Under the title "It is good for me", the words from the 73rd Psalm, love songs, jubilant and psalm chants from the 17th century by Johann Rosenmüller, Claudio Monteverdi, Nicolò Corradini and others can be heard with the tenor Georg Poplutz, who is highly esteemed for his "expressive yet sensitive interpretation" and is now one of the most sought-after interpreters in baroque music. Here are his personal words about this album: "It is now also a pleasure for us to be able to present this program to you, which we hope will give you as much pleasure in listening to it as it gives us in making mu-sic! I would like to thank Arno Paduch for his tireless research and rediscovery of new (for our generation) works of this already old music. I am very pleased that we have now been able to record all these treasures and present some of the settings on album for the first time. To sing these works is indeed good for me - once more to God's glory and to the people, yes, to you for edification and joy!

Following our first album with sacred concertos by Johann Rosenmüller, we are now releasing another album with concertos for larger ensembles by this genial composer and musician who quite soon attracted attention with his perfect musical blend and tireless creative drive as well as with his persistent striving for innovation. In his works Rosenmüller succeeded in blending the new Italian colorfulness and tonal sensitivity with the gravity of Central German music into a unique, sublime style. The more than one hundred works by Rosenmüller that have come down to us, most of them dimensioned on the large scale, reveal a composer who gave everything he had to bring to perfection the mixing of Central German and Italian stylistics begun in Leipzig and ultimately to lend the sacred concerto a personal signature. “The music speaks for itself, for it is filled with enthralling moments. Such a discovery would not be possible without such an impressive interpretation as that of the Ensemble 1684. The soloists shine in their outstanding textual articulation and flawless vocal technique; the instrumentalists always provide for optimally balanced dialogues.”

On the occasion of the 400th birthday of Johann Rosenmüller, the soloist ensemble Gli Scarlattisti under the direction of Jochen Arnold presents a selection from the collection of the so-called "Kernsprüche". These Sacred Concertos, most of which are unknown today, are characterized by a particularly charming versatility in the interplay of the various vocal and instrumental parts. At their time, they were considered to be similarly stylistically influential as the Kleine Geistliche Konzerte by Schütz. The musicians deserve praise for snatching this collection from oblivion with numerous first recordings.

REVIEW:

In its exciting discography, the Ensemble Gli Scarlattisti – selected vocalists in a homogeneous chamber choir – has already dedicated itself exclusively to the œuvre of Johann Rosenmüller. Now conductor Jochen Arnold presents another CD with works by this composer, Kernsprüche – polyphonic German Bible verse settings with instrumental accompaniment. Together with the Capella Principale, the music is played in a highly elegant manner. The selection of works in various solo and tutti formations documents Rosenmüller's multi-faceted art of composition in an exemplary manner, with all voices responding to the strong text orientation of the music. Eight of the 15 pieces are first recordings. The context of the works composed at the end of the Thirty Years' War vividly documents Rosenmüller's idea of a « world with musical proportions », which also corresponds to the balanced audibility. Rosenmüller was the link between Germany and Italy, Schütz and Bach, early and late baroque. You can read about this in the informative booklet as well as about the fact that the composer, who later made his career in Venice, was accused of the sexual abuse of choirboys when he was an assistant teacher at the Thomasschule in Leipzig in 1655. The essay, written by the conductor Jochen Arnold, explains the theological conception of this recording in a plausible way, in which the performance of the interpreters is reflected with perfect intonation, diction, vitality and accentuation.

— Pizzicato