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...

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