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Pablo Heras-Casado|Praetorius (Jacob, Michael & Hieronymus)

Praetorius (Jacob, Michael & Hieronymus)

Balthasar-Neumann Chor & Ens. - Pablo Heras-Casado

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Only two of the three composers named Praetorius on this Archiv release are related; Jacob was the son of Hieronymus, while Michael, known mostly for his small dances, was from a different family. But all the music was written between the very end of the 16th century and the beginning of the 17th, and it is more or less consistent in style. The real appeal of the program is its thematic consistency: although there are a couple of large Magnificat settings, most of the rest is devoted to motets on passages from the Song of Songs, the sexy part of the Bible. At least some were written for weddings connected with the composers themselves, and they respond to the texts in personal, warm, and even humorous ways. Put that together with the fact that all this music is virtually unknown, and it's easy to see why conductor Pablo Heras-Casado is one of the hottest new presences on the early music conducting scene. He gets a precise, lively sound from the only moderately prominent Balthasar-Neumann-Chor und Ensemble of Freiburg, and he is backed by excellent studio sound from the revived Archiv label, which is quickly living down its predecessor's reputation for stodginess. A superb early German Baroque recording.

© TiVo

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Praetorius (Jacob, Michael & Hieronymus)

Pablo Heras-Casado

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Magnificat quarti toni (Hieronymus Praetorius)

1
Magnificat quarti toni (1622)
00:11:46

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymous Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Quam pulchra es (Hieronymus Praetorius)

2
Quam pulchra es, amica mea (1618)
00:04:13

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymous Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Indica mihi (Jacob Praetorius II)

3
Indica mihi (1635)
00:04:10

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Jacob Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Surge propera amica mea (Hieronymus Praetorius)

4
Surge, propera, amica mea (1599)
00:06:49

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymous Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Magnificat per omnes versus super ut re mi fa sol la (Michel Praetorius)

5
Magnificat per omnes versus super ut re mi fa sol la (1611)
00:18:58

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Michael Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Quam pulchra es (Jacob Praetorius II)

6
Quam pulchra es (1606)
00:04:31

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Jacob Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Vulnerasti cor meum (Hieronymus Praetorius)

7
Vulnerasti cor meum (1625)
00:04:07

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymous Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Nigra sum et formosa (Michel Praetorius)

8
Nigra sum sed formosa (1607)
00:03:24

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Michael Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Tota pulchra es (Hieronymus Praetorius)

9
Tota pulchra es (1618)
00:06:24

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymous Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Veni in hortum meum (Jacob Praetorius II)

10
Veni in hortum meum (1607)
00:03:37

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Jacob Praetorius, Composer & Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

O Quam Pulchra Es (Hieronymus Praetorius)

11
O quam pulchra es (1625)
00:03:48

Balthasar-Neumann-Chor - Balthasar-Neumann-Ensemble - Pablo Heras-Casado, Conductor - Hieronymus Praetorius, Composer, Lyricist - Christoph Claßen, Producer - Christoph Rieseberg, Recording Engineer - Michael Morawietz, Asst. Recording Engineer

℗ 2015 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Presentación del Álbum

Only two of the three composers named Praetorius on this Archiv release are related; Jacob was the son of Hieronymus, while Michael, known mostly for his small dances, was from a different family. But all the music was written between the very end of the 16th century and the beginning of the 17th, and it is more or less consistent in style. The real appeal of the program is its thematic consistency: although there are a couple of large Magnificat settings, most of the rest is devoted to motets on passages from the Song of Songs, the sexy part of the Bible. At least some were written for weddings connected with the composers themselves, and they respond to the texts in personal, warm, and even humorous ways. Put that together with the fact that all this music is virtually unknown, and it's easy to see why conductor Pablo Heras-Casado is one of the hottest new presences on the early music conducting scene. He gets a precise, lively sound from the only moderately prominent Balthasar-Neumann-Chor und Ensemble of Freiburg, and he is backed by excellent studio sound from the revived Archiv label, which is quickly living down its predecessor's reputation for stodginess. A superb early German Baroque recording.

© TiVo

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