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Luther's Wedding Day / Katharina Bauml, Capella De La Torre

Capella De La Torre / Bauml
Release Date: 01/14/2014 
Label:  Challenge   Catalog #: 72598   Spars Code: n/a 
Composer:  AnonymousLudwig SenflJosquin Des PrézJohann Walter,   ... 
Performer:  Katharina Bäuml
Conductor:  Katharina Bäuml
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 9 Mins. 

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Notes and Editorial Reviews



LUTHER’S WEDDING DAY Katharina Bäuml, cond; Capella de la Torre CHALLENGE 72598 (65:19)


Works by: ANONYMOUS, JOSQUIN DES PREZ, ISAAC, WALTER, SENFL, PRAETORIUS, SERMISY


Cappella de la Torre is a performing group that favors elaborate, at times some might say fanciful, programs. For this one, built around the reasonable assumption that music must have been performed to celebrate Luther’s wedding with Katharina von Bora on June 13, 1525, they freely Read more if defensively admit they’re winging it—that nobody has any idea what was played, or what voices and instruments were available for the occasion. What they’ve done is draw upon our body of knowledge of those composers and aspects of the Ordinary Service Luther preferred, and the kind of popular music he is likely to have sought for the secular post-celebration. Eighteen selections are supplied, in all.


Thus, we know from an oft-repeated remark that the theologian admired Josquin above all his contemporaries: “He is the master of the notes. They must do as he wills; as for all other composers, they have to do what the notes will.” So we get Josquin’s lauda-like In te domine speravi for the Epistle, and his Allégez moy for the after-service bawdiness. Similarly, Luther was a regular correspondent and good friend of Ludwig Senfl, whose Kyrie and Gloria from his Missa Ninsi dominus aedificaverit domum form, according to the musicians, an appropriate Missa Brevis. Luther collaborated with Johann Walter, and it is the latter’s setting of Wir glauben all an einen Gott that is used here to replace the Credo. The connection with Isaac is less direct, but he did set Loquebar de testimoniis from Psalm 119, and that text was quoted on the title page of the Augsburg Confession. Isaac’s version is heard on this recording as the Introitus, while his Suesser Vater Herre Gott takes pride of place right before Walter’s setting of Ein feste Burg to end the service.


One point is not in this album’s favor: The various selections in Latin are only translated into (very good) German. Needless to add, the German items aren’t translated, at all. And the delightfully crude Allégez moy is, for some reason, kept entirely in the original French. (Fear at offending American and German sensibilities?) Considering that the lengthy notes are fully available in both German and English, English translations would have seemed a natural.


Capella de la Torre here uses three singers—soprano, tenor, and bass—along with six instrumentalists, who manage to provide a loud ensemble, and then some, as necessary: sackbut, a pair of shawms, bass dulcian, recorder, organ, and percussion. The accompaniments are kept relatively simple for the service portion of things, though livelier and more colorful later: Bones, recorder, and portative organ are added to the gagliard, La Gambetta . All in all, it’s a technically adroit, varied program, whether one accepts that the music on Luther’s wedding day would have sounded like this, or not.


FANFARE: Barry Brenesal
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Works on This Recording

1. Fanfare by Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: 15th Century 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 1 Minutes 9 Secs. 
2. Missa Nisi dominus aedificaverit domum: Kyrie by Ludwig Senfl
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 5 Minutes 29 Secs. 
3. Missa Nisi dominus aedificaverit domum: Gloria by Ludwig Senfl
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 44 Secs. 
4. In te Domine speravi, per trovar pietà by Josquin Des Préz
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: Italy 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 48 Secs. 
5. Psalm 119, Beati immaculati in via, motet for 7 voice by Johann Walter
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 4 Minutes 48 Secs. 
6. Wir gläuben all an einen Gott by Johann Walter
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: 16th Century; Germany 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 4 Minutes 59 Secs. 
7. Ein feste Burg ist unser Gott by Johann Walter
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: 16th Century; Germany 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 4 Minutes 18 Secs. 
8. Nun freut euch, lieben Christen gmein, variations for organ by Johann Praetorius
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 38 Secs. 
9. Tant que vivrait en eage florissant, chanson for 4 voices by Claudin de Sermisy
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: 1528; France 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 47 Secs. 
10. Pavana, le Forze D'Hercole by Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 2 Minutes 30 Secs. 
11. Gagliarda: Gentil Madonna by Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Baroque 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 1 Minutes 46 Secs. 
12. La gambetta, for consort by Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 2 Minutes 20 Secs. 
13. Allégez moy, doulce plaisant brunette by Josquin Des Préz
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: France 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 2 Minutes 25 Secs. 
14. Pavane & gagliarda: La traditora by Lute Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 30 Secs. 
15. Saltarello "Torza" by Anonymous
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 1 Minutes 55 Secs. 
16. Loquebat/De testimoniis, introit for 4 voices by Heinrich Isaac
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 54 Secs. 
17. Süsser Vater Herre Gott, song for 4 voices by Heinrich Isaac
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 6 Minutes 7 Secs. 
18. Carmen (unspecified, textless, playable by instruments) by Heinrich Isaac
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 2 Minutes 12 Secs. 
19. La morra, song for 3 voices by Heinrich Isaac
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Written: circa 1492; Europe 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 7 Secs. 
20. Fammi una gratia, amore, song for 3 voices by Heinrich Isaac
Performer:  Katharina Bäuml (Shawm)
Conductor:  Katharina Bäuml
Period: Renaissance 
Venue:  Aufeß-Saal im Germanischen Nationalmuseu 
Length: 3 Minutes 27 Secs. 

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