SCHÜTZ Psalmen & Friedensmusiken
View record and artist detailsRecord and Artist Details
Composer or Director: Heinrich Schütz
Genre:
Vocal
Label: Carus
Magazine Review Date: 09/2019
Media Format: CD or Download
Media Runtime: 137
Mastering:
DDD
Catalogue Number: CARUS83 278
Tracks:
Composition | Artist Credit |
---|---|
Wo der Herr das Haus nivht bauet |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Herr, wer wird wohnen in deiner Hütten |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Veni, Sancte Spiritus |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Wo Gott, der Herr, nicht bei uns hält (Pslam 124) |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
An den Wassern zu Babel |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Herr, der du bist vormals genädig gewest |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Das ist mir Lieb (Psalm 116) |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Herr, unser Herrscher |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Auf dich, Herr, traue ich |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Da pacem, Domine |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Gesang der drei Männer im feurigen Ofen |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Tugend ist der beste Freund |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Danklied 'Fürstliche Gnade zu Wasser und Lande' |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Teutoniam dudum belli atra pericla |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Syncharma Musicum (En novus Elysius) |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Vater Abraham, erbarme dich mein |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Weib, was weinest du |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Mit dem Amphion zwar, 'pour la mort de Magdalena S |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Trostlied |
Heinrich Schütz, Composer
Dresden Chamber Choir Hans-Christoph Rademann, Conductor Heinrich Schütz, Composer |
Author: Alexandra Coghlan
The composer’s Op 1 – his Italian madrigals – launched his career with an elaborate homage to the national style Schütz learnt during his formative years in Venice. That Italian education was the product, as Oliver Geisler’s booklet notes remind us, of the patronage of Landgrave Moritz of Hessen-Kassel. What we have here in this final volume are the mature fruits of this same patronage – the public commissions, large-scale Italianate psalms and anthems designed to reflect the patron’s splendid generosity and power back at him.
It’s a shame that the notes give us such selective and brief guides to these lesser-known works (many of which are omitted from the cursory discussion altogether), often leaving us guessing as to context. What we do know gives us a fascinating portrait of an age in which music had a key public role. Anthems here celebrate aristocratic birthdays, accompany civic and religious ceremonies and provide courtly entertainments.
Rademann’s forces bring all the warmth and soft, grainy bloom we’ve come to expect through this series to the larger-scale works, as well as a rhythmic and expressive lightness that helps give clarity right through some very dense vertical textures. Highlights include the miniature oratorio Vater Abraham, erbarme dich mein, an attractive, richly dramatic piece with a delightful closing quartet for two angels, Abraham and Lazarus, and the 12-part Syncharma musicum, ‘En novus Elysiis’, which offers a magnificent sonic pageant. Soloists keep things clean and crisp, their slighter, tighter tone balanced by the grumbling breadth of period trombones and keening brilliance of cornettos.
But most moving (perhaps inevitably) are the handful of private works tucked in at the end of the second disc: the tiny Trostlied – a simple chorale composed to mark the death of a baby – and the more extended Mit dem Amphion zwar, written on the death of his own beloved wife. Violently expressive verse is matched by music which wears its grief more lightly, passing chromatics cutting deeply in tenor Georg Poplutz’s restrained performance. It’s a splendid end to Rademann’s labour of love, and those final personal works offer a lovely parting glimpse of the private man behind so much public musical spectacle.
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