Oesterreich / Weser-Renaissance / Cordes - Psalms & Cantatas - COMPACT DISCS [CD]

On their first album featuring madrigals and canzonettas by Andrea Gabrieli, the WESER RENAISSANCE ensemble led by Manfred Cordes was already in it's element. On SWR2 Radio Michael Stegemann commented InchA most highly entertaining and successful album. Perfect balance in the mixture of singers and winds, audio transparency of the polyphonic structures, great textual intelligibility.Inch And on the ensemble's second Gabrieli , now with madrigals, psalms, and organ works by this master delighting so much in experimentation, his intention and wish to offer intelligent entertainment to his fellow human beings are clearly shown. By 1566 at the latest, Andrea Gabrieli was appointed to the coveted post of organist at St. Mark's Cathedral, and already during his lifetime he was esteemed in particular because of his enormous versatility. Album Tracks 1. Deus Misereatur Nostri À 12 2. Toccata Primi Toni 3. Kyrie Eleison À 5 - Christe Eleison À 8 - Kyrie Eleison À 12 4. Recercare Arioso 5. Egredimini À 8 6. O Gloriosa Domina À 6 7. Sancta Maria À 6 8. Ave Regina À 7 9. Ricercare in C 10. Iubilate Deo À 8 11. Sanctus À 12 12. Canzon Ariosa 13. Domine, Ne in Furore Tuo À 6 14. Deus, Qui Beatum Marcum À 8 15. Exultate Iusti À 10 16. Angelus Ad Pastores Ait À 4 17. Angelus Ad Pastores 18. Domine Deus Meus À 7 19. Benedicam Dominum À 12

The fifth concert in our series of InchMusic from Wolfenbüttel CastleInch features performances and recordings of multifaceted cantatas by Georg Caspar Schürmann. Like no other musician before him, Schürmann exercised a comprehensive influence on the Wolfenbüttel court music world during his more than fifty years of service there. During these decades he produced an impressively extensive and richly varied oeuvre almost thirty operas, numerous table compositions, a Passion, and various church cantatas for large ensembles are documented. In his Christmas cantata InchSiehe, eine Jungfrau ist schwangerInch we experience Schürmann as a composer of gripping ensemble compositions with finely chiseled fugue subjects. For many years the anonymous New Year's cantata InchNimm das Opfer unsrer HertzenInch was also ascribed to Schürmann. Although Georg Österreich is now assumed to have been it's composer, the opening aria in particular with it's highly effective postponement of the resolution of dissonances displays a clear stylistic closeness to Schürmann's opera arias from this time.

With this album, we enter into the court of the Swedish Queen Christina (1626-1689), who distinguished herself with her passions for the arts and sciences, but also through her exceedingly extravagant court life. A few years before her spectacular abdication and return to Catholicism (1654), she had employed an Italian opera ensemble including the Roman singer Domenico Albrici and his 21-year-old son Vincenzo. The latter had already made a name for himself at home and, within a few years in Sweden, composed many excellent vocal works. Together with several instrumental pieces, these survive in the famous Düben collection at Uppsala University. From around three dozen titles, Manfred Cordes has selected a beautifully melodious anthology, which has become an unmistakable hallmark of Weser Renaissance.