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Gott wird geboren, Ma¨chtige erstarren vor Angst

Oehms Classics

$9.99 ~~$19.99~~ Save 50% Nov 18, 2016

Josef Still, cathedral organist at the Hohe Domkirche Trier since 1994 and the expert authority on organs of the diocese of Trier, is the successor to the long-time cathedral organist Wolfgang Oehms and has recorded an extraordinary music programme to celebrate the Christmas festivities on the present album. The works of selected Polish composers appear on the recording, together with works of J.S. Bach and Max Reger performed on the Beckerath Organ in the Lebensbaumkirche in Manderscheid. The Beckerath Organ, which was moved to Manderscheid from the former institute of Church Music of the diocese of Speyer and renovated by Mayer Organ Builders, has found a new home in the Lebensbaumkirche. Here it can resound in a new-found brilliance.

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Gott wird geboren, Ma¨chtige erstarren vor Angst
Oehms Classics Nov 2016
CD
~~$19.99~~ $9.99

Warum Toben Die Heiden: Cantatas By Gottfried August Homilius

Carus

$20.99 Feb 25, 2014

HOMILIUS Habe deine Lust an dem Herrn. Kommt her und sehet an die Wunder Gottes. Brich dem Hungrigen dein Brot. Die Elenden sollen essen. Domine ad adiuvandum me. Magnificat in C. Deo dicamus gratias. Ich will den Herrn loben. Mir hast du Arbeit gemacht. Dennoch bleib ich stets an dir. Die richtig für sich gewandelt haben. Lasset euch begnügen. Wo ist ein solcher Gott. Der Herr ist meine Stärke. Siehe, den Herrn Auge sieht • Stefan Schuck, cond; sirventes Berlin • CARUS 83.266(Text and Translation)

HOMILIUS Warum toben die Heiden. Frohlocke, Zion, dein Erlöser. In der Zeit meiner Not. Kommt, frohe Völker. Steig, Allgewaltiger, von deinem festen Sitze • Rainer Johannes Homburg, cond; Marie-Pierre Roy (sop); Henriette Gödde (alt); Knut Schoch (ten); Markus Köhler (bs); Handel’s Company Ch; Handel’s Company • CARUS 83.267 (71:10 Text and Translation)

HOMILIUS MUSIK AN DER DRESDNER FRAUENKIRCHE: Jubiläumsedition • Various performers • CARUS 83.268 (2 CDs: 141:14 Text and Translation)

With three exceptions—a 1980 recording of organ works issued by Arion, a 1985 CD of motets released by MDG (reviewed by J. F. Weber in 8:6), and the 1992 Berlin Classics set of the St. Matthew Passion (see the enthusiastic review in 18:3 by Martin Anderson)—the revival of the music of Gottfried August Homilius (1714–1785) appears to be entirely an endeavor of the Carus label. Like CPO, a label which has also devoted much effort to reviving the work of neglected German composers, Carus—the publishing division of which is producing a complete edition of the works of Homilius—is to be congratulated for both its courage and discernment in selecting this repertoire for revival. Along with Anderson, Weber, Brian Robins (in a review of a disc of cantatas in 29: 6), and Michael Carter (in multiple reviews in 29:2, 29:6, and 30:6), I concur in ranking Homilius as an unjustly overlooked figure who composed works of unfailingly high quality that fully merit renewed attention.

Since the biographical data for Homilius is scattered throughout multiple previous reviews, I will summarize it here in one place for convenience. The son of a Lutheran pastor, Homilius was born in Porschendorf, a village southeast of Dresden. He attended school in Dresden in 1722 after his father’s death, and then came to Leipzig in about 1735, where (according to Johann Nikolaus Forkel) he studied keyboard with Bach and occasionally substituted for him at the Nikolaikirche organ. In 1742 he was appointed organist at the Frauenkirche in Dresden, and in 1755 was appointed Kreuzkantor of the Kreuzkirche, which made him music master for the city’s three main churches (the third one being the Sophienkirche), serving in that position until his death 30 years later. He composed some 180 sacred cantatas and 60 motets, several Passion settings, a Christmas oratorio, and chorale preludes for organ.

While firmly anchored in the late Baroque and showing the influence of Bach (and perhaps, even more, of Telemann), the music of Homilius also clearly evinces the absorption of the Empfindsamkeit aesthetic of the mid-18th century. There is less use of devices such as fugue and counterpoint (though these are far from absent), and correspondingly greater employment of primary melodic lines with chordal accompaniment. This is particularly true of the motets featured on the first CD here, where the settings are highly homophonic, though still quite challenging technically; the cantatas by contrast adhere more closely to the older Baroque stylistic contours. What makes this music so enjoyable is Homilius’s talent for shapely and expressive thematic lines, which unfailingly fall gracefully and gratefully on the ear. Had not his music, like that of Bach’s sons, been so unfairly eclipsed for so long, some of his melodies might be as familiar to us today as those of Bach. What he does lack, of course, is Bach’s stunning originality, daring, and ingenuity; his music is well crafted but comfortable and safe rather than challenging and provocative. But then, it is hardly fair to blame any other composer for not being Bach, Mozart, or Beethoven.

With the first two items listed above, Carus has now issued 10 sets devoted to Homilius, and these uphold the extremely high standards of quality of their predecessors. Both the sirventes Berlin (the lower case letter of the first word being the usual unfortunate and now hopelessly clichéd current naming affectation) and the Handel’s Company Choir are both exceptionally polished vocal ensembles, and the instrumentalists of Handel’s Company are an equally crackerjack company. All four vocal soloists are quite accomplished, and conductors Stefan Schuck and Rainer Johannes Homburg lead energetic, crisply pointed performances that engage one’s attention at every turn. The recorded sound is ideally balanced, clear and yet warm; detailed booklet notes and complete German (or Latin when occasionally required) texts with English translations are provided.

Readers may be puzzled as to why I have said nothing until now about the third set listed above. The reason is that it is not a new release, but rather an anthology drawn from previous releases in the Carus series. More specifically, it features three of the four cantatas (omitting Selig seid ihr, wenn ihr geschmähet werdet ) from Carus 83.183 (reviewed by Michael Carter in 29:2) with soloists, chorus, and instrumentalists conducted by Roderich Kreile; the closing chorale from the St. John Passion on Carus 83.261 (reviewed by Carter in 30:6) featuring the same performers; the Christmas Oratorio from Carus 83.235 (reviewed by J. F. Weber in 32:4) with assembled forces under the leadership of Ludwig Güttler; and two cantatas, four chorales, and an oboe sonata from Carus 83.261 (not reviewed) again with various performers led by Güttler. Once again, Carus is to be praised and congratulated in that, with the exception of the Passion excerpt, instead of offering bleeding chunks it provides the more extended works (the oratorio and five cantatas) complete, so that the release is actually worth acquiring in its own right rather than being a sampler disc to audition once and discard. The same care has been taken as with the original releases to provide detailed booklet notes and full original texts with English translations. This is a veritable model of how such compilations ought to be done, and increases my already high estimation of the quality of this label. In sum, the whole lot is highly enjoyable and heartily recommended.

FANFARE: James A. Altena

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Warum Toben Die Heiden: Cantatas By Gottfried August Homilius
Carus Feb 2014
CD
$20.99

Lob, Ehr und Preis sei Gott - The Loveliest German Hymns / Vocal Concert Dresden

Berlin Classics

$20.99 Oct 11, 2013

Track List:
1 Nun lasst uns Gott, dem Herren
2 Wachet auf, ruft uns die Stimme
3 Befiehl du deine Wege
4 Ein feste Burg ist unser Gott
5 Du meine Seele, singe
6 Gott des Himmels und der Erden
7 O Gott, du frommer Gott
8 O Mensch, bewein dein Sünde groß
9 Christ ist erstanden
10 Nun bitten wir den Heiligen Geist
11 Wer nur den lieben Gott lässt walten
12 Großer Gott, wir loben dich
13 Jesus, meine Zuversicht
14 Schönster Herr Jesu
15 O Haupt voll Blut und Wunden
16 Auf, auf, mein Herz, mit Freuden
17 In dir ist Freude
18 O Heiland, reiß die Himmel auf
19 Vom Himmel hoch, da komm ich her
20 Herr Christ, der einig Gotts Sohn
21 Wie schön leuchtet der Morgenstern
22 Nun danket alle Gott
23 Wie lieblich ist der Maien
24 Geh aus, mein Herz, und suche Freud
25 Der Mond ist aufgegangen

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Lob, Ehr und Preis sei Gott - The Loveliest German Hymns / Vocal Concert Dresden
Berlin Classics Oct 2013
CD
$20.99

Du Treuer Gott / Leipzig Cantatas

PHI

$20.99 Oct 06, 2017

For the third time on the Phi label, Philippe Herreweghe gives us the opportunity to (re)discover three cantatas by Johann Sebastian Bach – Nimm von uns, Herr, du treuer Gott, BWV 101, Ihr werdet weinen und heulen, BWV 103 and Mache dich, mein Geist, bereit, BWV 115. After two albums of cantatas written during the composer’s first year in Leipzig (LPH006 and LPH012), the Belgian conductor and his Collegium Vocale Gent, orchestra and choir, will be performing three cantatas he composed during his second year as Kantor at St Thomas’s. The choir and vocal soloists are once again challenged to produce performances of subtlety and refined virtuosity, and the instrumentarium is as rich and colourful as those heard previously in this series. This album, a genuine delight for aficionados and novices alike, precedes a further disc of cantatas which will be released in spring 2018.

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Du Treuer Gott / Leipzig Cantatas
PHI Oct 2017
CD
$20.99

Ein feste Burg ist unser Gott / Rilling, Bach Collegium Stuttgart

Haenssler Classic

$18.99 Mar 03, 2017

Martin Luther reformed the structures of the church. Preaching the gospel was bound to have visible consequences for the form of divine service. Preaching and Luther’s own writings are complemented by the sacred song, through which evangelical faith is spread. The new song of the Reformation springs from the faith of a confessing church. In arranging, translating and expanding a whole series of older church melodies, and in particular through his own figures of speech, Luther was the true founder of German Protestant congregational singing. His own hymns reflect his strong personality founded on faith, exercising a powerful effect on his and following generations. He was the “Wittenberg Nightingale.” The reforming of the old order of service had shown the need for Latin chants to be replaced by verses sung in German. Luther’s first congregational hymn “Nun freut euch, liebe Christen gmein” was written in 1529. The first Lutheran hymn book, Geistliches Gesangsbuchlein, appeared in 1524. This “little book of sacred songs” introduces the great hymns of the Reformation, soon to find a place in popular culture and to be sung wherever the gospel is preached: Music had great significance for Luther. In honor of the 500th anniversary of the reformation, this collection of hymns by Martin Luther and songs from JS Bach is released.

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Ein feste Burg ist unser Gott / Rilling, Bach Collegium Stuttgart
Haenssler Classic Mar 2017
CD
$18.99

Wagner: Götterdämmerung
Naxos Apr 2007
CD
$42.99

Schieferdecker: Geistliche Konzerte

Carus

$20.99 Jun 26, 2012

SCHIEFERDECKER Triumph, Belial ist nun erleget. Auf, auf, mein Herz. In te Domine speravi. Weicht, ihr schwarzen Trauerwolken. Concertos: No. 9 in g; No. 13 in c • Simone Eckert, cond; Klaus Mertens (bs); Jan Kobow (ten); Hamburger Ratsmusik (period instruments) • CARUS 83.398 (62:18 Text and Translation)

For someone as obscure as Johann Christian Schieferdecker, a pupil of Buxtehude, he certainly has gotten his share of play recently. Not only has my colleague Michael Carter reviewed one of the concertos ( Fanfare 34:3) but another, Jerry Dubins, reviewed and recommended an entire disc of these instrumental works in a recent issue ( Fanfare 35:6) performed by the Elbipolis Hamburg period-instrument ensemble on Challenge. Both found them recommendable, though the latter seemed reticent on whether or not Schieferdecker represents a marvelous new rediscovery. This disc may not decide that issue, but I do find it curious that in the space of a very short time, a composer who was completely dissed by Johann Mattheson, the early chronicler of Hamburg music but who grew up practically as the blood brother of Reinhard Keiser, should suddenly emerge from shadows. Maybe it is something in the water in Hamburg, or maybe this relatively new period-instrument ensemble there decided that it was tired of the giants, C. P. E. Bach and Georg Philipp Telemann. Or maybe this is Schieferdecker’s 15 minutes of fame in the world of recorded music. Whatever the reason, we now have a selection of his compositions that demonstrates his ability and talent in the midst of other better-known figures.

Schieferdecker was, by any stretch of the imagination, a solid, well-educated, and talented composer. He was the son of an organist, attended school in Leipzig where he wrote his first operas, and returned to Hamburg to become a colleague of Telemann, Keiser, Mattheson, and Handel, toiling away in the opera house there. When Buxtehude sought a successor, it was Schieferdecker who was able to walk away with the job. Apparently he did not have the same qualms about marrying Buxtehude’s long-in-the-tooth daughter as his other friends, and when she died a couple of years later, he raised their child to continue the musical succession. As a composer, he was a chronological contemporary of Telemann (though he died in 1732, more than three decades before his colleague), but it is not clear exactly how much music he actually wrote. There were about a dozen operas written for Leipzig and Hamburg (all seemingly lost), and he certainly was active in Lübeck as Buxtehude’s successor, writing Abendmusik , pieces for organ, and in 1713 publishing a set of 12 Musicalische Concerte (probably best translated literally as “Musical Concerts,” rather than concertos, but in the insecure generic designation of the time indicating simply pieces—in this case each a rather conventional French suite). This disc, however, presents a somewhat old-fashioned throwback to the previous century in the form of the sacred concerto, which by the 18th century had long gone out of practice. These pieces, in reality sort of proto-cantatas each ending with a chorale, form a sort of halfway house between the traditional Baroque Lutheran cantata and the more amorphous Abendmusik , this defined as miniature movements of a contemplative nature. It is not known when he wrote the four pieces here, but the sparse setting of a voice and minimal string accompaniment with continuo may indicate that these are early works, possibly even about 1700. As these are the only ones that apparently have survived, the disc is filled out with two suites from the 1713 set, both of which were recorded on the aforementioned Challenge disc.

Three of these sacred concertos are in German, and one uses a Latin text that was often used as an offertory (the “In te Domine speravi” movement diverges from its other usage as the final portion of the Te Deum hymn). All are very much in the vein of Buxtehude, with the voice accompanied by a pair of violins and continuo. The Latin concerto omits one of the violin parts, in essence becoming a more common solo cantata. Many of the violin lines seem to remind one of Henry Purcell, with brief fanfares (such as in “Triumph, Belial ist nun erleget”) and the occasional use of the ground bass. But in that same concerto, the second aria, “Wenn die Bosheit,” reduces things to a continuo, lending a sort of Scarlatti feel. The chorales often use the solo voice in hymnlike fashion above some nice countermelodies in the violins, such as in the “Gott Vater” of Auf, auf mein Herz . The harmony can also be a bit gnarly, with unexpected twists and sudden non-sequitur chords shifting it momentarily. The finest example of this is in the opening aria of Weicht, ihr schwarzen Trauerwolken . And occasionally there is a rapid-fire parlando delivery of the text (“Sicut erat” in In te Domine speravi ) that brings to mind a sort of Baroque rap, telescoping the line on a single pitch in a way that is quite remarkable.

The performance by the group Hamburger Ratsmusik is extremely good. They are all on pitch, handle the twisting and turning violin lines with ease, and there is a nice pacing by viol player Simone Eckert, who also conducts the ensemble. Their sensitive playing is the reason some of the odder moments do not become musical parodies, but rather demonstrate Schieferdecker’s sometimes unique compositional method. Klaus Mertens, of course, does his usual stellar job. This is just the sort of music he excels in, and his flexible bass handles the composer’s often unusual melodic contours perfectly. Tenor Jan Kobow, too, does an outstanding job in his one outing, the Latin concerto, being nicely on pitch and cognizant of the compositional peculiarities.

Echoing my colleague, I sincerely doubt that Schieferdecker is the next Baroque sensation on the horizon. For one thing, there isn’t that much left, barring a rediscovery of the lost operas or some other archival treasure trove. For another, the music is perhaps too quirky in terms of substance and style compared with his other Hamburg compatriots, all of whom went on to achieve major status in the musical world. But what remains as on this disc offers enough unusual variety to be worth a listen, and given that the performance here by the Ratsmusik is solid and well done, one would not go astray by including this in one’s collection.

FANFARE: Bertil van Boer

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Schieferdecker: Geistliche Konzerte
Carus Jun 2012
CD
$20.99

Mattheson: Die Heilsame Geburt (Christmas Oratorio); Magnificat / Willens, Kolner Akademie

CPO

$18.99 Nov 16, 2010

This disc convincingly shows Johann Mattheson's qualities as a composer of sacred music.

This is the third oratorio by Johann Mattheson which I have heard and reviewed in a fairly short space of time. For many years hardly any of his music was available on disc, but these three releases show a remarkable interest in Mattheson, who is best known for his writings on musical subjects.

He was educated as a singer, and also learnt to play the keyboard, the viola da gamba, violin, oboe, flute and lute. His first public appearances as a singer and organist were at the age of nine. The first stage of his career was as a singer in opera: he participated in performances at the Oper am Gänsemarkt. He also composed some operas. This phase lasted until 1705 when he accepted the post of secretary to the English ambassador in Hamburg. In the following years he became known as a translator and as a writer on music. He published several books which are still often referred to as they give much information about performance practice and the aesthetic ideals in Germany in his time.

In 1715 he became cantor at Hamburg Cathedral, a position he held until 1728 when he had to leave his job due to progressive deafness. In this capacity he composed oratorios for festivities like Christmas and Easter. They were mostly split into two parts, performed before and after the sermon. Only recently I reviewed a recording of the Christmas oratorio Das größte Kind. It dates from 1720 and is very different from this Christmas oratorio which is from 1715 and is one of the first pieces he composed for Hamburg Cathedral. Whereas in Das größte Kind not a single line from the Bible is used, the core of this oratorio is the text of Luke 2, 1-18, which is sung in the form of recitatives by the Evangelist. And in this oratorio the allegorical characters that feature in Das größte Kind are absent.

Musically these two works are also very different. The arias, written on a poetic text of a reflective nature, are less virtuosic and less operatic than in the oratorio of 1720. It is also remarkable that it contains several references to the past. The oratorio begins and ends with stanzas from the 16th-century hymn 'Vom Himmel hoch'. Mattheson doesn't use the well-known melody which Martin Luther wrote in 1539, but an older melody from 1535, after a then popular song. It is also quoted in the chorus 'Aus Zion bricht an der schöne Glanz Gottes'. The chorus of the angels, 'Ehre sei Gott', is composed in the stile antico, and the chorus of the shepherds, 'Lasset uns hingehen', is a fugue.

Only a couple of arias have a dacapo; sometimes a whole aria is repeated from beginning to end. One aria uses a biblical text: the angel singing 'Fürchtet euch nicht!' (Fear not!). But in fact it is more a kind of arioso than a real aria. It is followed by a 'real' aria for soprano, here given to the second soprano. In most arias the singer is accompanied by strings and basso continuo. In the bass aria 'Der Väter Wunsch' two horns are added, and the duet 'Sterbliche, besingt mit Freuden' contains a solo part for the violin. In the intimate aria 'Man darf dir einen kleinen Raum versagen' the soprano is supported by flute, viola and bc. This suits the content well, and the second half says: "Come into my heart for your comfort." In the chorales and the chorus 'Aus Zion bricht' Mattheson adds parts for two trumpets, two horns and timpani.

The other work on this disc is a setting of the Magnificat. That is to say: Mattheson keeps only two lines from the original biblical text (in German translation). The other verses are replaced by a poetic paraphrase, divided over recitatives and arias. The Magnificat is written for two choirs, each consisting of soprano, alto, tenor and bass. It begins with a Sinfonia for the whole orchestra which consists of flute, two trumpets, timpani, strings and basso continuo. A duet by the two sopranos follows, who are then joined by the tutti. In the first aria soprano I is supported by solo violin and bc. Next the bass has a recitative in which some elements in the text are singled out through extended coloraturas. He then sings an aria which begins with the text: "His arm scatters and exercises might". Mattheson defies expectation and refrains from using the trumpets here - only strings. The second soprano has a beautiful aria with flute and bc: "I suffer thirst, my soul hungers". After another recitative the piece ends with the other line from the biblical text Mattheson has kept: "As he has spoken to our fathers, to Abraham and his seed forever", written in the stile antico. The piece closes with a repeat of the opening section.

The Mattheson we meet in the Christmas oratorio on this disc is more 'conventional', as it were, than the Mattheson of Das größte Kind. The Magnificat a due cori, on the other hand, is anything but conventional. At least I can't remember having ever heard a Magnificat, in which the biblical text was largely replaced by a free poetic text. Because of the combination of these two compositions this disc deserves the attention of lovers of baroque vocal music. Like the other two recordings I have referred to it shows that Mattheson is more than a theorist and has to be taken seriously as a composer. New Grove lists quite a number of oratorios from his pen, and it is a shame that a considerable part of his oeuvre in this department is lost.

I was not completely happy with the previous two recordings, also directed by Michael Alexander Willens. In both cases there were some weak links in the cast. This disc is the best of the three, with all soloists giving fine accounts of themselves. The part of the Evangelist is given an immaculate performance by Andreas Post. The soprano parts are divided over the two sopranos. I don't know whether this was indicated by the composer, but it was certainly a good idea as the voices of Nicki Kennedy and Anna Crookes are sufficiently different to tell them apart. The other 'second voices' (alto, tenor and bass) are used as ripienists, who only sing in the tutti sections. These are generally well sung, although sometimes a slight vibrato creeps in, especially in the chorale settings which open and end the oratorio. The playing of the orchestra is also good, and the solo and obbligato parts are beautifully executed. I would like to mention especially Catherine Manson who plays the violin solos in both works. The only criticism is that some of the recitatives are slowish and should have been sung with more rhythmic freedom.

The booklet contains programme notes in German, English and French. In the part about the Magnificat we read: "the metre too changes from 4/4 to ? time". According to the French translation the question mark should be replaced by "3/4". The lyrics are also given with an English translation.

-- Johan van Veen, MusicWeb International

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Mattheson: Die Heilsame Geburt (Christmas Oratorio); Magnificat / Willens, Kolner Akademie
CPO Nov 2010
CD
$18.99

J. Strauss Jr: Die Gottin Der Vernunft / Pollack, Kumpfmuller, Cortez, Mittermeier, Fodinger

Naxos

$20.99 ~~$29.99~~ Save 30% May 31, 2011

Set in the town of Chalons near the German border at the time of the French Revolution during the Reign of Terror in 1794, Johann Strauss II’s final operetta The Goddess of Reason languished for 111 years until this 2009 in-concert revival. Its light-hearted mockery of the aristocracy, morality and the army, somewhat controversial at the time, seems as harmless now as that of Bernstein’s ebullient opera Candide and its humour stands the test of time. Abounding in waltz tunes and marches, its exuberant music is vintage Strauss. For this recording Christian Pollack has reconstructed the score as it would have been heard on its opening night with additional items that Strauss added for its 25th performance.

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J. Strauss Jr: Die Gottin Der Vernunft / Pollack, Kumpfmuller, Cortez, Mittermeier, Fodinger
Naxos May 2011
CD
~~$29.99~~ $20.99

Bach: Ich habe Genug - Three Cantatas / Brook, Lunn, Butt, Dunedin Consort

Linn Records

$20.99 Oct 08, 2021

John Butt directs Dunedin Consort in this collection of three of Bach’s finest cantatas. Together, they explore the timely themes of consolation and salvation. Having previously received exceptional critical acclaim for recordings of Bach’s Mass in B minor (which was named a Benchmark Recording by BBC Music Magazine) and St. John Passion (nominated for both a 2014 ICMA and a 2013 Gramophone Award), Dunedin Consort now cements its impressive Bachian credentials with these three cantatas.

Bass Matthew Brook takes centre stage in the melancholic yet optimistic Ich habe genug, with soprano Joanne Lunn joining him to portray the searching dialogue of Jesus and the Soul in the profoundly beautiful Liebster Jesu, mein Verlangen. Known as ‘Actus Tragicus’, the early cantata Gottes Zeit ist die allerbeste Zeit is an altogether grander affair. Likely intended for a funeral, it stands out in Bach’s output both for its sublime choruses and its unusual instrumentation – notably the two oscillating recorders in the introduction, which set the tone for one of Bach’s most heartfelt and quietly uplifting cantatas.

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Bach: Ich habe Genug - Three Cantatas / Brook, Lunn, Butt, Dunedin Consort
Linn Records Oct 2021
CD
$20.99

SYMPHONY NO. 1 'AN DAS VATERLA
Tudor Jan 2001
CD
$21.99

Mendelssohn: Sacred Choral Works

Ondine

$16.99 Apr 04, 2025

This new album by the award-winning Latvian Radio Choir conducted by Sigvards Klava - recently hailed by the New York Times as 'astonishing', 'superlative' by the BBC Music Magazine, and 'perhaps the finest chorus singing today' by NPR - is focused on the sacred choral works by one of the greatest composers of the Romantic era, Felix Mendelssohn (1809-1847). This recording of the Psalms also includes the world premiere recording of Ehre sei dem Vater published by Carus Verlag in 1997.

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Mendelssohn: Sacred Choral Works
Ondine Apr 2025
CD
$16.99

Wagner: Gotterdammerung
Opus Arte Sep 2010
CD
$41.99

Handel: Brockes Passion / Neumann, Winkel, Bill, Dahmen, Thomer

Carus

$29.99 Apr 13, 2010

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

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Handel: Brockes Passion / Neumann, Winkel, Bill, Dahmen, Thomer
Carus Apr 2010
CD
$29.99

Wagner: Götterdämmerung / Runnicles, Deutsche Oper Berlin

Naxos AudioVisual

DVD

$18.99 ~~$37.99~~ Save 50% May 10, 2024

Götterdämmerung ('Twilight of the Gods') is the final opera of Wagner’s epic tetralogy "Der Ring des Nibelungen" ('The Ring of the Nibelung') in which his visionary masterpiece reaches its cataclysmic conclusion. Betrayal and death, murder and remorse, lie at the opera’s heart, in a work that draws together every plot element in writing of blazing intensity. As the ring is restored to the Rhinemaidens, the age of the gods ends, with the opera offering the certainty of destruction but the consolation of renewal. Staged by the award-winning director Stefan Herheim, this innovative new production from Deutsche Oper Berlin features a leading international cast conducted by Sir Donald Runnicles. The release includes "Making Of" documentary featuring interviews with Stefan Herheim and Sir Donald Runnicles, and behind the scenes footage.

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Wagner: Götterdämmerung / Runnicles, Deutsche Oper Berlin
Naxos AudioVisual May 2024
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~~$37.99~~ $18.99

J.S. Bach: Friede auf Erden - Rekonstruierte Kantaten, BWV 1

Carus

$20.99 Oct 18, 2024

Johann Sebastian Bach's incomplete surviving works have a very special appeal. The music seems to be within our grasp and yet it still leaves us puzzled. What might these works have sounded like?The cantatas Ehre sei Gott in der Hohe (BWV 197. 1), Alles, was von Gott geboren (BWV 80. 1) and Singet dem Herrn ein neues Lied (BWV 190. 1) have also only survived in fragments - and yet they fascinate us with their musical power. The opening chorus from the New Year's cantata BWV 190. 1, for example, is one of Bach's most sonorous choral compositions. Carus has recently published reconstructions of these three cantatas, which attempt to make a previously unknown Bach accessible. The Vocalensemble Rastatt, the baroque orchestra Les Favorites and the soloists Miriam Feuersinger, Terry Wey, Florian Sievers and Sebastian Noack, under the direction of Holger Speck, show with their differentiated interpretation how these works might have sounded under Bach's direction.

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J.S. Bach: Friede auf Erden - Rekonstruierte Kantaten, BWV 1
Carus Oct 2024
CD
$20.99

Wagner: Götterdammerung / Nilsson, Knappertsbusch, Bavarian State Orchestra
Orfeo Aug 1994
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Gotterdamerung

MYTO Historical

$16.99 Mar 11, 2016

For the first time, the complete Beyreuth Ring from 1962 is being released on this magnificent 4-volume collection. This legendary performance is conducted by Rudolf Kempe, and features Hans Hopf as Siegfried, Gottlob Frick as Hagen, and Birgit Nilsson as Brunnhilde. Gotterdammerung is the fourth of Wagner’s four music dramas that make up his epic Der Ring des Nibelungen.

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Gotterdamerung
MYTO Historical Mar 2016
CD
$16.99