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Music From Dresden Castle Chapel Vol 2 - Make A Joyful Noise Unto The Lord / Amarcord

Schutz / Lattke / Ozimek / Knauft / Krause
Release Date: 09/27/2011 
Label:  Raum Klang   Catalog #: 10110  
Composer:  Heinrich SchützClaudio Monteverdi
Orchestra/Ensemble:  Amarcord
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews



JAUCHZET DEM HERREN ALLE WELT Norbert Schuster, dir; Cappella Sagittariana Dresden; Amarcord RAUM KLANG RK AP 10110 (67:35 Text and Translation)


SCHÜTZ Vasto mar , SWV 19. Ich danke , SWV 34. Es steh Gott auf , SWV 356. J auchzet dem Herren , SWV Read more 493. G. GABRIELI In ecclesiis. Canzon. PRAETORIUS Hallelujah Christ ist erstanden. MONTEVERDI Gloria a 7. PALLAVICINO Confitebor tibi. PERANDA Fasciculus myrrhae


This program seems to be diffuse, but in fact it has been chosen to illustrate the life of Heinrich Schütz as it is related in the liner notes. Hence it begins with the book of madrigals (the final eight-voice double-choir piece) that marked his studies with Giovanni Gabrieli, then a Gabrieli motet and a canzona that were published posthumously, and the psalm of David that quoted material from a Gabrieli madrigal. His first visit to Dresden, encountering Praetorius, is marked by a sacred concerto that represents that composer’s awareness of Italian style. His second visit to Venice, meeting with Monteverdi, is marked by the latter’s Gloria written a couple of years later. Schütz’s grasp of the new Italian style is represented by one of the Symphoniae Sacrae . Carlo Pallavicino came to the Dresden court about the time Schütz retired from full-time work, and Giuseppe Peranda succeeded him on his death; these two composers represented the interest of the new Elector Johann Georg II in the newest Italian musical style. The concluding psalm from his “swan song” is a demonstration of the aged composer’s continued adherence to the style of a bygone era that he had cultivated.


As you can see, this is a remarkably concise demonstration of the better part of the 17th century in music as it concerns Schütz. The performances are all true to their varied origins, no mean feat for one ensemble to achieve. The two Italians at Dresden are totally missing from my shelves; Peranda’s double-choir motet set to a presumably original text is an unblushing mixture of erotic and devotional sentiments, advancing deep into Baroque territory, quite a contrast to Pallavicino’s psalm setting, which seems to have the main purpose of allowing the singers to entertain their listeners. No wonder Schütz thought he could only retreat in his swan song to the style he had always practiced. The conception of this disc program is brilliant, and its execution a triumph. If you want to hear the era of Schütz unfold over the course of an hour, don’t miss this fascinating issue.


FANFARE: J. F. Weber
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Works on This Recording

1.
Kleine geistliche Konzerte, Op. 8: Ich danke dem Herrn, SWV 284 by Heinrich Schütz
Orchestra/Ensemble:  Amarcord
Period: Baroque 
Written: 1636; Germany 
2.
Gloria in excelsis Deo by Claudio Monteverdi
Orchestra/Ensemble:  Amarcord
Period: Baroque 
Written: 17th Century; Italy 
3.
Psalms of David, Op. 2: Jauchzet dem Herren, SWV 36 by Heinrich Schütz
Orchestra/Ensemble:  Amarcord
Period: Baroque 
Written: 1619; Germany 

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