still going strong, and with Janet Baker, Helen Watts, Robert Tear, John Shirley-Quirk and Benjamin Luxon you're assured of first class singing of a certain stamp [Warner Classics 6 CDs 2564695686 - a box set with Messiah and assorted arias]. Harnoncourt [Teldec 2564692602] has pressing claims as does the old Richter with Alexander Young et al [Archiv 453 245 2]. Harry Christophers' 1996 recording with Lynne Dawson, Lynda Russell, Catherine Wyn-Rogers, Mark Padmore, Matthew Vine, Thomas Randle, Jonathan Best and Michael George is ex-Collins and now on Coro 16008 and is the major opposition. I prefer the Christophers. 

Recorded over two days this is an SACD and sounds a touch reverberant in the tricky acoustic of the Frauenkirche. There are some small cuts, for example To Song and Dance. Whilst admiring the overall, equable nature of the performance, the Christophers gets a more urgent recommendation.

-- Jonathan Woolf, MusicWeb International

Classical Music

Classical Music