Ihr Warenkorb ist leer!

Genre :

Ähnliche Künstler

Die Alben

Ab
HI-RES16,49 €
CD10,99 €

Geistliche Vokalmusik - Erschienen am 26. Februar 2012 | Ricercar

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - Qobuz' Schallplattensammlung - Hi-Res Audio
Ab
HI-RES16,49 €
CD10,99 €

Geistliche Vokalmusik - Erschienen am 12. Mai 2011 | Ricercar

Hi-Res Booklets Auszeichnungen Diapason d'or - Gramophone Record of the Year - Hi-Res Audio
Exequien in German are funeral observances, and Heinrich Schütz's Musikalische Exequien, SWV 279, were performed in February 1636 for the funeral of Heinrich Posthumus von Reuss, a prince and diplomat who was a personal friend of the composer. Reuss planned his own funeral down to the last detail, commissioning music from Schütz, providing him with German texts roughly analogous to the Latin requiem mass, and designing his own sarcophagus, which is reproduced in full color in the booklet. Prince Heinrich Reuss XIII even gets an album credit for making it available for a photograph. Various good recordings of this work are available, from Philippe Herreweghe (captures the emotional intensity in the periodic harmonic clashes) to John Eliot Gardiner (very Bachian). Forces deployed range from one voice per part (Weser-Renaissance) to medium-sized groups (the Sixteen) to full choirs or children's choirs. This reading by Lionel Meunier and the multinational group Vox Luminis is also well worth considering. You might think of it as the authentic performance among authentic performances. Meunier deploys two voices per part and draws his soloists from this group in the work's shifting antiphonal structures; there is manuscript evidence that this is the ensemble size Schütz had in mind. The continuo is realized by a small organ and a bass viol, solutions apparently suggested by Schütz himself. The Musikalische Exequien are introduced by other funeral motets and chorales by Schütz and others, setting the stage for the impact of the funeral rite itself and echoing the order of an actual Lutheran service. And the singers get the quality of memorial warmth in the music, which lives up to the comparison in the booklet notes of the Musikalische Exequien with the Brahms German Requiem, Op. 45. There are versions with more spectacularly sharp singing, but few others that seem to fit together as convincingly as this. The performance is strengthened by the ideal acoustics of a small church in the Loire region. Strongly recommended for any Schütz collection. © TiVo
Ab
HI-RES23,99 €
CD15,99 €

Klassik - Erschienen am 10. Februar 2017 | Ricercar

Hi-Res Booklet Auszeichnungen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
A number of recordings have explored how Catholic masses and motets functioned in liturgical context rather than simply featuring performances of the music as an independent entity. Such recordings are rarer for Lutheran music, however, in spite of the fact that, generally speaking, the chorale-based music of the Lutheran church is more closely tied to specific liturgical functions than is the more abstract music of Catholicism. This handsomely packaged release by the Belgian early music choir Vox Luminis under Lionel Meunier, with Bart Jacobs on organ, aims to improve the situation, with a generous selection of music by composers beginning temporally with Martin Luther himself and running through much of the 17th century. You get two lenses on the repertory: the first disc is devoted to the liturgical year, and the second to the distinctive larger forms that emerged as Lutheranism differentiated itself. These include the German Mass and German Requiem, the latter having resonances centuries later in the music of Brahms. The section designated "Das Domga" on disc two actually refers to pieces addressing aspects of dogma; this also is distinctive to Lutheranism. The music by Schütz on the second disc is perhaps the most imposing, but sample instead one of the pieces on disc one by Scheidt that pertain to Christ's Resurrection (tracks 11-13); it is here that the tone one associates with Bach is clearest despite the difference in musical style. The choristers of Vox Luminis are clear and communicative in spirit, although they might have done well to bulk up to the size of the choir depicted in the drawing on pages eight and nine of the booklet; at the smaller size the music is a bit homogeneous. The booklet itself is a superb piece of work, and the engineering, in the Eglise Notre-Dame in the small Walloon town of Gedinne, is very fine. Recommended. © TiVo
Ab
CD9,99 €

Klassik - Erschienen am 6. Mai 2010 | Ricercar

Booklet Auszeichnungen Choc de Classica
Ab
HI-RES14,99 €
CD9,99 €

Vokalmusik (weltlich und geistlich) - Erschienen am 6. Oktober 2015 | Musique en Wallonie

Hi-Res Booklet Auszeichnungen Diapason d'or
Ab
HI-RES16,49 €
CD10,99 €

Geistliche Vokalmusik - Erschienen am 25. September 2020 | Ricercar

Hi-Res Booklet
Andreas Hammerschmidt is undoubtedly the most unjustly neglected composer of seventeenth-century Lutheran Germany. Very few recordings have been devoted to him, even though his music was widely published during his lifetime. The fifteen or so published collections offer a great variety of works, which, like those of his famous contemporary Heinrich Schütz, illustrate the fusion between the Lutheran polyphonic tradition and the various stylistic influences of the Italian Baroque. For this musical portrait of Hammerschmidt, Vox Luminis has drawn on several of these collections in order to offer as rounded a picture as possible of the variety of the composer’s styles. The entire programme is structured around texts for Passiontide and Easter, introduced by an intensely moving madrigalian motet on the death of Christ, Ach Jesus stirbt. An evocation of Passiontide and Easter in the company of Andreas Hammerschmidt, one of the most unjustly neglected composers of seventeenth-century Germany. © Ricercar
Ab
CD10,99 €

Klassik - Erschienen am 13. März 2020 | Ricercar

Booklet
Ab
HI-RES17,99 €
CD13,99 €

Klassik - Erschienen am 24. November 2017 | Alpha Classics

Hi-Res Booklet
The Belgian early music group Vox Luminis has made several wonderful recordings of lesser-known Baroque repertory. They cultivate a distinctive sound with ten or 15 singers (here there are ten) and a small instrumental group, diverging completely from the general Italianate-operatic trend toward brisk tempos, sharp accents, and dramatic conceptions. Here they take on two very familiar works and meet the challenge of creating unique interpretations. Even in the splendid Bach Magnificat in D major, BWV 243 (sample one of the big choruses, perhaps "Fecit potentiam"), they are smooth and even delicate. The sound is all the more impressive in that leader Lionel Meunier does not really conduct; he sings in the choir itself. Yet the carefully burnished sound is extremely coherent. The effect is to deliver a personal aspect even to these highly public works. In this kind of reading there is the necessity for the performers to deliver text intelligibility and for the instrumentalists to deliver balance, and all succeed nicely, as do Alpha Classics' engineers, working in a pair of churches (Belgian for the Handel, Dutch for the Bach). This is a beautifully rendered representation of standard repertory that draws you into entirely new ways of looking at the music. © TiVo