Da pacem, Domine

Messa da Requiem : Soprano

Messa da Requiem : Alto

Sgambati: Messa da Requiem

“Through the fine performance in this production, a work unjustly forgotten becomes a lasting experience“.

Messa da Requiem : Bass

Messa da Requiem : Tenor

Alle Vögel Sind Schon Da : C Major

Wohl denen, die da wandeln : G major

Messa Da Requiem : Arrangement for chamber orchestra

Froschrap : from: Sternenzauber. Wir sind für dich da!

Missa Sine Nomine

Giovanni Pierluigi da Palestrina's 'Missa Sine Nomine' set of parts.In the course of his life, Johann Sebastian Bach assembled an extensive musical library that today can only be reconstructed in fragments. It reflects Bach's curiosity, starting in his youth and continuing into old age, to get to know compositions from different epochs and styles. The two complete Masses and six individual Palestrina metrics testify to Bach's interest in 16th-century compositions. In his Weimar years, Bach first used the works for a theoretical examination of the stile antico, his idiosyncrasies of vocal conduct and modal harmony. In his last years in Leipzig Bach plannedperformances of at least two of the fairs. In this context, he supplemented the works with instrumental parts and a Basso Continuo. The Masses by Giovanni Pierluigi da Palestrina, created by Bach, form an important document on the performance practice of works of the austere style in the eighteenth century.

Sonate e Concerti / Güttler

The chamber music of the 18th century is impressive, due to its stylistic and formal variety. Ludwig Güttler’s recording Sonate e Concerti, featuring works from Bach to Vivaldi, offers insight into this fascinating diversity. Such a wide-ranging repertoire calls for an outstanding artist such as Ludwig Güttler, who for many years has immersed himself intensely in this music. With this CD together with the Leipzig Bach-Collegium he once again underscores his outstanding reputation as a virtuoso soloist on the trumpet and corno da caccia.

Der Fromme stirbt : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

Homilius: Johannespassion [Kreile] : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

Johannespassion, Complete recordings, Vol. 13

With the St. John Passion the triad of Schütz’s settings of the Passion is now available within the framework of the complete recording of Schütz’s works by the Dresdner Kammerchor under the direction of Hans-Christoph Rademann. The Passions are testimony to Schütz’s highly musical artistic asperations, they are works of his old age and maturity with which an entire musical epoch reaches its conclusion. For today’s listener getting involved with this music, with its artistic reduction of means can lead to a significant musical-aesthetic experience. Purely a cappella singing insures a special, intimate and impressive listening experience, but it demands of the performersperfect intonation and a flawless rendering of the text a challenge in which soloists Jan Kobow, Harry van der Kamp (the Evangelist), and Jesus, as well as the Dresdner Kammerchor succeed in the most impressive style and manner. This recording of the Passion is compeimented by the Litania, Kyrie eleison, Christe eleison, Kyrie eleison, the motet for the Last Supper, Unser Herr Jesus Christus in der Nacht, da er verraten ward SWV 495 and by the gospel dialog, Ach Herr, du Sohn Davids SWV appendix 2. A co-production with MDR Figaro.

Lukaspassion & Die Sieben Worte : Complete recordings, Vol 6

A seventeenth century Passion “Radio Drama,” the sixth installment of the recording of Schütz’s complete works by the Dresdner Kammerchor and Hans-Christoph Rademann presents three powerful works for Passion. The St. Luke Passion SWV 480 unfolds a panorama inviting us to experience an intense, inward-looking pictorial reflection on Jesus’s Passion. The words of Luke the Evangelist are sung without accompaniment, the musical means skillfully reduced to a minimum. This narrative is interrupted by the choruses, creating dynamic emotional scenarios, clamoring, pleading, querying and raging: in this way, Schütz creates a form of Passion, a “radio drama” with a deeply movingintensification of events. The well-known “Sieben Worte Jesu am Kreuz” [The Seven Last Words of Jesus on the Cross] SWV 478 is the first contribution of the viola da gamba player Hille Perl and her ensemble "The Sirius Viols" to the complete Schütz recording. The sophisticated structure of the work, the intense sensuality of the individual sections and the beauty of the musical message make the “Seven Last Words” a masterpiece. The third work on this CD, “Erbarm dich mein, o Herre Gott” [Have Mercy on me, O Lord God] SWV 447 for solo soprano accompanied by a consort of viols a composition for the Good Friday service represents a charming and appropriate complement to the “Seven Last Words”.