Vores kunder ligger øverst på Google

Go down, Moses : G minor

Down by the riverside : F major

Johann Sebastian Bach: Markus-Passion : Version Hellmann/Glöckner

This is a revised edition of Diethard Hellmann’s reconstruction of the St. Mark Passion of 1723 based on parodies. It contains a new foreword by Andreas Glöckner which deals with the present state of research on the Passion. The edition now includes all 16 chorales which have been handed down and which appear in facsimile in this edition. This new edition serves the needs of practical performance as well as the interest in the history of the Passion as it has been handed down to the present day.

Das jüngste Gericht : Wacht! Euch zum Streit gefasset macht

There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jüngste Gericht, for St. Mary’s Church in Lübeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source.

J.L. Bach: Mache dich auf, werde licht. Kantaten

Johann Ludwig Bach was next to Johann Bernhard the most musically accomplished cousin of Johann Sebastian Bach. In 1711 he became Court Music Director at the Court of Meiningen, and he remained in this position for twenty years, until his death in 1731. 22 sacred cantatas by Johann Ludwig Bach have been handed down in copies made by J. S. Bach, who prepared them in 1726 for use in worship services in Leipzig. On this CD, „Mache dich auf, werde licht“ Hermann Max presents four of these cantatas.

Puccini: Canti per voce e pianoforte

The present collection of 16 smaller vocal compositions is doubly a novelty: On the one hand, among these are three works presented here which were either lost for more than a century [Dios y Patria], or they were never published in their definitive form [Salve Regina and Ad una morta!]. On the other hand, they appear here in the first critical edition of these vocal works ever published; through the consistent consultation of the original sources numerous false readings which had been handed down over the years could be corrected.

Händel/Mendelssohn: Acis und Galatea

In honor of the joint commemorative years for Handel and Mendelssohn in 2009, Mendelssohn’s arrangement of Handel’s Acis and Galatea will be published in cooperation with the Handel Society of Göttingen. This setting of the love story from Greek mythology was among Handel’s most frequently performed works during the lifetime of the master. The interest in this work continued following his death, and in making their arrangements of it, no less than Wolfgang Amadeus Mozart and Felix Mendelssohn Bartholdy concerned themselves intensely with this work. Whereas the Mozart version of the oratorio was published in 1788 and found a widespread dissemination, until now Mendelssohn’sversion has been handed down only in handwritten form. Yet the more recent version is no less impressive than the older one. Through the addition of various wind instruments Mendelssohn achieved an enormously colorful orchestral sound which effective illustrated the dramatic plot, and even dramatized it in some cases. The entirely spacial interpretation by the barely twenty-year-old composer is based on the text of a then unknown German translation of the original text. Initial study of the partial autograph which has been handed down shows that Fanny, Felix’s sister, also worked on the translation of the text. The singing text in the edition will be printed in both English and German.

Missa in g. Hasse-Werkausgabe IV/3

After Johann Adolf Hasse had ended his career as a composer for the opera stage and finally settled down in Venice, he wrote a number of sacred works. Since he had long been obligated to the Saxon Court, where he served as a composer for three decades until 1763, these works were originally intended for the Catholic Court Church in Dresden. The solemn-pathetic Missa in G minor [1783], with the inserted movement "Ad te levavi," is Hasse's final work: a crowning conclusion to an oeuvre whose significance in music history has only recently begun to be recognized and has now received the fitting acknowledgement it deserves.

Festkonzert im Weihezeitraum : Frauenkirche Dresden

After Johann Adolf Hasse had ended his career as a composer for the opera stage and finally settled down in Venice, he wrote a number of sacred works. Since he had long been obligated to the Saxon Court, where he served as a composer for three decades until 1763, these works were originally intended for the Catholic Court Church in Dresden. The solemn-pathetic Missa in G minor [1783], with the inserted movement "Ad te levavi," is Hasse's final work: a crowning conclusion to an oeuvre whose significance in music history has only recently begun to be recognized and has now received the fitting acknowledgement it deserves.

Bach: Sämtliche Motetten

The popularity of Johann Sebastian Bach’s motets is matched by the problematic manner in which they have been handed down to us. The autograph scores and parts used by Bach have been preserved for only two motets. For the remaining motets we must be content with copies whose reliability is, at best, inconsistent. Current editions of the motets are based primarily on the Neue Bach-Ausgabe [1965], which until now has been widely accepted as the standard text for these works. In the meantime, however, additional copies have been discovered and our knowledge concerning the music of Bach has been considerably advanced. In light of these developments it was time for acomplete critical reevaluation of the complex situation of the sources. The result is an edition in which the music has changed in countless details and it is hoped that we have come a good deal closer to the intentions of Bach. In addition to the famous six motets, the collection also contains “Ich lasse dich nicht” BWV Anh. 159 and “Jauchzet dem Herrn alle Welt” BWV Anh. 160. In recent times “Ich lasse dich nicht” has been counted among Bach’s authentic works. The motet “Jauchzet dem Herrn alle Welt” is a combination of movements by Telemann and Bach. Those attributable to Bach include a setting of the chorale “Sei Lob und Preis” from Cantata BWV 28; this was also handed down by itself as BWV 231.

Norbert Burgmüller: Sinfonien Nr. 1 + 2

In February 2010 Norbert Burgmüller would be 200 years old. The legacy of this composer from Düsseldorf includes, in addition to the two symphonies recorded on the present CD, a piano sonata, 22 Lieder, and several smaller works. Robert Schumann described Burgmüller’s first symphony as “the most significant, noble work written in recent times.” Whereas in this symphony the models of the composer Beethoven, Weber and Spohr are clearly recognizable, the second, unfinished symphony [or at least it has been handed down unfinished], on the other hand, is a very original work. The recording by the Hofkapelle Stuttgart under Frieder Bernius is an impressive homage in honor of the200th birthday of the composer.

Sacco: Missa 1607

Only one collection of sacred music from 1607 by the Italian composer Salvatore Sacco, presumably a student by Palestrina, has been handed down to us. The recording presents the majority of these works within a framework of a reconstruction of a liturgy for a Marian feast. The reconstruction is based on a thorough study of liturgical and musical practice of the period which has made it possible to place the surviving works of Sacco into their historical context during the time when the polyphonic style of the Roman school had attained its zenith. A rewarding encounter with this unjustly forgotten master of vocal polyphony from Roman school in a warm, elegant,sonorous interpretation by the Italian ensemble Templum Musicae under the direction of Vincenzo Di Donato.

Dû bist mîn : Mittelalterliches Liebeslied

Dû bist mîn is probably the best-known love song written in old German that has survived from the Middle Ages. It is often attributed to the famous poet Walther von der Vogelweide, who died around 1230. Unfortunately, the original 12th-century melody to which these verses were possibly has not been handed down. In his setting, Wolfgang König (*1947) delightfully interweaves the sounds of the medieval period with 21st-century music. Parallel fifths are juxtaposed with major-minor harmonies and saxophone solos embellish the choral movements that are also supported by a simple piano accompaniment. The choir consists of six voices divided into two groups. The antiphonal calls between the male and female singers mirror the love song's text: “Dû bist min, ich bin dîn: des solt dû gewis sîn” (You are mine; I am thine; of this you can be sure).

Bach: Sämtliche Motetten [ohne Bc]

The popularity of Johann Sebastian Bach’s motets is matched by the problematic manner in which they have been handed down to us. The autograph scores and parts used by Bach have been preserved for only two motets. For the remaining motets we must be content with copies whose reliability is, at best, inconsistent. Current editions of the motets are based primarily on the Neue Bach-Ausgabe [1965], which until now has been widely accepted as the standard text for these works. In the meantime, however, additional copies have been discovered and our knowledge concerning the music of Bach has been considerably advanced. In light of these developments it was time for acomplete critical reevaluation of the complex situation of the sources. The result is an edition in which the music has changed in countless details and it is hoped that we have come a good deal closer to the intentions of Bach.