Klaus Mertens had long been wanting to record the ‘Geistliche Lieder’ by Johann Sebastian Bach from Schemelli’s Musicalisches Gesangbuch (1736). Ton Koopman had been looking for the right program to showcase the beautiful Teschemacher chamber organ in Oosterland and realised it would actually be an ideal match with the program his friend Klaus Mertens had in mind. So in early 2023 Mertens and Koopman spent some (rather cold but) inspired days in Oosterland to record this selection of 24 songs, interspersed with six organ works.

Throughout the world Christmas is celebrated – and everywhere, singing Christmas carols is part of the celebrations. This limited special edition offers over 100 of the most beautiful German and international carols: For the first time, the “Weihnachtslieder” (German Christmas Carols) as well as the “Weihnachtslieder aus aller Welt” (Christmas Carols of the World) of the prize-winning LIEDERPROJEKT are being issued together in an incredible four-release set. The LIEDERPROJEKT is a charity project produced by Carus and Southwest German Radio. For every album set sold, 2 EUR will be donated to projects which promote singing with children.

Carl Meisl's play The Consecration of the House, to the music of Ludwig van Beethoven, was performed in Vienna on October 3, 1822 on the occasion of the reopening of the Theater in der Josefstadt. Its theme is the reawakening of art after times of crisis. Beethoven's music to August von Kotzebue's text The Ruins of Athens (1812) served as the basis for the work, and was adapted to Meisl’s text as well as expanded to include new music by the composer. Beethoven seems to have started composing for the upcoming performance only in September 1822, writing new music for those of Meisl’s texts for which nothing suitable could be found in The Ruins of Athens. The dance with chorus “Wo sich die Pulse jugendlich jagen” is listed separately as WoO (work without opus number) 98, as is the March, op. 114, which was reworked for the play. The overture achieved a high degree of popularity. Its prominent position as a separate opus (124) between the Missa solemnis and the Ninth Symphony reveals that Beethoven likely approved its use as a concert overture.

Six dozen is half a gross. And Georg Philipp Telemann composed that many cantatas for the Frankfurt Church Year of 1714/15. cpo, Felix Koch, the Gutenberg Soloists and the Neumeyer Consort have taken up the cause to record this so-called "French church year" in its entirety – a mighty project that is all the more impressive given that the creative spirit behind these scores never worked en gros. Although he usually limited his instrumentation to two oboes, strings and basso continuo, adding a flute, bassoon, horns, trumpets and timpani for special Sundays or festive occasions, the composer's talent for orchestration was evidently boundless. He finds the appropriate sounds for his musical "sermon" on every theological topic. Every subject determined by the church calendar is reflected in his own individual way with a range of expression from the contemplative to the theatrical – and we are only one-third of the way through this fascinating journey.

Following the success of 100 Christmas Classics (Capriccio C7331) comes Christmas Meditation, featuring 100 choral and vocal works from across the centuries. The set encompasses sacred Renaissance treasures including Bach’s Christmas Oratorio and Bach/Gounod’s Ave Maria, Handel’s Baroque masterpiece Messiah (‘He shall feed his flock’) and classic Christmas carols such as It Came Upon A Midnight Clear by Richard Storrs Willis and Franz Xaver Gruber’s Stille Nacht (‘Silent Night’). Featuring some of the most renowned choral institutions, Christmas Meditation offers listeners a classical Christmas to remember.

REVIEWS:

A rather sumptuous collection of seasonal choral works, instrumental pieces and carols. --BBC Music Magazine

After the success of the 5 CD box “100 Christmas classics” (Capriccio C7331), the new 5 CD box “Christmas Meditation” contains 100 choral and instrumental works from past centuries. It contains works from 43(!) composers, including excerpts from Bach's Christmas Oratorio, Bach/Gounod's Ave Maria, Handel's Baroque masterpiece Messiah, and traditional and classical carols such as "It Came Upon A Midnight Clear" by American composer Richard Storrs Willis, and Franz Xaver Gruber's "Silent Night”. With some of the most renowned choirs, “Christmas Meditation” offers you an unforgettable Christmas.

In addition to world-famous Christmas music, in this box you will also discover previously unknown but no less beautiful work by Bruch, Rheinberger, Carl Neuner, Wagenseil, Robert Fuchs, Johann Philipp Reichert or Johann von Herbeck. Cannot be missed!

--Stretto

Recorded as part of Carus' prizewinning "Liederprojekt" series, a charity project produced by Carus and Southwest German Radio that contributes profits to childrens' music education in Europe, this 3 CD set is an extraordinary collection of lullabies from Europa, America, Asia, Africa and Australia with selections that are at once deeply familiar to those that will delight with discovery for both the young and young at heart. With an impressive breadth of performers including Peter Schreier, Calmus Ensemble, Christian Gerhaher, Jonas Kaufmann and much more; it could be said this is the ultimate collection of lullabies that would complete any music library.

In 2010 the world is celebrating the 300th anniversary of the birth of Wilhelm Friedemann Bach, whose music – for the most disparate reasons – was for a long time shrouded in oblivion. Many of his works disappeared completely after the Second World War and it was not until 1999 that they were rediscovered in Kiev. The present world-premiere recording of four of his cantatas grants us a fascinating insight into the composer's output and invites us to join him on a musical voyage of discovery. These ambitious works, which were written for Christmas and Ascension, attest to the technical and musical virtuosity of Johann Sebastian Bach's eldest son.

"The Bach Choir gave the impression of excellent preparation: radiant and articulating with total freedom." -- Frankfurter Rundschau

Recorded live at the St. Augustine's Church, Mainz, 1 June 2010

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Booklet notes: English, German, French
Running time: 85 mins
No. of DVDs: 1 (DVD 9)

Beside the famous master of Baroque Music – Johann Sebastian Bach – this 2CD set, Baroque Christmas Rarities includes nearly unknown but no less atmospheric treasures of baroque Christmas music by Bach’s talented sons, Telemann, Buxtehude, and others. Most of them were commissioned works for the feast and includes very different styles: from festive cantatas, moody motets to chamber musically solo songs. A “must” for all lovers of Baroque Music as well for listeners that would like to find some extraordinary music for the upcoming feast.

REVIEW:

Seasonal motets and cantatas by Christian Geist, Pal Esterhazy, Buxtehude, and Giuseppe Maria Po del Finale, with a tranch of contributions from Bach family members. Thoroughly engaging.

-- BBC Music Magazine

Classical Music

Classical Music

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

The St. Thomas Boys Choir, whose history dates back to the year 1212, is the oldest cultural establishment in the city of Leipzig. Outliving all political, municipal, religious, and educational controversy for 800 years, musica sacra has shaped the choir's past. Through the influence of the many St. Thomas Cantors, including the most famous- Johann Sebastian Bach (Thomas Cantor 1723-1750)- the city of Leipzig and the St. Thomas Church became the center of Protestant church music. The St. Thomas Church is home to the Boys Choir. A choir rich in tradition, they are committed to continuing this musical legacy. This release contains the award-winning two-hour documentary “Die Thomaner – A Year in the Life of the St. Thomas Boys Choir Leipzig” by Paul Smaczny and Günter Atteln as well as the breathtaking recordings of two of Johann Sebastian Bach’s major choral works: the St. Matthew Passion and the Mass in B minor.

Also available on Blu-ray

The St. Thomas Boys Choir, whose history dates back to the year 1212, is the oldest cultural establishment in the city of Leipzig. Outliving all political, municipal, religious, and educational controversy for 800 years, musica sacra has shaped the choir's past. Through the influence of the many St. Thomas Cantors, including the most famous- Johann Sebastian Bach (Thomas Cantor 1723-1750)- the city of Leipzig and the St. Thomas Church became the center of Protestant church music. The St. Thomas Church is home to the Boys Choir. A choir rich in tradition, they are committed to continuing this musical legacy. This release contains the award-winning two-hour documentary “Die Thomaner – A Year in the Life of the St. Thomas Boys Choir Leipzig” by Paul Smaczny and Günter Atteln as well as the breathtaking recordings of two of Johann Sebastian Bach’s major choral works: the St. Matthew Passion and the Mass in B minor.

Classical Music

A highly desirable account.

Elijah ( Elias in German) is one of the pinnacles of Mendelssohn’s output and is probably the most famous of all nineteenth century oratorios. It’s his oratorio, a late work completed in 1846 just a year before the composer’s untimely death. As he had done with his earlier oratorio St. Paul ( Paulus in German) Mendelssohn requested that the theologian pastor Julius Schubring assist him in preparing the text. Mendelssohn fashioned Elijah from Old Testament texts largely from the first book of Kings based around significant events in the life of the Biblical prophet Elijah. Designed in two parts the score was supplemented by texts from Kings II, Psalms, Isaiah and other Old Testament writings.
 
Mendelssohn himself conducted the première to great acclaim before a packed audience at the Music Festival held at the Birmingham Town Hall in England. A score much loved by audiences and choral societies alike it has remained a staple of the choral music repertory. For this recording the sound quality is excellent and the Profil label is to be congratulated for providing full German texts with an English translation. 

Doris Hagel has since 1986 held the position of cantor at the Weilburger Schlosskirche. The German town of Weilburg is located roughly between Cologne and Frankfurt. Hagel and lutenist Lutz Kirchhof were responsible for creating the concert series ‘Alte Musik im Weilburger Schloss’ of which Hagel is artistic director and manager. Founded in 1992 the ensemble Capella Weilburgensis come together at the invitation of Hagel to perform sacred choral music at the Weilburg festival series or for special projects. Notably they play on period instruments employing period-informed performance practice. The Kantorei der Schlosskirche Weilburg specialise in sacred choral music singing throughout the main feasts of the church year. They have become known for their impressive performances of oratorios. In addition to their unaccompanied choral work the choir collaborate closely with the Capella Weilburgensis and L'arpa festante Munich orchestras. 

The desolate mood of the brass-laden Overture commands the attention and pertinently reflects the suffering of the drought-stricken Israelites. Splendidly sung by the Kantorei der Schlosskirche Weilburg the chorus proclaim their anguish: Hilf, Herr! Hilf, Herr! ( Help, Lord! Help, Lord!. Worthy of special note is Mendelssohn’s darkly coloured orchestral writing here played with real assurance.  

No.2 Herr, höre unser Gebet! ( Lord! bow thine ear to our prayer!) includes a beseeching duet Zion streckt ihre Hände aus ( Zion spreadeth her hands for aid) between two Israelites sung by soprano Christine Wolff and alto Britta Schwarz. The two soloists together with the Schlosskirche choir sing with a sure sense of piety and untarnished harmony. Obadiah’s aria in No.4 So ihr mich von ganzem Herzen suchet ( If with all your hearts ye truly seek me) is sung by tenor Markus Schäfer with clear diction and appropriate reverence. Scored for double quartet the Angels sing Denn er hat seinen Engeln befohlen über dir ( For he shall given his Angels charge over thee) (No. 7). This is a wondrously tender and inspiring pronouncement that God has commanded the Angels to “protect thee”. No.8 Was hast du an mir getan, du Mann Gottes! ( What have I to do with thee? O man of God?) contains the affecting widow’s aria. This is sung by soprano Christine Wolff imploring God to help her dying son. Wolff is radiant of voice and she projects magnificently. Giving reverential attention to the text Klaus Mertens as Elijah makes a moving request to a compassionate God to help the widow’s son. In their duet proper at 6:18 Wolff’s and Mertens’ voices combine in the words Von ganzer Seele ( with all my soul) - all inspiring devotional intensity. In the memorable No. 11 Baal, erhöre uns! ( Baal, we cry to thee) with the people of Israel appealing to God for a response the Kantorei der Schlosskirche sing with fervour yet maintain a fine unison. Elijah’s admonition aria No.14 Herr, Gott Abrahams, Isaaks und Israels ( Lord God of Abraham, Isaac and Israel) has a certain consoling quality. With his expressive bass-baritone and striking enunciation Klaus Mertens beseeches the Lord for affirmation for his deeds on behalf of the Israelites. No.17 Ist nicht des Herrn Wort wie ein Feuer? ( Is not his word like a fire?) is sometimes known as Elijah’s rage aria. Here the rich and assuring tones of Klaus Mertens with his clear diction serve to accentuate Elijah’s stern and unsettling warning. A lyrical arioso No.18 Weh ihnen, daß sie von mir weichen! ( Woe unto them who forsake him!) is a stark warning to transgressors that destruction will fall upon them. It is beautifully sung by alto Britta Schwarz. With highly appealing timbre Schwarz’s compelling and resounding tones are suffused with pathos.
 
Part 2 commences with section No.21 Höre, Israel, höre des Herren Stimme! ( Hear ye, Israel, hear what the Lord speaketh). This is a substantial and brilliant soprano aria written by the composer with Jenny Lind ‘the Swedish Nightingale’ in mind. Here we find magnificently reverential singing from Christine Wolff - a real highlight of this release. Throughout I was struck by Wolff’s agreeable and extremely bright tone together with her splendid projection and diction. At 3:00 I especially enjoyed her assured delivery of the text Ich stärke dich! ( I will strengthen thee!). The renowned aria No.26 Es ist genug, so nimm nun, Herr, meine Seele ( It is enough, O Lord, now take away my life) is Elijah’s movingly sung plea to the Lord for death. The tessitura of the writing admirably suits Klaus Mertens marvellous bass-baritone voice. Another well known section is No.28 Hebe deine Augen auf zu den Bergen ( Lift thine eyes to the mountain) for the trio of Angels. We are treated to quite delightful singing from the sopranos Elke Rehwald-Stahl and Almut Diemer, and alto Dorothée Zimmermann; I assume that they are members of the choir. Another highlight follows with Britta Schwarz as the Angel in No.31 Sei stille dem Herrn und warte auf ihn ( O rest in the Lord, wait patiently for him). Schwarz is mightily impressive and gives a smoothly expressive and marvellously controlled account of her radiant alto aria. Also notable is the long lyrical line of bass-baritone Klaus Mertens as Elijah in the arioso No.37 Ja es sollen wohl Berge weichen ( For the mountains shall depart). Weaving in and out of the vocal line the solo oboe obbligato adds significantly to the appeal. The tenor aria No.39 Dann werden die Gerechten leuchten ( Then shall the righteous shine forth) is given a comforting rendition by Markus Schäfer. His fluid and attractive tenor seems perfect for the part. An extended dramatic outburst opens No.41. From 3:44 the section of the quartet Wohlan alle, die ihr durstig seid ( O come everyone that thirsteth) begins with the superb Wolff then followed in turn by Britta Schwarz, Markus Schäfer and Klaus Mertens. There is outstanding interplay between the skilfully controlled quartet of voices who pay appropriate attention to the sacred text. Movement No.42 Alsdann wird euer Licht hervorbrechen ( And then shall your light break forth) closes the oratorio. I found the mighty dramatic outburst from the Weilburg choir simply stunning. Hagel directs with assurance, at a beautiful pace and with appropriate reverence. The choir and orchestra are in immaculate form and can stand comparison with the finest. 

Rubbing shoulders with this 2011 recording using period instruments is my other first choice conducted by Frieder Bernius with the Kammerchor Stuttgart and Klassische Philharmonie Stuttgart on Carus (SACD) 83.215. Bernius’s control is memroable and often exhilarating. The soloists Letizia Scherer (soprano), Renée Morloc (alto), Werner Güra (tenor) and Michael Volle (bass) are well chosen. This is fresh and responsive singing informed by a sense of devotion. Bernius recorded the oratorio in 2007 in the sympathetic and clear acoustic of the Evangelische Stadtkirche, Schwaigern, Germany. An English translation of the German text is provided together with an exemplary English essay from eminent Mendelssohn biographer Prof. R. Larry Todd. Bernius’s double set is the final volume in a twelve volume Carus collection of Mendelssohn’s Complete Sacred Choral Music.
 
Also on Profil is Wolfgang Sawallisch’s splendid live 2001 Munich recording. Sawallisch’s superb Bavarian Radio Orchestra and Choir meet all the requirements for this marvellous oratorio. The fine cast of soloists are Michael Volle (bass), Andrea Rost (soprano), Marjana Lipovsek (alto), Herbert Lippert (tenor), Letizia Scherrer (soprano), Thomas Cooley (tenor) and Barbara Fleckenstein (soprano). Recorded in the excellent acoustics of the Herkulessaal, Munich, the first class sound quality impresses with much fine detail and well judged balance (Edition Günter Hänssler PH07019.  

For those wanting a recording sung in English I can recommend the account conducted by Paul Daniel using the period instrument forces of the Orchestra of the Age of Enlightenment and the Edinburgh Festival Chorus. An added attraction for many is distinguished bass-baritone Bryn Terfel in the role of Elijah. Clearly dividing opinion Daniel’s account emphasises more of the dramatic element and is not quite as reverential as many other versions. Released in 1997 Daniel’s cast also includes Renée Fleming (soprano), Patricia Bardon (mezzo) and John Mark Ainsley (tenor). It’s on Decca London 4556882. 
 
In summary, Doris Hagel directs a highly desirable account of Mendelssohn’s Elijah.  

-- Michael Cookson , MusicWeb International

I came away from hearing this version with renewed enthusiasm for the work.

Four centuries after his birth, Johann Jacob Froberger (1616-1667) is still able to reach listeners with his moving compositions. Powerhouse composers like Bach and Mozart studied Froberger’s works, and his influence in the world of Western music cannot be overlooked. This release is the eighth installment in the Froberger series, and includes the toccatas performed on harpsichord, as well as two Elevation toccatas and an organ toccata. Motets are also performed in their world premiere recordings.

Also available on Blu-ray

Johann Sebastian Bach
ST MATTHEW PASSION, BWV 244

Christina Landshamer, soprano
Stefan Kahle, alto
Wolfram Lattke, tenor
Martin Lattke, tenor
Klaus Mertens, bass
Gotthold Schwarz, bass

Leipzig St Thomas Boys Choir
Leipzig Gewandhaus Orchestra
Georg Christophe Biller, conductor

Recorded live from the St Thomas Church, Leipzig, 5 and 6 April 2012

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Korean
Running time: 164 mins
No. of DVDs: 1