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40th Anniversary - Sacred Music
Vienna Boys' Choir · Rheinische Kantorei · Dresdner Kreuzchor · Rostocker Motettenchor · Hermann Max · martin Flämig · Howard Arman
CD 1
Caudio Monteverdi: Vesper zum Fest Christi Himmelfahrt
Vespers for the Feast of the Ascension
Schütz-Akademie · Howard Arman
CD 2:
Heinrich Schütz: Kleine Geistliche Konzerte / Little Sacred Concertos SWV 282-304
Tölzer Knabenchor / Tölz Boys‘ Choir · Gerhard Schmidt-Gaden
CD 3:
Johann Sebastian Bach: Motetten / Motets BWV 225-230
Rostocker Motettenchor · Hartwig Eschenburg
CD 4:
Georg Philipp Telemann: Danziger Choralkantaten / Danzig Chorale Cantatas
Rheinische Kantorei · Das Kleine Konzert · Hermann Max
CD 5
Carl Philipp Emanuel Bach: Magnificat · Johann Christian Bach: Tantum ergo · Magnificat
Dresdner Kammerchor · La Stagione · Michael Schneider
CD 6
Sacred Choral Music Of The Dresden Baroque’
Jan Dismas Zelenka: Miserere · Johann Adolph Hasse: Miserere
Johann David Heinichen: Magnificat · Gottfried August Homilius: Cantata
Rheinische Kantorei · Das Kleine Konzert · Hermann Max
CD 7:
Wolfgang Amadeus Mozart: Krönungsmesse / Coronation Mass
Johann Sebastian Bach: Cantata BWV 21
Wiener Sängerknaben / Vienna Boys‘ Choir · Stuttgarter Philharmoniker · Peter Marschik
CD 8
Franz Schubert: Hymnen / Hymns
Peter Schreier · Berliner Rundfunkchor · Berlin Radio Symphony Orchestra · Dietrich Knothe
CD 9:
Johannes Brahms: Ein Deutsches Requiem / A German Requiem
Häggander · Lorenz · Rundfunkchor Leipzig · Rundfunk-Sinfonie-Orchester Leipzig · Herbert Kegel
CD 10:
Camille Saint-Saens: Christmas Oratorio · Felix Mendelssohn: Vom Himmel hoch (Choral Cantata)
Dresdner Kreuzchor / Dresden Boys’ Choir · Dresdner Philharmonie · Martin Flämig
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J. MATTHESON
Ensemble Paulinum · Pulchra Musica Baroque Orchestra · Christian Bonath
In 1715 Johann Mattheson became music director at Hamburg Cathedral and took advantage of the opportunity to mix sacred music with theatrical style. In his 13 years of service he wrote 24 oratorios for high holidays and lent. The exquisite musical quality of the piece is impressive. The vocal parts are demanding throughout, they were, after all, written for the soloists of Hamburg’s Oper am Gänsemarkt, that first-rate musical institution and first ‘German-speaking’ opera house to which other baroque greats like Haendel, Graupner, and Kaiser were also contributing at the time. The work, which the libretto designates an “oratorio”, was first performed in 1727 under the composer’s direction.
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JOHANNES BRAHMS
LINOS ENSEMBLE
Brahms is famous for his symphonies and grand concertos. But many Brahms-lovers would argue he shines brightest in chamber works. And indeed, there is almost no work of Brahms’ that did not start out as chamber music, including his Serenade No.1, which began life as a nonet. It is presented here by the Linos Ensemble in its reconstructed original form. For his second Serenade, Brahms stuck with the chamber orchestra-sized ensemble from the get-go. Clara Schumann approved: “What could I possibly tell you about the Adagio? I feel as if there were no words for the sheer joy that this piece brings me. It’s marvelously beautiful!”
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Frank Martin
Marsh · Bollen · Ahnsjö · Zednik · Holl · Wiener Jeunesse Chor · ORF Vienna Radio Symphony Orchestra · Leif Segerstam
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[1] – [8]
FRANK MARTIN (1890-1974)
REQUIEM
für 4 Solostimmen, Chor, Orchester und Orgel (1971/72)
for 4 soloists, chorus, orchestra and organ
Jane Marsh, Sopran / soprano · Ria Bollen, Alt / alto
Claes H. Ahnsjö, Tenor / tenor · Robert Holl, Bass / bass
WIENER JEUNESSE CHOR
Rudolf Scholz, Orgel / organ
ORF VIENNA RADIO SYMPHONY ORCHESTRA
[9] – [13]
LEOŠ JANÁČEK (1854-1928)
OTČENÁŠ (OUR FATHER)
für Tenorsolo, Chor, Orgel und Harfe JW IV/29
for tenor, chorus, organ and harp
Heinz Zednik, Tenor / tenor · Arcola Clark, Harfe / harp · ORF CHOR
Rudolf Scholz, Orgel / organ
LEIF SEGERSTAM, Dirigent / conductor
Two treasuries out of the ORF Archive (Austria Broadcasting Corporation):
It took Frank Martin a long time to heed his deep-seated inner calling to write a Requiem:
'What I have tried to express here is the clear will to accept death; to make peace with it.' The Requiem was composed in 1971/72, Martin utilizes the whole bandwidth of orchestral sound and explores all opportunities for interplay among the vocalists, as well. Leoš Janáček’s setting of the Otčenáš, the Lord’s Prayer, is not a conventionally religious work. The Czech composer was more interested in its social aspects than any theological musings. Conductor Leif Segerstam, Chief conductor of ORF Vienna radio Symphony Orchestra from 1975-1983 loved to surprise his public with non-mainstream repertoire. Two of these live recordings are now restored, re-mastered and first time published for the future.
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ERNST VON DOHNÁNYI
Sofja Gülbadamova · Silke Aichhorn · Andrei Ioniţă · Deutsche Staatsphilharmonie Rheinland-Pfalz · Modestas Pitrenas
[1] – [14]
Variationen über ein Kinderlied für Klavier und Orchester op. 25 (1914)
Variations on a Nursery Song for piano and orchestra, Op. 25
[15] – [17]
Concertino für Harfe und Kammerorchester op. 45 (1952)
Concertino for Harp and Chamber orchestra, Op. 45
[18] – [20]
Konzertstück D-Dur für Violoncello und Orchester op. 12 (1904)
Konzertstück in D major for cello and orchestra, Op. 12
Sofja Gülbadamova, Klavier / piano (1-14) · Silke Aichhorn, Harfe / harp (15-17)
Andrei Ioniţă,Violoncello / cello (18-20)
Deutsche Staatsphilharmonie Rheinland-Pfalz
Modestas Pitrėnas, Dirigent / conductor
Of the works Ernst von Dohnányi wrote for the stage, only his ballet pantomime The Veil of Pierrette (Capriccio-CD C5388) receive any particular acclaim. His concert music, meanwhile, was much more warmly received. With this already sixth recording of his late romantical, sensual music, deeply rooted in the Austro-German classical tradition, Capriccio presents three of his concerts. Apart from two piano concertos and two violin concertos, Ernst von Dohnányi wrote three more, which are concertos in all but name Variations (for piano and orchestra), Concertino (for harp and chamber orchestra), and Konzertstück (for cello and orchestra); the names subtly hinting at their specific character.
